Far Out Photographic

2010-07-06T22:11:00.000-04:00

I now have the new blog up and running and will no longer be posting to Blogger due to our impending move to Ethiopia. As I mentioned earlier, the Ethiopian government blocks access to Blogger. Why it has not done so with other blog providers is a mystery but I hope I'm not jinxing myself for writing about it. Rather than transfer all of the old posts and statistics from here, I decided to keep things simple and start anew. Thanks for visiting and for those who subscribe, you can easily do so at wordpress as well. See you there!

Cheers,
John

Lincoln Memorial 2010

2010-06-24T08:23:00.001-04:00

Due to an impending move, I haven't had time to post, let alone move the blog over to wordpress. However, I did manage to get around DC one afternoon with my brother and sister and happened on these two kids reading at the memorial. They were like statues. Even after taking several frames, neither moved.

The point of the post is revisit your favorite places once in a while. Opportunities are always present!

Canon G11, ISO 100, 1/80@f8

Firewood, Ento'to Mountain 2010

2010-06-03T17:02:00.005-04:00

I really like both of these images. Why one is in color and the other in black and white? They both intimate something different to the viewer. Both are environmental portraits, however the top image speaks more to the environment of the subject and the world she lives in while the second frame is more about their faces. The magnitude of the weight of the burden is very apparent from the top photo while the second leaves the viewer unaware of the mass the two are shouldering, save for the slim cotton straps around the shoulders of the woman in the foreground. The first image also shows where the woman is - walking downhill on an asphalted road, shared by vehicular traffic (my hired taxi in the background).

Both frames evoke a different mood. While the woman in the first frame is smiling, I asked her how heavy the wood and leaves were. She guessed 70 kilos (approx 160lbs) and I think I winced. She was smiling, likely only in anticipation that I would make a good picture in exchange for payment. Listening to their slapping feet along the pavement told me just how grueling the daily ritual was for them. I usually try to shoot at eye level or below because I believe shooting above a person reduces their dignity that is palatable to the viewer. However, in the second frame, that size difference between me and the women gives the viewer a sense of mass they carry. Note how she is weighting herself on the walking stick above and in the first frame, the frayed ends.

Why I chose color for the first and monochromatic for the second? Maybe it was the way the colors jumped at me the first time and maybe it was the way the faces spoke to me in a very direct way for the second. The bottom line is, it's just how I felt at the time of exposure.

Canon G11, ISO 200, 1/80@f8 (both images)

Ento'to Mountain, Addis Ababa 2010

2010-06-03T02:25:00.002-04:00

I made this image while on a quick, self-guided tour through an old church and palace. At the time, this was one of those shots where I set the camera, brought it up to my eye and pressed the shutter - no bracketing, no adjusting the frame, just this one.

As I sit in Frankfurt during a long layover, I realized some quick Lighroom adjustments that yielded a tone-rich scene that I hadn't attempted before. By default, LR makes auto brightness and contrast adjustments (50% and 25% respectively) to every image. This is bad. Any automatic algorithms a software program makes to images deprives the creator of personal control. Set them to zero. The only way I found to make this a default setting is to add it as a preset in the left-hand frame in the Develop module. Then, during import, this preset can be applied to all images as they are rendered into the library.

Next, with the brightness and contrast subdued, I boosted the Clarity slider to 100% and found the result was a deep black in the window frame while leaving smooth mid-to-light gray tones in the background of the stone wall and thatch-roofed house. The clarity adjustment was followed by a slight increase in sharpness (the new Adobe Camera Raw 6 is amazing and sharpens as good as, if not better than using the Photoshop High Pass method - it can be downloaded as a LR plugin and works fine - however, Raw 6 will NOT work in Photoshop versions prior to CS5).

Finally, I applied a preset I made that warms black and white images (Hue 61, Saturation 3) without looking too sepia.

That's it.

Canon G11, ISO 200, 1/200@f5.6

Future Blog Site Relocation, Mid or Late June 2010

2010-05-24T09:31:00.000-04:00

This may be one of my last posts to the blog until I have time to relocate it to either http://www.faroutphotographic.net/ or another blog hosting service. Our move to Addis Ababa for the forseeable future is prompting the change due to the dictatorship that controls its citizens' access to the internet and blocks many popular sites, including Blogger. Hopefully, the move will be made sometime in mid-late June. If you follow the site or just happen to stop by once in a while, please check back during that time and I'll post the new address.

This image was made on my way to Ethiopia. Benyam and Sampson are two brothers and photographers in their own right - we had some great conversations while crossing the Atlantic. I'm hopeful we'll have some time exploring Ethiopia together in the future.

Canon G11, ISO 400, 1/25s@f8

Reflecting Puddle 2010

2010-05-16T08:36:00.003-04:00

Returning from errands in DC yesterday, I was passing the Reflecting Pool and noticed it was drained for leak repairs. Having my camera (always, just in case!) with me, I parked near the Lincoln Memorial and walked into the reflecting pool. All but a few large puddles attracted small waterfowl to feed on the algae. These ducklings, only part of a huge flock of more than twenty, began to walk across the reflection of the Washington Monument.

Canon 5DmkII, 200mm 2.8L, ISO 400, 1/320@f14

Morro de Sao Paulo 2008

2010-05-14T20:48:00.000-04:00

This HDR shot was optimized and cleaned up by layering one frame in Photoshop to eliminate ghosting among the moving palm fronds. Hue adjustments also eliminated the magenta cast in the clouds that is a common result using default HDR settings.

Note to Self 2010

2010-05-03T06:29:00.001-04:00

We had the pleasure of listening to a superb jazz trio yesterday at our friends' house. I didn't spend too much time shooting but felt a couple of images from the set were worthy of a post. These two illustrate that a tight crop (in-camera, not in post-processing) can make all the difference in balance and structure. While both work, I prefer the second because of the position of the musicians relative to one another (inverted triangle/rule of thirds). The three also are in a more pensive state in the bottom frame, giving more of a sense of concentration. However, the second shot deserves additional curves processing to bring out additional contrast whereas the first frame is about right. When converting these to black and white, I realized I liked the softness of the high ISO noise with the G11 - instead of blotchy noise, it appears as fine film grain. A slight increase in yellow split-tone provided warmth.

Canon G11, ISO 1600, 1/160@f8

Morro de São Paulo 2008

2010-04-30T07:15:00.000-04:00

Canon 20D, ISO 200, 1/125@f22

Morro de São Paulo 2008

2010-04-28T22:09:00.001-04:00

A quick post and short point - when I shot a series of images of these kids leaping off a dock in Morro de Sao Paulo, Brazil, I was equipped only with a 50mm prime lens, a favorite. In order to get the narrow field of view I wanted, I waded up to my neck and contend with an occasional wave and splashing. Those issues limited how close I could get to the action. While several shots resulted in great images, I revisited these and found this scene worthy of a tighter crop to emphasize the action and simplify the main elements. The cropped image has a stronger graphical quality than the original which shows the entire dock and several other individuals that distract from the two boys here. So the point is this - cropping is not necessarily bad when limited by the distance to the subject or the focal length of the lens. Furthermore, revisiting older photos and studying various crops can strengthen a sense of space and composition for future shots… and remind one to bring other lenses!

