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Book Review: “Outdoor Flash Photography,” by John Gerlach and Barbara Eddy

Suggested

What this book is in great need of, in my opinion, is experienced, professional, objective, editing

Catching Up …..

Wow.  My last post was at the beginning of May, 2 full months ago. I guess I have fallen into one of those “lulls.” Nothing new and notable on the shooting front, and nothing much unique to say.

Over the winter, I played around with B&W and “painting.” I read several books on those subjects, and reviewed a couple of them. More recently, something got me realizing that I needed to renew my acquaintance with supplemental and artificial light; and particularly, flash – the stroboscopic variety.

New Gear and Flash …..

Several years ago, I made a monumental (for me, anyway) change in my “gear.” Having been “married” to Nikon for nearly 40 years, I made a complete changeover to Sony mirrorless cameras. The primary reason for my changeover was not creative or technical. It was convenience; and in particular, size and weight. Along the way, I discovered some creative and technical advantages. These are not really attributable to brand, but to “new” and to features. Every manufacturer seems to have certain areas they do better than anyone else. If only I could build my own ala carte camera.

One thing Nikon did better than anyone else (in my view) and Sony seems to do worse than anyone else (again, in my view) is flash. I got spoiled with Nikon’s creative flash system. You see, flash involves math, and there is very little about math that is either appealing or comes naturally to me :-). Nikon took the math out of it and let me not have to “think” about it. Maybe that wasn’t such a good thing.

A detractor for many of us is cost. Brand-dedicated flash units are ungodly expensive. As much as a good lens. And sometimes you want to use multiple units – as much, or more than the camera!  And, flash units are complex, and befuddling: right?

I have absolutely no doubt that the authors of this book are consummate, professional photographers and workshop leaders, and that they really, really know their craft – in particular – the ins and outs of everything “flash.”

During my 40+ years of shooting, I have shot 98% natural light. I have, for sure, used flash (I even remember those big, blue, “lightbulbs” that bayoneted into a reflector on my Asahiflex, popped once and ejected – hot!). But I think it is time for me to start expanding my shooting, to include supplemental lighting.

So, I started reading. Always my go-to. And I learned that there are less expensive, after-market units out there (some good/some not so good).  Sure, they have compromises. My friend, Kerry Leibowitz, once said to me in an e-mail exchange, “everything about photography is a compromise. .. Everything.” So I am good with that. For 1/4 the cost (or less), I was able to find a Sony-compatible flash to play with.  Maybe I will review it at some point (after I understand more about it 🙂 ).

There is a lot out there to read. I am a book person. Hence, the review. But before I do, let me recommend the website, strobist. There is a huge amount of information, free for the reader, here. I have just begun to dig into it, but some would say it is all you need.  Me? I am still a book guy. I like to read and highlight and flag, and go back from time to time. I already had Bryan Peterson’s “Understanding Flash Photography,” so I started there (I highly recommend two other Peterson books: “Understanding Exposure” and “Learning to See Creatively“).

There is some really good material.  But you you really have to work for it.  And to me, that is off-putting, particularly in an “instructional book.” With some work, this book could be made into a pithy, useful, field guide that someone like me just might carry around with him. But not in its current version

So, The Book …..

Wanting to dig deeper, I started researching on Amazon. I have long known of John Gerlach, and his workshops, and the bulk of the reviews liked his book “Outdoor Flash Photography.” I had read some of his other books over the years, and was familiar with him, as he originally lived in my “backyard;” the Upper Peninsula of Michigan. As many readers know, I have spent some time up there and my “Photographing Michigan’s Upper Peninsula,” is a guide to many of the wonderful shooting opportunities there. So I bought the book.

“Suggested” …..

This book is in my “suggested” category (meaning, I don’t necessarily believe every shooter should have or read this, but I have it, or have owned it, and found some useful material there). But what makes this a “suggested” book rather than a “recommended” book is largely editorial style, unfortunately. There is some really good material in there.  But you you really have to work for it.  And to me, that is off-putting, particularly in an “instructional book.” With some work, this book could be made into a pithy, useful, field guide that someone like me just might carry around with him. But not in its current version.