Canon 20D, ISO 400, 1/250@F16; cropped approximately 60% of original

Leaf and Parsley 2010

2010-04-20T21:59:00.007-04:00

Craig at Craig Corl Photography inspired me again - this time the inspiration was to stay home and do some macro work right outside our front steps! His advice to get out and capture Spring couldn't have come at a better time. Time is a rare commodity, so why not explore around and outside the house - no special equipment necessary. Most point-and-shoot cameras have excellent macro capabilities (use that flower, or parsley, icon). The parsley was captured using a white reflector about a foot behind the herb to blur the texture of the reflector. In post processing, any off-white distractions from the background can be adjusted through curves to amplify the highlights. A large piece of white (or black, for a different effect) construction paper and a tripod are all you need if a photo-specific reflector is not available. A 36-46" collapsable reflector is well worth the investment if you want to really get some great family photos (read: future post forthcoming). Ultimately, very little post-processing is needed for a great capture. The parsley was later added to a killer napolitano red sauce…

The leaf, inches from the parsley was a simple b/w conversion. My daughter was watering the plants and I thought, nice water droplets! The sun provided specular highlights in the water, then set minutes after I took the photo.

Canon G11 on a tripod, 1/15@f8.

Birdseye View, National Mall 2010

2010-04-18T09:06:00.004-04:00

This was a first time Kite Aerial Photography (KAP) shot over the National Mall, using a simple setup of a Sutton Flowform 16 kite, basic aluminum picavet and mount, Canon G11 and 500ft of 150lb nylon kite line. As the flags indicate, it was windy with gusts up to 25mph, too windy for a stable flight, even with tails (the ones you see below were too short). Nevertheless, the shot here was one out of twenty-something that yielded a sharp image and included the Jefferson Memorial in the background. No special timers or shutter releases were used. The G11 has a 20sec timer that will take up to 20 frames on its own. While my wife held the line (our daughter almost wound up in the Tidal Basin trying to hold it), I brought the camera down, reset the timer, and let it fly. Watching the camera and rig shoot straight up in the air for 100 ft is a neat thing to see, if not a little unnerving. Use an inexpensive point-and-shoot camera, visit Kite Aerial Photography and go fly a kite! (and take pictures)

Silver Birch, Balancing Rock Trail, Nova Scotia 2009

2010-04-14T22:17:00.016-04:00

Nova Scotia is pristine. A bit on the lonely side but still relatively unscathed by rampant tourists. There's no Wally World or Yosemite Valley. It's difficult to get there and not exactly cheap if using the catamaran ferry to save an extra days' drive. Nevertheless, if you want to really get away from everything and see unobstructed views of the North Atlantic or Bay of Fundy, sinewing farmland or dozens of small coves, it is the place to visit at least once (and then you'll plan a return).

Along the Evangeline Trail, aka the two-lane highway 217 to Tiverton, a great stop is the easy one-mile trail to St. Mary's Bay and Balancing Rock. The trail is well-maintained and it's rustic, wooded feel eases the senses with quiet hemlocks and occasional silver birches. Rounding one of the last corners along the descent to the bay, I encountered this lone birch at the corner of stairs and it was glowing silver.

What frustrated me to no end was knowing that my 20D could not come close to capturing the resolution and smooth tones of a view camera, yet here, I felt like I achieved the right exposure and had the visualization for what the final black and white image should look like. The three images show the original, sharpened, and dodged and burned final result. The first of the two b/w shots, immediately to the left, is flat - there's too much grey across the frame. By using feathered brushes and low opacities, the birch, stairs and ferns were sculpted with different brightness values to give it the silver shimmer expected. I decided to burn the lanky trunks behind the birch and to either side of the bottom end of the stairs to draw the eye in. We are attracted to contrast and light areas surrounded by dark tones bring the eye along. For me, the birch is immediate because of the silvery tones along the trunk. Then the stairs wind along the middle left of the frame and to…. who knows. The bay? You'll have to go there to discover it for yourself. I am very satisfied with this capture, which as my friends and family will confirm, is rare.

There's a point to this. From the original capture to the final result, a great photo is possible if you know how a camera's sensor behaves and study some basic photographic concepts. Ansel Adams' Zone System still applies when dodging and burning digitally or mastering curves/levels. Given the 20D's 8.2MP resolution, most point-and-shoot models are far superior (given a good sensor, like the Canon G-series) than that SLR.

Anyone can make this type of an image. Now go do it!

Canon 20D, ISO 400, 1/30@f7.1.

Motorcycles, Acadia National Park 2009

2010-04-14T16:31:00.002-04:00

A national park does not conjure Harleys and hotrods but while at the top of Cadillac Mountain in Maine, two bikers rolled up and parked. Seconds after they dismounted, I shot a couple of frames. The bikers, concerned for their hardware, watched suspiciously. When I showed them the LCD, they just harumphed and made off. Following some simple contrast adjustment and high pass sharpening, this is the result.

Canon 20D, ISO 200, 1/25@f18.

Side of the Road, Nova Scotia 2009

2010-04-12T22:31:00.003-04:00

This image was made while on a road trip through Nova Scotia. We made a random stop along a highway and climbed around the bales for a time. Billowing storm clouds pinched the curtain of rays along the hills above the farm valley. Lightroom post-processing included curves, crop, vibrance and vignetting.

Canon 20D, ISO 100, 1/125@f13.

Bike 2010

2010-04-12T06:15:00.001-04:00

This is a small departure for the blog, but after cleaning my bike, it begged to be photographed. I took several dozen shots at different angles and really like this one for the clean lines and limited focus. A tripod and mirror lockup were essential for the crisp logo.

Canon 5Dmk II, ISO 100, 1/16@f6.3.

Canada Creek, Bay of Fundy, Nova Scotia, 2009

2010-04-09T17:19:00.000-04:00

Smithsonian Kite Festival 2010

2010-04-08T22:07:00.003-04:00

This image was heavily post-processed for mood. Extreme S-curve and vignetting adjustments in Lightroom combined with noise reduction in Photoshop resulted in the quirky smilarity between the plane's size juxtaposed against the kites.

Canon G11, ISO 100, 1/640@f8.

Washington Monument, Tidal Basin Sunrise 2010

2010-04-06T23:37:00.003-04:00

This image was made a few days ago, at the peak of the cherry tree blossoms. The sunrise was not all that remarkable, but the glass-smooth basin and white cherry flowers jutting in from the left set the scene. What this serene landscape does not convey - the dozens of shoulder-to-shoulder tourists and professional photographers vying for a couple square feet of tripod space on the bridge leading towards the Jefferson Memorial. Despite the crowd, it was very quiet, save for the endless clicking and beeping of digital camera shutters.

Canon 5DmkII, ISO 160, various exposures at f22 (HDR). 38880320N 77040382W

Cherry Blossoms, National Mall 2010

2010-03-31T11:20:00.001-04:00

Yesterday was an unusually cold Spring day. Despite overcast skies, I made this image from the National Park Service tents along the Tidal Basin. Facing northeast, I chose a high vantage point to bring more green grass up on the horizon to contrast with the cherry flowers.

Canon G11, ISO 100, 1/100@f8. 38885490N 77036352W

Smithsonian Kite Festival 2010

2010-03-29T22:09:00.002-04:00

Canon G11, ISO 100, 1/400@f8. 38.891158N 77.037647W

DBubble Guy, National Mall 2010

2010-03-29T21:55:00.004-04:00

Felix Calderon has been making bubbles and entertaining thousands of people all over the globe for over 25 years. Dozens of kids were swarming around him this past Saturday during the National Kite Festival on the Mall. There's no charge for watching or popping nor are tips accepted. He has constructed dozens of automatic bubble machines but prefers this one as it brings him closer to the those who enjoy his fun. Unlike other high-tech toys, bubbles are fun break. What's the best thing about bubbles? Ask Felix.

Canon G11, ISO 100, 1/320@f8. 38.890782N 77.037865W.

2009 Presidential Inauguration

2010-03-27T09:34:00.002-04:00

This image reminds me of the overall tone of our last inauguration. While tens of thousands of people from all over the world flocked to the National Mall to witness the swearing in of Barak Obama, our 44th President, the massive sea of humanity was surprisingly quiet and calm. No doubt, the early morning sub-zero wind chill had some effect, summed up by the lone security guard on the makeshift stage of the Lincoln Memorial. Reserved anticipation gave way to gushing euphoric cheers following Obama's speech.

Instead of using Lightroom's vignette tool for this shot, I opted for the more flexible gradient mask, applying four separate gradients on each side of the frame to compensate for the uneven morning light. The right side needed additional vignetting to burn the additional light.

Canon 20D, ISO 400, 1/800@f8.

B&H Photo and Video

2010-03-26T17:50:00.006-04:00

Due to increased traffic to the site, I was solicited to link with B&H. At first, I hesitated to display any ads. However, I have been ordering from the company for as long as I have been making images… 18 years! B&H is not the cheapest, but when it comes to customer service and reliability, these guys are first-rate.

If you are ever in NYC - stop by the superstore. It is truly a feast for a photographer/videographer/musician's eyes.

Tree Stand, Boquete, Panama 2007

2010-03-16T22:25:00.004-04:00

Panama conjures beaches, fish and The Canal. However, near the Costa Rica border, El Volcan and its environs are cool, lush and wooded. While walking to a hot spring, I came across this stand of trees jutting into a field. The light weaving through the trunks from the rise in the hill behind it drew my eye in. Canon 20D, ISO 100, 1/100@f9.

Chef Letort, Granja Natalia, Caracas 2007

2010-03-14T12:22:00.005-04:00

Granja Natalia is a French treat of an eatery with a gallery of vistas of the Caribbean and rugged green Avila mountainside in Manzanare, Venezuela. The food is first-rate and the staff even better. GN is a unforgettable afternoon getaway from Caracas headaches. The wildflower-framed, Eucalyptus-scented grounds are immaculate and outdoor gazebos complement panoramic views. Spend a cool, open-air afternoon with some close friends - GN deserves a visit, regardless of the occasion. Make reservations early and bring an extra set of kidneys for the 4x4 ride up and down the rutted Avila slopes. Chef Letort is the lighthearted but dedicated five-star chef and GN proprietor. Canon 20D, ISO 1600, 1/250@f8.

Cotton Husks, Williamsburg VA 2009

2010-03-12T22:04:00.000-05:00

Nikon Coolpix P6000, ISO 64, 1/160@f5

Why I Like the Canon G11

2010-03-09T22:44:00.001-05:00

I thought of reviewing this camera but then again with all of the reviews already out there, that would be pointless. Reviews and comments can get pretty nit picky, leaving the prospective buyer with trying to decide if some purple aberrations at 100x magnification matter. For a point-and-shoot camera, most of the super-technical geek stuff is irrelevant.

I like the G11 for two primary reasons. First is the overall image quality, especially up to ISO 800. This makes this particular camera a great backup to an SLR and an all-around do-it-all point-and shoot. Forget about no HD video. You're not going to shoot the next epic thriller on any point-and-shoot on HD and your parents or grandparents aren't going to care if Bobby is jumping out of the screen or not. Great still image quality, image sharpness and RAW capability top my list. In-camera image stabilization is a plus.

The second reason I like this camera is it's feel. It's solid and heavy. The ergonomics are great. All the necessary controls are right there, without needing to go to the menu, especially the exposure compensation wheel on the top left of the body. The wheels are knurled aluminum and detents feel solid. The rangefinder is great - put the G11 on Auto, close the flip-out view screen, and give it to a kid and see what happens. I personally like to get manual exposure and histogram set, close the screen and photograph people - there's more of a connection looking through a viewfinder instead of a video image. Guess it's a feel good factor.

Speaking of the screen, it can be folded away, protected from scratches. Used with a mini tripod, tilt it up to compose a shot and there you have it. No need to make onlookers think your listening for an oncoming train. Still, someone will eventually manhandle it, break it off and write a negative review that it's too cheaply built. It feels solid like the rest of the camera.

There are hordes of G series fans who swear by them. Despite it's hefty price tag, the sharp, low noise image the G11 delivers is exceptional.

Olives, Tuscany 2008

2010-03-09T16:24:00.000-05:00

Canon 20D, ISO 100, 1/6sec@f14.

Tuscany Sunset, 2008

2010-03-09T05:58:00.000-05:00

Canon 20D, ISO 100, 1/125@f16.

Fort Canon, Morro de Sao Paulo 2008

2010-03-06T09:24:00.005-05:00

The dilapidated remnants of this Portuguese fort witnesses thousands of international tourists to Morro de Sao Paulo every year. Until recently, there were no efforts to restore the ruins and erosion to the structure's north wall was encroaching the grass in the image foreground. In October 2009, the Brazilian Government allocated funds for restoration of various cultural heritage sites nationwide, including Morro. Restoration is expected to begin this year, 2010. http://www.morrodesaopaulo.com.br/hs/cairu/

Canon 20D, ISO 100, various exposures (HDR) @f22.