As I looked at the different offerings, and the editorial reviews, I was struck at how often the description said something like, “demystifies” flash, or “contains unique material, not found anywhere else.” This book suggests that there is something unique about “outdoor flash photography,” and that there is no other resource out there that covers these topics.  But my research and experience demonstrates otherwise. To be sure, many, if not most of the resources out there have a heavy concentration on portraiture and even sometimes studio lighting techniques. But my conclusion is that there are some basic lighting principles that really apply to photography in general, and they are not that unique from genre to genre.

I would have no hesitancy to sign up for, and attend one of their workshops

Need For Objective Professional Editing

Readers here know I am good at digression.  But I want to say something here, to put my “critical” (“Critical: expressing or involving an analysis of the merits and faults of a work ….“) comments in context.  I have absolutely no doubt that the authors of this book are consummate, professional photographers and workshop leaders, and that they really, really know their craft – in particular – the ins and outs of everything “flash.”  And you only need to go to their website to see that their imagery is first class, and their workshops well-attended and widely praised.  I had the fortune of bumping into one of their workshops a couple years ago, while shooting fall colors and researching locations for my own Photographing Michigan’s Upper Peninsula, and introduced myself to John.  He is a very nice man, with an undoubted bank of technical and locational knowledge.  One thing that really impressed me:  neither he nor Barbara had cameras in-hand.  It was their workshop and they were there to be a resource to the attendees.  I would have no hesitancy to sign up for, and attend one of their workshops!  I also studied nearly everything their own “mentors” (the late, Larry West, and John Shaw – both former Michigan residents themselves ) wrote and know the authors’ pedigree is estimable. Knowing this, I was mildly disappointed in this product.

What I was looking for was more of a hands-on, practical, experience-based text. How is “outdoor flash photography” different from “flash photography?” This book partially hits that mark, but it is a difficult path to get there! What the book is in great need of, in my opinion, is experienced, professional, objective editing. The term I would use to describe the current text is: “rambling.”

I would describe the author’s (while both John and Barbara are listed as authors, it is clearly primarily written in John’s voice) style as conversational.  Too conversational. It feels like maybe a day in the field, or in the lecture facility with John speaking. This style probably works well in person (he is said to be engaging and entertaining).  It doesn’t work in written form. As anyone reading here knows, I am all for an informal written presentation. But in written communication (especially instruction), there needs to be a certain level of formality, structure and organization. This book lacks that structure – in a way that makes it difficult to stay with it. Here are some specifics:

Style – The “conversational” style, as noted above, is off-putting. Sentences throughout the book are replete with misplaced modifiers, which I suspect is a matter of conversational usage, but is jarring when repeatedly read. This doesn’t affect the technical presentation of information, but it certainly makes it less effective. The frequent attempts at humor fall flat. Again, they probably work well as one-liners in an oral presentation, but they come across as borderline lame in a more formal, written text.

And words and phrases……..  I have always been a firm believer that good, strong writing and clear communication means simple, direct writing. It is good to vary word choice from time to time to make the writing less repetitive and more interesting (I use a Thesaurus frequently, when I feel that I have been repeating a single word too much). But the use of “big” words, or flowery phrases does not automatically make writing better or more interesting. Sometimes it is just best to say the word that applies in common usage – direct and simple. I have to believe that an objective, professional editor would eliminate the majority of these issues, and create a more straightforward, informative and readable text.

Relevance – Too often, the author wanders “off the reservation,” getting into totally irrelevant commentary which, while perhaps anecdotally interesting, takes us away from the subject matter of the book – flash photography. While some of it may have nominal relevance, a quick reference to it and “move on,” would be, in my view, much more effective. There is too much “Cannon vs. Nikon” philosophy, for example (I appreciate that these authors each use one of these systems, as do perhaps the majority of their audience, and surely there is some relevance to how these makers handle flash issues – but again, “just the facts ma’am” and then move on would be a good thing here). 🙂

Organization – The book is divided into 14 chapters. Respectfully, I do not believe there are 14 separate chapters of material here. I am not sure about publishing requirements and standards, never having personally done more than my own eBooks (which may not be models of clarity either). I have written enough to know that organization is not always an easy path, and there are always choices about how, where and when to present materials. But I truly believe this book could be condensed down to no more than 5 chapters. What we instead find here is a lot of needless (and I think, confusing) repetition.  In an effort to distinguish terminology and techniques, the author ends up repeating the same materials under different topics. The implication is that there is something different, and yet, there really isn’t (a great example is the segue from “fill flash,” “main flash” and “balanced flash.” After 3 long, repetitive chapters, it really boils down (and is implied, in my reading, by the book) that they are not really different categories. They are just applications of the flash fundamental that every flash exposure is composed of two exposures, one being the ambient light exposure and the other being the flash exposure. The rest is just understanding the relationships of the light sources, and how the technology in the units and cameras handle it.

There are many Positives …..

Having been critical, I have to say there are many positives to take away from this book. It is why I “suggest” it. I believe it is worth the work to slog through it and try to distill the very good information that is in there. I will go back and re-read, and take personal notes on this information and hopefully add it to my own kind of “field guide.” Here are some items I think are worthwhile information/tips from my first reading of the book:

  • The author gives one of the better explanations of how the strobe flash works, including flash duration, that I have read.
  • There are a couple comments regarding the use of flash when shooting waterfalls that I had not previously considered – particularly the ability to “freeze” water droplets while maintaining the “silky” look of the main waterfall in the image.  You can be sure I am going to experiment with that.
  • While most experienced users are aware of this, his explanation of how TTL in the flash unit relates to automatic and manual control of the camera was helpful.  He re-inforces why those of us who rely on “automatic” modes, because we don’t know better (or in my case, because we have become lazy), don’t get the results we expect.
  • There are some helpful tips on the placement of flash (particularly in close subjects) to maximize color and texture.

I could see it being transformed from an “eh” book, to one I would put on my “must own” list

The Takeaway …..

The paperback cost just under $27.00.  Today, that is a rather modest cost for a full, published, hard copy book. So I certainly didn’t feel put off or cheated by the purchase. And there was enough in it for me to keep it rather then send it back. But it would not go on my list of “must own under any circumstances” books.

What I think might be a dynamite re-work of this book would be to have some heavy editing, drilling down to the relevant, useful information in the book, perhaps adding some more practical and experiential information, into a shorter and perhaps smaller format (think “field guide”). I could see it being transformed from an “eh” book, to one I would put on my “must own” list.

Suggested

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Are Photographers Losing a Battle of Attrition?

This is an image made on my Smartphone in 2016, and then re-worked in Painter Essentials
Copyright 2018 Andy Richards

There is a war out there. It is being fought in the trenches by professional photographers.  Most people are probably not even aware of it, but I think most pros are.

“Short messages,” emoticons, and on-line abbreviations, have “dumbed down” our world

Perhaps more than anything, it is a war about technology. They are not fighting technology itself.  Indeed, technology has by and large, been a great friend to photographers. The war exists in a new world order, in which photographic imagery is judged not so much by its technical and aesthetic merit, but things like “likes,” “reblogs,” and “tweets.”

Having been a lifelong early-adopter of all things digital, I spend a fair amount of time online, and on social media. So I see a lot of photographs out there on a daily basis. Over time, this has become more and more, an image-centric phenomena. Instagram, for example was created specifically as an image-sharing media. Twitter, a service designed pretty much specifically for “short-messages,” also has image-posting capability.  Perhaps the most well-known is Facebook, which not only allows posting in messages, but archives and makes available thousands of user-posted images.

Original Image made with Blackberry Priv Smartphone
Copyright Andy Richards 2016

In the past, I have lamented the negative effect of this “digital” phenomena. “Short messages,” emoticons, and on-line abbreviations (and I am as guilty as the next person of over using them), have “dumbed down” our world. I daily observe online presences that demonstrate a basic ignorance of grammar, spelling, and history. The assault on our language, history and culture stormed the beachhead a long time ago and has made major inroads, “inland,” so to speak.

But there is a photographic component now, to this, and that is what I am referring to when I suggest that there is a war out there.

That is not to say that it has made us better photographers. Indeed, it just may be that it has made it easier for the vast majority of us to just get lucky, with our images

At the same time, technologically, the equipment available to make photographs has moved light-years in the past 50 years. It used to be the case that in order to make a nice image (usually a large(r) print), the photographer would have to have a reasonably high quality camera, and use and understand film, exposure and focus (as well as have an understanding of some of the more refined technical and aesthetic qualities of a good photograph). Digital technology, with auto-focus, face-recognition, sophisiticated “automatic” metering capability, and higher and higher quality image-sensors and lenses, has simply made it easier to make a technically sound image.  That is not to say that it has made us better photographers. Indeed, it just may be that it has made it easier for the vast majority of us to just get lucky, with our images. Today’s leading “smart-phone” cell phones have some pretty impressive digital camera capability, both in terms of hardware, and of software (and since the vast majority of photographs today are presented as internet-based digital images, they can look pretty good.