Fourth Beach, Morro de Sao Paulo 2008

2010-03-05T13:11:00.001-05:00

This image of a deserted Fourth Beach in March 2008 belies the natural beauty of Morro de Sao Paulo island in Brasil and a rare look at the sand ripples untouched by otherwise teeming tourists during high season. Canon 20D, ISO 100, 1/60@f22.

Third Beach, Morro de São Paulo 2008

2010-03-05T09:37:00.001-05:00

Informal day laborers shuttle stone tiles, ship-to-shore. The back-breaking work is still the only viable means to transport building materials to this tourist destination, favored by Brazilian and European vacationers alike. Canon 20D, ISO 100, 1/200@f22

Jumping Around the Lightroom Develop Module

2010-03-03T22:21:00.001-05:00

The right-hand side panel in LR is long and a pain to grab the mouse and scroll up or down for each tool. Instead, memorize (or use a cheat sheet) the shortcut keys for the tools. Each tool is numbered, starting with 1 for the Basic tools and 6 for Vignettes. Use CMD+X (being the number of the toolset) for Mac or CTL+X for Win. Also, remember that the LR Help Menu has a list of the most-used keyboard shortcuts that can be printed for quick reference.

Just One Shot

2010-03-03T20:56:00.005-05:00

Today was one of those raw, end-of-winter days that keeps you inside wishing for Spring. I drove out to the Capitol to meet up with my good friend, Craig for some photographing around the monuments. After I realized I didn't have his correct number, I headed back to the car but stopped to take this handheld HDR of the Capitol's east side; perhaps because I didn't want to leave empty-handed or maybe it was the way the trees framed the image. Regardless, it was nice to sit down to some quick post-processing tonight while my wife worked on some illustrations here in the basement. I almost warmed up the image but it didn't fit the cold mood of the day, so I went for a cool, selenium blue... and no hypertoxic selenium to deal with!

Imagenomic Portraiture, Canon G11

2010-03-01T22:26:00.005-05:00

After some mandatory fun in the Middle East, I'm back to resume more frequent posts. Prior to my departure several months ago, I tried a plugin for Adobe Lightroom - Imagenomic Portraiture. With little tinkering beyond the default settings, all I can say is wow! Portraiture is not a cheap plugin but if you want faces to look amazing, this is a great tool. For the average shutterbug who cannot afford the cash for a professional makeup artist, studio and lighting setup, this will set you back a couple hundred and the results are, well, check out the snapshot of my daughter sneeking a scribble in my notebook. This took about ten minutes of post-processing between LR and Portraiture.

As an aside, this was taken with a Canon G11, ISO 100, 1/40@F4. I hadn't realized the quality of the images from a 13" MacBook screen until I viewed the images on a 24" calibrated monitor. Another wow! A future post will review the G11 in-depth.

Baghdad 2010

2010-01-29T13:56:00.007-05:00

Fingertips 2009

2009-12-04T17:22:00.004-05:00

A psychological triumph over a humiliating loss to Iran, Saddam erected the monument of the Crossed Swords. Larger-than-life sized casts of his fingertips now lie ironically among reminders of an enemy that continues to threaten Iraq's stability today.

Baghdad 2009

2009-11-15T08:15:00.001-05:00

Canon G11, ISO800, f8@1/25sec.

Baghdad 2009

2009-11-15T08:12:00.003-05:00

Deconstructing a destructive past, Iraqis begin dismantling the infamous Crossed Swords monument. Canon G11, ISO400, f8@1/250sec.

Williamsburg, VA 2009

2009-10-12T15:14:00.002-04:00

How To Clean Your Sensor (and not worry about it)

2009-10-10T19:20:00.100-04:00

Pursuant to the last post, this is a short and easy sensor cleaning tutorial that I hope will renew your fogged, dusty CCD or CMOS, save you some money and liven up your images.

Disclaimer: Your CCD or CMOS is a delicate piece of silicon and should be treated with care when cleaning. There is no guarantee even a professional cleaning will remove all sensor dust as well as no guarantee that you will not scratch the sensor if the tools and techniques here are ill-applied. That said, I was a bit nervous the first time I cleaned the sensor on my 20D but now after a dozen iterations, I am confident anyone can do it.

Equipment and materials to consider:

Giottos Rocket Air blower or an anti-static version (pressurized air could and likely will damage the camera's shutter or mirror - stay away from the canned stuff!). Yes, it looks like a rocket when you stand it on end but has no greater functionality than a standard lens blower. It makes the same hissing sound too.

Pec Pads (lint-free photo wipes); available at any decent camera store or online. Treat them like medical gauze; once removed from the packaging and used once, they are to be disposed of. Do you re-use paper napkins? Why some feel the need to re-use Pec Pads is beyond me (I know some of "them"). They spend $2500 on a camera and are reluctant to dispose of a ten cent piece of fabric.

Sensor Sweep; a paintbrush-type tool used for drawing dust off the sensor via electrostatic charge. Reading the instructions carefully will produce good results prior to swiping with fluid.

Sensor Swipe; not to be confused with the Sensor Sweep, the swipe is a plastic handle with a rubber tip used to hold Pec Pads via an elastic band

Eclipse optic cleaning fluid; use one (1) drop! Give the Pec Pad about 10-20 seconds to dry out so as not to let excess fluid dry on the sensor and then swipe it.

Carson lens pen (for stubborn particles - I have one of these but have never used it because I'm a little leary of putting dry pressure against the sensor... if you can live with a couple stubborn dots, leave well enough alone and build a camera profile to mask out the spots in every image)

A loupe (remember that thing you used to use to examine slide film?) and a small LED light. Camping headlamps work perfectly.

1. Organize all materials and tools in a dust and draft-free area (take a shower and wait 30 min for the steam to clear out of the bathroom - dust will have settled due to the humidity; remove rugs and towels).

2. Ensure the DSLR's battery is fully charged to prevent the mirror from dropping unexpectedly while cleaning.

3. With the lens on, take a picture of a white wall at the lens' smallest f-stop (22 or greater) to record the dust and monitor cleaning progress. Keep all settings normal and use the correct white balance (too much contrast will render the dust spots invisible).

4. Hold the camera with the lens pointing at the floor, remove the lens and cap both ends. Turn the camera on and engage its cleaning function; the mirror should lock up, exposing the sensor which looks like a blue/purple piece of glass. Use the loupe and headlamp while using the hand blower to blow loose dust off the sensor (don't hold the camera facing upward, or loose dust will fall right back onto the sensor).

5. Return the lens to the camera body and repeat step 3. At this point, the Sensor Sweep can be employed. If your camera is new, using the sweep may remove enough dust so that using the Sensor Swipe would be unnecessary. Read the manufacturer's directions for using it correctly.

6. Remove a Pec Pad by its edge from the plastic packaging. Some advocate using tweezers so as not to transfer oil to it from hands but I find this is unnecessary since the middle of the pad will contact the sensor and not its edges. Remove the Sensor Sweep from the ziploc bag and fold the Pec Pad at its middle over the rubber end of the handle. Pull one bottom corner of the pad around the Sensor Sweep, diagonal and down toward the opposite end of the handle to keep it taught across the rubber end. Pull the other bottom corners together around the handle in the opposite direction and secure the pad with an elastic, taking care not to touch the end of the pad that will contact the camera's sensor. If this step is confusing, let me know and I'll send photos.

7. Don the headlamp and have the loupe ready, remove the lens and engage the mirror lockup. Take the sensor swipe and start at one corner of the sensor, applying a small amount of pressure and drag (don't push the rubber end across, rather drag it behind the handle as if with a paintbrush) it across the long side. After reaching the end of the sensor and without lifting the sensor swipe, drag it down the side of the sensor and then drag it back across to the side from where you began the process. Lift the swipe and allow the sensor to dry for several seconds before releasing the mirror lockup and replace the lens. Dispose of the ten-cent Pec Pad and return the Sensor Swipe to its ziploc bag.

You can repeat the cleaning steps as often as you like. However, for the first few cleanings, only employ the sensor swipe once to get a feel for what works for your comfort level. Unless it really needs it, like a good suit, don't clean the sensor too often. You run the risk of wearing through the protective (thin) coating.

I've attempted to keep this tutorial as concise as possible without leaving out necessary details. If you have questions about any of the steps, drop me a line and I would be happy to clarify. With a modest investment, organization and preparation, anyone can successfully clean their own camera sensor. Once you're comfortable with the process, you'll find that a cleaning will take less than ten minutes and you'll spend more time taking photographs than waiting for the camera in the mail.

Dust Is The Enemy... Within!

2009-10-09T02:12:00.005-04:00

This series of four apparent mistakes are captures of my 20D sensor before and progressively through sensor cleaning. The first is filthy, the second is the result of blown air only, the third shows results from a single-pass sensor swipe and the fourth of a second-pass sensor swipe. Click on the images to see the diminishing filth! YOU can clean your own sensor without fear of damaging it.

Tomorrow, I will post a short tutorial. The process is [relatively] cheap, compared to sending your camera body to its manufacturer... actually, it's WAY cheap over the long haul because once you learn the technique, you can clean as often as you like. Contrast that with a $150-250 one-time "pro" cleaning! I'll demonstrate how to do it over and over again for a total expense of around 50 bucks.

Sensors are very sensitive to abrasive materials, including mere dust. However, let's consider your DSLR is "old" like my 20D that does not have an automatic cleaning function as with newer models (even the newer models with "self-cleaning" sensors need periodic manual cleaning as well). If you're considering on ditching it for a newer model because the cost of cleaning it is close to it's resale value, think again.

A good friend of mine who is very adept at repairing PCs once told me, "Don't kill the patient!" You can easily fix your dusty sensor to almost new! Stubborn spots are usually few and with today's software, you can easily create a dust 'profile' that will automatically mask out the offending spots in every image. Stay tuned for the tutorial...

Morro de Sao Paulo 2008

2009-10-07T20:46:00.003-04:00

One of the great advances of digital capture is the ability to shoot stars using a fast enough shutter speed to eliminate trails. The stars remain bright and sharp in even a printed image. With good noise reduction software (I use Imagenomic), the results are even better.

I did not have a tripod with me for this shot and instead rested the 20D on a windowsill for a two-second exposure at f2.8. Lens 17-35mm L at 17mm, ISO 1600. The bright light on the right side of the horizon is a natural gas platform off the coast of Brazil.

Good Saturation Prior to Post Processing

2009-10-04T22:47:00.009-04:00

Most people won't believe me when I tell them that to get good color saturation, the sun is the enemy. High noon sun will especially wash out color due to very high contrast. To understand this, take a photo of a red or yellow flower from the same angle during overcast and sunny skies, keeping all color settings equal. The truth will be self evident! If shooting in sun, use a diffuser like a white sheet, photo reflector or even shade overhead (noting there will likely be a blue cast over everything in the shade). Another method of obtaining quality color is to use a circular polarizer (linear versions will disable or confuse a camera's autofocus mechanism). A lot of beginners assume that a polarizer is only used to deepen blue skies and cut glare from water or glass. What is more however, the circular polarizer will strengthen any colors, especially if shot perpendicular to incoming light or sun rays. As with any filter, you're adding more glass in front of the lens, so get the good stuff. For a 72mm filter, expect to fork out at least 100 bucks, so take care of it and treat it like a quality lens!

Two additional methods for deepening color; ensure you shoot with the sun at your back and at a low angle to cut glare, especially if you do not have a polarizer, and wet objects will be more colorful than dry ones. Shoot a green leaf dry and then wet for comparison.

In sum, to maximize color saturation, keep this small checklist in mind:

- shoot in diffused sunlight or cloudy weather

- use a good quality, circular polarizer

- keep your back to the sun (even if skies are semi-overcast)

- wet is better than dry

Get out there and make some images and submit or discuss your findings here!

Cheers!

Exporting For Web Color Space - sRGB

2009-10-04T10:44:00.023-04:00

I recently discovered I had been exporting images from Adobe Lightroom in the wrong color space which lends to a point. Regardless of which color space you use (calibrated monitor, Adobe RGB, Pro Photo RGB, etc), photos should be exported to the sRGB space, chosen from the export options window, in order to retain color saturation and contrast closest to the original. The same image will never look exactly as it appears on your own monitor or print due to the huge variation in monitors, browsers and color calibration hardware and software employed. Therefore, your best hope for the web is to stick with sRGB when exporting.

This image was taken shortly after a Caracas rainstorm. Canon EOS 20D, 17mm L, 1/4@f2.8, ISO 100. Camera settings were neutral. I did not use any filters or post processing on this image, save for some noise reduction.

Loros 2007

2009-10-04T00:46:00.004-04:00

One of two pairs of green parrots (Loros) that frequented a tv antenna outside our bathroom window in Caracas. Canon EOS 20D, 200mm w/ 2x extender, 1/640@f10, ISO 400.

Tuscany 2004

2009-10-01T10:01:00.004-04:00

Canadian Tourist (Oaxaca, Mexico) 1999

2009-10-01T09:29:00.002-04:00

Canon EOS 1N, 50mm, Fujichrome Velvia 50. This six-foot-four tourist from Montreal was getting about with old school roller skates, duct-taped to his shins. I couldn't figure out how he negotiated the cobblestones.

DC Botanical Garden 2008

2009-10-01T00:06:00.005-04:00

The DC Botanical Garden is an understated place to visit while on the Mall. Visit during overcast days for soft light and saturated colors. Bring a tripod, macro lens, flash (used judiciously) and remote shutter release.