This image was made with a Nikon SLR camera and color transparency film, and later scanned.
Copyright Andy Richards 1997

I have the privilege and pleasure of knowing some shooters who make their living as professional photographers. I don’t envy them.  Most of the ones I know have established their careers, and while they have had to adapt to these technological changes, continue to make a good living at their craft. But there are many who do not fare so well.  Particularly those who are what I might call generalists. When I moved into my small community, there were probably a dozen small, professional photography studios. They shot Seniors in the spring, weddings, family photos, and contract jobs. That number has dwindled. A day or so ago, I happened to notice a (digital) sign in front of a studio that I had never paid much attention to, but pass by nearly daily.  In large, bright letters, it advertised “50% off Senior Photos,” “no sitting charge,” etc. This was a studio that has been in business for over 50 years and was notably successful. 20 years back 50% off would not have been common and most certainly would not have been advertised.

Unfortunately, I do not see this as a war that will be won by “the good guys”

Personally, I don’t think this is because of competition from other professional photographers. Instead, I think it is based on partly perception, partly reality, that we no longer need professional photographers to shoot our portraits. I don’t have any empirical information, but I suspect that business for studio photographers is way below what it was a few years back.

This image was made with the “professional” Nikon D800 and a “pro” Nikkor Zoom lens. I was experimenting with depth of field.
Copyright 2013 Andy Richards

This is rather short-sighted, and demonstrates a continuing erosion of our standards as a society. There are things a trained, professional photographer knows how to do that make photographic images. It is not about fancy equipment or secret formulas.  It is about study, hard work, and experience. Unfortunately, I do not see this as a war that will be won by “the good guys.”

It’s Over

Daffodils
Copyright Andy Richards 2009

This will be my last post here.  I always seem to have a difficult time finding things to write about, especially during this time of year, when here in Michigan, it teases Spring, but then turns back to brown, wet and cold.  This time of year, I start to think about Spring, and perhaps the most plentiful subject; Spring flowers.  But I have “been there done that” in this blog a few times.  I haven’t shot Spring flowers for a number of years, as this opening image demonstrates (as far back as 2009).  So, since I can only go back to former years’ material, and re-post, it is time to hang it up.  But before I do, and since I have started this one, here are a few more.

Oh, and by the way, happy Easter.  This is the day that celebrates the rising of Christ …. And the re-birth, or new beginning of so many things.  And Spring and new growth could not be more fitting for the occasion.

Daffodil
Sony RX100iv
Copyright Andy Richards 2015

O.k., maybe I was wrong.  This one is the same plant, 6 years later, taken with my super-compact Sony RX100iv.

Daffodil Close Up – ColorEfex
Copyright Andy Richards 2015

This one is the same shot, but after I did the “painterly” thing in Google/NIK’s ColorEfex.  It may be the best rendition of this image.

Tulips
Copyright Andy Richards 1996

I have also shot a lot of tulips over the years in Spring.  They bloom shortly after, and often contemporaneously with the Daffodils.  One of the best parts of these flower subjects is that they are often found in our own yards.  That means they are predictable most years, and that they allow us to keep coming back to them in different light conditions.  This image, shot with transparency film, is my favorite ever tulip image.

Tulips
Copyright Andy Richards 1997

Tulips come in all sizes and shapes.  This one was made-again – with transparency film- using flash to make the background go to black.

Tulip Closeup
Copyright Andy Richards 1997

I spent a lot of time (and film) on flowers back in the film days.  The closeup is another transparency.

Oh, and that thing about my last post?  JUST KIDDING!  APRIL FOOLS! 🙂

Spring also has also gotten my “juices flowing” to get out in the field, and over the years I have found some wildflowers. Michigan’s official state wildflower is the White Trillium.  I have most often found them along the Eastern shore of Lake Michigan.  This one was shot on an overcast day with transparency film using a gold reflector to add some warm fill light.

White Trillium
copyright Andy Richards 1999

Mature White Trillium
Copyright Andy Richards 1999

As the White Trillium matures and gets ready to die, it turns purple.  I rather like the mature coloration.