Lincoln Memorial 2008

2009-09-30T23:59:00.008-04:00

I have more than a dozen shots of this frame. The person appeared at right to image his own version of the scene while the Canadian geese entered left. A second later, the geese were over the Washington monument and the dude took off, leaving a far less compelling photo. Chance favors the prepared mind.

Chicago 2009

2009-09-30T20:56:00.004-04:00

Custis Trail, Arlington 2008

2009-09-30T12:58:00.005-04:00

Since Fall is here again, I decided to post this image taken late October last year. For a mixed metropolitan /suburban area, the DC-VA trail network is excellent. With DC traffic congestion second only to LA, more commuters are making the commitment to ride regularly, so much that Arlington County is considering widening the trails. The Custis trail networks to the WO&D, making for a superb 18 mile Arlington loop. Finishing in the Shirlington neighborhood provides for a celebratory amber waves ale at Capitol City Brewery.

Gamboa 2008

2009-09-30T07:13:00.028-04:00

Morro de Sao Paulo is a well known tourist destination for Brazilians and Europeans alike; less so for Americans. Development over the last ten years has come at the expense of preservation. What was once a small fishing village, Gamboa's beaches are being crowded by ramshackle pousadas (think bed and breakfast) and eateries. While incomes have increased, the beach deterioration, overcrowding and loss of marine wildlife habitat will eventually reduce tourism and subsequent growth for local residents. I first visited Morro in 1998 when it was still a sleepy locale. Post(s) of that trip are forthcoming.

This image was processed twice in Photomatix, using reduced effect strength for each pass to avoid edge halos. Clicking on it will reveal a larger version so that the detail in the boats can be better appreciated. The title is linked to the Morro de Sao Paulo website.

Bubbles 2009

2009-09-26T15:29:00.001-04:00

Water as a filter, in this case, making the subject abstract yet the form is recognizable.

Gerbera Daisies (Arlington, VA) 2009

2009-09-24T23:36:00.001-04:00

Farol (Salvador, Brazil) 2008

2009-09-24T22:58:00.005-04:00

If you have followed Craig Corl's recent posts on HDR, he demonstrates many possibilities of the process. Craig notes there is no real need to establish baseline processing rules which could be said about any artistic medium. I too initially wrestled with how to use HDR to produce a convincing photograph and not imitate an illustration or painting. Nevertheless, if the results are appealing to the author or artist, there's no reason not to experiment with extremes. This image was post-processed through Photomatix twice. I applied subtle adjustments each time and then used Photoshop to mask the sky, white wall to the right and ocean for various tonal corrections and contrast. If you have both PS and LR don't forget to go to LR Preferences and point to PS as an external editor that will save time when bouncing back and forth between the applications. I particularly like that editing in PS and saving the resulting processing there automatically imports the edited photograph as a stacked version in LR.

A Couple of Notes on Batteries

2009-09-22T20:38:00.001-04:00

There is a reason why so many complain about short battery life in laptops, cellphones, GPS units and yes, cameras. A battery's capacity and duration are largely affected by improper use, charge time and storage. The manuals say it all and you should heed the warnings both for the sake of preserving the battery's useful life as well for safety's sake.

After purchasing a Canon 20D, I realized having an extra battery on hand was a must, especially while traveling. However, who wants to spend another $50-70 bucks on a battery?? Car batteries come cheaper! I ended up buying an aftermarket version from my preferred online store, noting that it appeared to have a longer life (rated in milliampres, or MaH) and at half the price. Unfortunately, the aftermarket battery died within six months of purchase. I've since tried everything to keep from spending the money on OEM batteries - new chargers that claimed to work on any models, other aftermarket battery brands, etc. The bottom line is rarely do they work like the original manufacturer version nor last as long. You get what you pay for. Buy the darn original batteries for your spares! And don't throw away the dead ones, please recycle the Chinese Cheapos.

Lithium-Ion (so-called "memory-less") batteries do last longer than their Nickel-Cadmium (Ni-Cd) predecessors, but can be overcharged which will severely curtail their useful lifespan. Never charge them longer than the time recommended by the manufacturer. If the charger has a light or makes a sound to indicate the battery is fully charged, remove the charger from the wall (they use energy even when a battery is not cradled) and the battery from the charger. No light or sound? Use a kitchen timer or watch. You won't get more life out of your batteries by leaving them charging for a week and staring at the green light. Green means "GO!" So stop watching it and go take pictures.

Overcharging can also generate a lot of heat over time and can be a fire hazard. Leave a laptop plugged in for more than a couple of hours and even when it is off, feel the bottom of it for kicks.

Similarly, batteries that won't be used for a long time should be fully discharged and stored in a cool, dry environment. Even when the camera is off, the battery is still draining because the contacts are running through a closed circuit. Rechargeable batteries will lose a charge over time by themselves, but even moreso if stored in the camera.

You've heard all of this before. Now obey the battery gnomes - buy OEM, charge responsibly (though you can drink and charge without side effects, unless you forget where you plugged the charger) and store properly.

Happy shooting.

Breaking the Comfort Bubble

2009-09-20T22:36:00.009-04:00

Teachers at my daughter's school were explaining the "comfort bubble" to the kids (give others breathing room, which would probably not work too well in Asia). Thinking about this from a photographer-subject perspective prompted the post.

I previously mentioned the space relationship with the subject and these are further examples. If you have difficulty getting close to others, which is a very abnormal thing to do in public with a complete stranger, practice as I did today where there are people who expect to be photographed. These were taken this afternoon at Mt. Vernon, Virginia.

Luckily, we visited during a colonial market festival. Breaking the ice with the actors there was easy. Try it at Sturbridge Village (MA), Mystic Seaport (CT), Colonial Williamsburg (VA), Ouro Preto (Brasil), and the list goes on.

Remember, show interest in their wares or profession first, then slowly introduce the camera and ask permission to photograph. I have yet to be turned down.

If you have small children (big ones aren't interested, aren't cute anymore and run the risk of frightening the subject - unless that's the effect you're going for), have them participate; they usually will out of their own curiosity.

Don't overstay your welcome and ask for an email address to send copies to subjects. Not only will they appreciate your photographs but will be more open to having their pictures taken by others in the future.

Have fun!

Castle Bruce Bay, Dominica

2009-09-18T07:08:00.001-04:00

Many confuse Dominica with the Dominican Republic. Dominica is the only Caribbean island with a year-round rain forest and a peak close to 6,000 feet. A great destination for hikers and scuba aficionados, its volcanic beginnings created steep slopes and incredible black sand beaches. Castle Bruce Bay is secluded on the north Atlantic side.

Adams Morgan Street Fair 2009

2009-09-14T22:57:00.000-04:00

Both of these photos were taken yesterday in Washington DC. I haven't had the time to draft a longer post on HDR production, so these are filling the void for the meantime. The two people are self-proclaimed street artists from Cote d'Ivore, who were raising money for homeless children. ISO 200, F11@1/125

Hanging Around

2009-09-08T22:38:00.000-04:00

Have you ever waited to photograph a sunset as the sun recedes from the horizon and... nothing. You pack your gear and start heading to the car. Get in and drive down the road a bit and look in the rear view mirror only to see a spectacularly-lit sky!? Many times, it pays off to wait a bit longer than you think for a good shot to come along. The image here, the T Jarrod Quartet (a great local Austin band who recently played at the Elephant Room), was playing for more than an hour until they took a break. I was ready to put my camera down when T (keyboards) and Jim Stringer (guitar) struck up a joke. Click. I really like the image because it captures an in-between moment of what would otherwise be two musicians playing instruments. Not that playing is bad but this shot captures an alternative view. Note the size you are seeing here hides the terrible low-light capability (noise) of the Canon 20D. Instead of attempting to sharpen the musicians and blur the background or use a plugin like Noise Ninja, which would rob the photo of already limited edge detail, I chose to "hide" the noise by using Silver Efex Pro, which can be used to simulate popular black and white films. Introducing a preset increased the "film grain," thereby making the square pixel noise more rounded and less "digital." A 100mm lens was used, ISO 1600, F2.8@1/30.

Palmeiras, Morro de Sao Paulo, Brazil 2008

2009-08-28T07:43:00.003-04:00

Reagan National Airport 2008

2009-08-28T07:15:00.002-04:00

Custis Trail, Arlington 2009

2009-08-27T23:01:00.002-04:00

The Road Less Travelled... To Work

2009-08-27T22:34:00.003-04:00

I returned to bike commuting this week and realized how much I missed it (the bike) and how much I missed while driving. Anyone who drives the Capital Beltway knows you can't possibly take in anything while contending with groggy commuters, gridlock, cellphone and a macdonalds-hot starbucks between your knees.

The point of the post is seeing. I'm not talking about becoming a zen master buddhist. Though I didn't have my camera with me and would have certainly been late to the office if I did, I noticed much more. The sun rose over the Potomac in a curry red and I began to plot my next shot with a long lens - cyclist or runners in the fore, huge sun in the back and the Lincoln Monument somewhere in there. Looking over my left shoulder to the West, there were a couple of vantage points that would give me what I was looking for along the Memorial Bridge. This weekend looks like rain, but who knows, there might be a shot worth scouting out regardless.

The next time you're out, sans camera, look and plan. You will learn to see without the chaff of camera and controls that can sometimes interfere with image composition. If in an unfamiliar area, bring a GPS along and mark the spot. Think about returning at different times of day or weather. Come back to it later... on a bike.

In Print

2009-08-21T06:31:00.004-04:00

Greg Patillo

The Project, Washington DC, 2008

There's nothing comparable to a nice print. Even in the digital age, books and hard copy pictures may never disappear (hopefully). While we spend a lot of time online or staring into tiny ipod screens, there is just no comparison to looking at a well-lit picture on a wall. Anyone can grab a digital camera and fire off ten frames, bracketing for every setting possible, choose a decent capture and post-process with acceptable results. However, real photographic mastery can still only be appreciated when workflow ends on paper. Most pros will likely agree that the greatest challenges still come from dominating color calibration and final output. Lightness values vary greatly from screen, to print, to lighting that falls on it. I once spent weeks on a b/w panorama because of the camera resolution and printer limitations. It was incredibly frustrating. However, I learned volumes about workflow and output with that one image than can be said here (future post in mind!). As within a darkroom, there is just as much work to accomplish in the digital studio if the end state is a photograph. A good printer, quality paper and inks are expensive. But learning the process of output is just as intriguing, frustrating and rewarding as capturing the image. Choosing prints helps narrow your selection of best images. Customers who will pay for a printed photograph demand quality. Those chosen to be hung on your walls at home will reflect a finer selection as well. I have a few that were printed in a home darkroom more than ten years ago. It is the timeless quality printed images provide that cannot be replicated on a monitor. I hope this post will inspire a few readers to consider printing a couple of images. It could very well change how you appreciate photographs. Maybe you'll spend more time in a gallery than surfing Flickr or countless websites. Consider the print.

Canada Creek, Nova Scotia, 2009

2009-08-18T07:19:00.005-04:00

I posted this image because of its ethereal qualities. Long time exposure to smooth the water and passing clouds. This image could have been taken anywhere, but it was shot while standing at the end of a remote jetty in Nova Scotia in the early morning hours. Note that I needed a headlamp to negotiate dulse-coated rocks (read: very slippery). Anything short of several minutes for an exposure and the frame would be black.

St. Johns, Antigua, 2005

2009-08-17T20:39:00.001-04:00

Ditch The Telephoto and Get Closer

2009-08-16T18:43:00.006-04:00

Antigua, 2007

I like to use a 50mm lens for several reasons. It's light and compact. My particular 50mm has good contrast, has good bokeh, is fast enough for my uses and is relatively inexpensive. The issue here is getting close, related to my post on building rapport with the person being photographed. After warming up in an area and wandering around a bit, people acclimate to you. However, sticking a 100mm (or longer!) lens in someone's face can intimidate and turn people off. What is more, a telephoto doesn't let you get intimate and make good eye contact.

Separately, but pertaining to the two images is varying the frame from landscape to portrait and getting close. While I really enjoy taking environmental portraits that illustrate a person or animal in their environments, straight-up, close shots of someone with a distinct face really grabs the viewer. Granted, the guy in this picture was probably pre-relaxing prior to the steel drum ensemble and for sure assisted me in getting in close. But it worked nonetheless!

Hammer Dulcimer and Violin, San Gimignano, 2005

2009-08-14T23:50:00.001-04:00

Venician Air Guitar, 2005

2009-08-14T23:43:00.007-04:00

I really like this image that says "Venice" but with a bit of humor. Good color, subject separated from the background, and direct eye contact. I had about five seconds to make eye contact first (read: rapport) and then click the shutter before we blew past him.

Simplicity of Space - San Gimignano, 2005

2009-08-14T23:24:00.013-04:00

Aside from being a great musician, Miles Davis was probably most known for not playing. To him, space was just as important as filling up the measures with notes. The same can hold true in photography. As mentioned in a previous post, here the background or the area surrounding the subject is important in that it provides breathing room and balance. When objects are in motion or appear in motion in the frame, it's usually best, though not universal, to provide more space in front of the subject. I prefer the bottom (original) image to the top (crop) because the space leads the eye from right to left and out of the frame, whereas the bottom image is too tight, increasing viewer tension because we cannot see that the space in front of the pigeons is empty.

Canal Light, 2005

2009-08-14T00:56:00.004-04:00

As in the post below, there are a million images of the Venice canals. Gandolas, restored wooden jet boats, sinking buildings. Here, the light splashes a bit of color against the green water and derelict building.

La Basilica, 2005

2009-08-14T00:51:00.006-04:00

My wife and I decided to take a spur-of-the-moment trip to Venice while staying with family near the Lake Cuomo area in 2005. Venice is photographed so much, the senses are quickly overwhelmed and it's sometimes tough to get a different angle on a familiar subject. Here, I stooped down to check out some glassware and the Basilica zooms into focus.

http://www.faroutphotographic.net

2009-08-11T22:49:00.008-04:00

Click on the title above. It's work in-progress for now, but should be finished by the last week of August. For now, most of my images reside on Flickr (http://www.flickr.com/photos/johnadowney2/). Following the website, I'll likely delete all but snapshots on Flickr.

Hay Bales, Alberta, Canada

2009-08-11T22:27:00.004-04:00

Friends sent this picture, taken around the Medicine Hat area of Alberta after a windstorm. The bales can weigh up to 2000 pounds and some may have rolled up to five miles. I suppose that's how they arrived in Nova Scotia (my photo below).

Canada Creek, Nova Scotia

2009-08-10T06:48:00.001-04:00

Hay Bales, Nova Scotia

2009-08-10T06:43:00.005-04:00

The Rapport Imperative

2009-08-06T22:47:00.004-04:00

Light and composition are certainly essential for a great portrait. However, what is often overlooked is the imperative for rapport with a person. Person. Not subject. Without a personal connection, portraits will trend toward uneasiness, lack of eye contact and strained expressions. Unless it's intentional, you'll feel it, the person being photographed will feel it and the image just won't work. When you take a picture of a stranger, you have a human responsibility to respect that person. This is probably why the best photojournalists understand the need to exercise caution and develop rapport before clicking the shutter.

I have relatively few portraits that I'm pleased with. However, of those that are good, I spent a LOT of time with the individual being photographed. I hung out for a solid hour with a homeless man under a Sao Paulo viaduct. Six rolls of T-Max 100 and one shot works. When looking at the negatives, there is a tangible feeling of tension at the beginning of the conversation and scrolling through, his expression changes and becomes completely relaxed into a hapless state, looking directly through the lens, mirror and into my mind's eye.

In our hurried and harried society, most people feel like they don't have the time (even on vacation!) to slow down and, at the very least, ask a someone their name. The image below was recently made while my family and I were on a spectacular road trip through Nova Scotia. We camped on a hill (Whale Cove Campground, Long Island) and before moving on, drove to Whale Cove Harbor where I met "Kemp." I hung out with him for about 45 minutes. Kemp's ancestors had lived in the same house, about a minute from where this picture was taken, for over 120 years. He is a line fisherman by trade and bought what used to be a derelict boat hull in 1998. Two years later, it was seaworthy and he waxed poetic about how the older hulls of lobster boats were far superior in the water in terms of speed and stability than newer models. "You can push anything through the water if you put a big enough engine in it. No one makes a good riding hull anymore."

Kemp continued to lament how the Bay of Fundy was being destroyed by drag fishing. I had known that draggers rip up the sea floor but what I didn't know, according to him, was that for every one pound of fish sold by draggers, 1200 pounds of sea life are destroyed. By comparison, for every one pound of fish sold by line fishermen, approximately two pounds of sea life are discarded. What is more, companies that employ draggers lobby politicians to vote against sea life preservation efforts at the expense of severe and irreversible destruction of the Bay and habitat for untold hundreds of marine species. "Many tourists that come up here chant 'Save the whales!' But what they should be saying is 'Save the Haddock!' Marine scientists concluded that many of the Minke and Humpbacks that frequent the Bay in summer months to feed were suffering from disease and parasites and therefore had nothing to do with bottom dragging. However, with the overfishing of haddock and destruction of plankton habitat on the Bay floor, whales are severely malnourished and their immune systems suffer, succumbing to what would otherwise be harmless."

And to think I just stopped by to say hi.

The bottom line - Say hello. Introduce yourself and ask a few questions before asking to photograph someone you're interested in. Better still, whether your in the studio or outside, put the camera down occasionally and talk. Show interest instead of the click-and-dash method. You will find that both you and the person you're photographing will enjoy good company. And it'll show in your pictures.

"Libby" 2008

2009-08-05T17:51:00.006-04:00

Bar Harbor from Cadillac Mountain, Maine

2009-08-04T22:21:00.004-04:00

PhotoWalkThrough

2009-08-04T20:11:00.004-04:00

A great, easy-to-follow podcast and website full of excellent advice on post-processing. However, what makes this site unique is that it, as the title implies, guides the viewer through the creation of an image rather than punish us through dry tips and tricks tutorials. John Arnold produces a high-quality podcast, invites viewer input for topics, includes contests and concludes each show with readers' photos in a music-video-type slideshow. www.photowalkthrough.com.

Lower Contrast

2009-08-04T00:06:00.004-04:00

Try lowering the contrast in camera to either fit all the information within the confines of the histogram (or film sensitivity), if that's the intent, or create a softer look and wider tonal range. Too much contrast can make a good photo look more like a photocopy.

Focus on the Subject but Concentrate on the Background

2009-08-03T20:33:00.009-04:00

All too often an object, person or landscape appears in such detail that distracting elements are overlooked. Digitally removing them is tedious and unrewarding. As many great photographers have repeated, especially Ansel, begin with the best negative possible. It saves time and frustration. This is still true in the pixel age. Motor drives and infinite disk storage do not guarantee a great photograph. This is not to say that multiple exposures, bracketing and varying the camera angle are not important but cleaning up the subject area can mean the difference between a snapshot and "whoooaaa." I used to expend rolls of film, shotgunning the motor drive in the hope of getting The One when I had all the time in the world to compose correctly. When time allows, Be The Ball, Danny, and hang out for a while. Take some time to look, both with and without the viewfinder. Get closer, move around and then swim a bit in the frame to check the edges. More fun will be spent during the moment of making the image than annoying your family while you sequester yourself for hours, trying to erase branches, hands and corners of buildings.

Purpose

2009-08-02T22:17:00.006-04:00

After little thought to publishing a website, which I will soon have after years of laziness, I was recently inspired by a very good friend of mine to occupy a few more megabytes of cyberspace with some of my own interests and ideas (see craigcorlphotography@blogspot.com). Hence the almost instantaneous birth of Far Out Photographic. With as many websites as exist today, I have no aspirations of assembling a club or amassing thousands of random netizens for the sole purpose of bragging rights.

I used to DJ at Wesleyan University in Middletown CT when I was a teenager and thought it was cool when I'd receive a phone call from some anonymous fan who liked the current playlist, made a request or just wanted to tell me how much they couldn't stand the current crap I was playing. So, the occasional run in with a stranger or friend, combined with my passion for photography, has brought me here to talk all things photo. - John