Pink Lady’s Slipper Orchid
Copyright Andy Richards 1999

Northern Michigan is also known for a wild Orchid known as a “Lady’s Slipper.”  They come in pink and in yellow (which, in my experience, is much more rare).  I am also aware that there is a spotted (or painted) version and a white version.  I have not had the fortune to find these.  I know the painted variety exists in Michigan.

Yellow Lady’s Slipper Orchid
Copyright Andy Richards 1999

We are probably a month or less away from Spring blooms here in Michigan.  But this nostalgic trip into my archives has already started to generate some excitement for some Spring shooting.  Flowers, waterfalls, and other things coming back to life will likely yield some new “fodder.”  I need to get my equipment dusted off and ready.

Oh, and that thing about my last post?  JUST KIDDING.  How often do you get to post on your regular posting day (usually Sundays),  celebrate Easter, and say APRIL FOOLS!  In the words of Arnold Schwartzenegger:  “I’ll be baaaaaaack.” Happy Easter and happy Spring!

More B&W Images

Nightime Canal
Venice, Italy
Copyright Andy Richards 2018

Since last week, I have acquired ON1’s newest offering:  ON1 Photo RAW 2018.  A version or two back, the ON1 folks moved from their “Suite” Of layers and effects, to a raw converter suite, which competes with Lightroom, Photoshop, Capture One, and the like.  The “develop” module in ON1 Photo Raw allows for essentially the same basic raw adjustments as Lightroom and Photoshop’s ACR (Adobe Camera Raw), as far as I can see (Capture One offered me its suite a couple years back at no cost as some kind of deal they have with Sony for Sony camera users – while I have played a little with it, I was too lazy to try to learn a new interface at the time, but I suspect the raw conversion there also has a lot in common with these other programs).

Nighttime Canal
Venice, Italy (“toned”
Copyright Andy Richards 2018

For the Moment, one thing ON1 offers, is the ability to purchase and own standalone software, where Adobe has essentially now moved entirely the cloud-based model.  There were a lot of us in the beginning that were very wary of the online model.  Some of us still have some misgivings, though I will say I have been using Photoshop CC for a couple years now and really haven’t found a problem with it – yet.  I do like the periodic upgrades they push through from time to time, and I find that it generally works pretty smoothly, even with my low RAM Microsoft Surface, when I am not able to work on my desktop PC.  ON1 is seeming to bring the best of both worlds to entice Adobe users.  It intelligently loads (if selected) as a plug-in to both Lightroom and Photoshop, and the process of moving between the software is “relatively” seamless.  I say relatively, because some of the layer-based files can be tricky and it takes a bit of a learning curve to understand what is going on (a curve, I will readily confess, I am at the very low left end of 🙂 ).  The other thing that intrigues me is the ON1 browser/cataloging capability.  I have used LR for cataloging only for the most part.  I may look at migrating that function to the ON1 software.  But that is another topic for another time.  I wanted to play with the ON1 software, primarily for B&W images, but I can see that I will be working some with other aspects of my color images in the software.  But for now, the images here were made using some of their templates, and one with my own conversion.

The ON1 Software presents a learning curve for me; one I confess I am on the low end of

The Venice Canal is the canal where we stayed for our 5 days in Venice in September, 2017.  My buddy and traveling companion, Paul, saw the color version of this image and thought he might like a B&W Print.  So I thought I would play with it, using a couple of the “templates” that are built into ON1’s Black and White conversion process.  I used their masking process to “paint” in some texture and detail in a couple areas and to paint areas lighter and darker.  Otherwise, they are just two different templates.  The second image adds a little “warming” color, which still retaining the monochrome overall image.  I am not sure which one I like, though I tend to lean toward the more dramatic and stark B&W in all these images.

Navy Ships
Fisherman’s Wharf; San Francisco, CA
Copyright Andy Richards 2018

One of my goals in the Navy Ship image was to work a bit with the color channels to see how they affect the image look.  Most of the color version here is pretty much a neutral or slightly darker gray.  But there were a couple of red objects, and on part of the ship on the bow that was bright green.  I fiddled with the sliders a bit to brighten those colors for some contrast to the otherwise gray.  I also darkened the water a bit.  This pre-set template I used here is called “Paparazzi” and it reminded me of some of the B&W images I made back when shooting for our college newspaper many years ago.

Navy Ships; Fisherman’s Wharf
San Francisco, CA
Copyright Andy Richards 2018

The second version is one I actually made first, using NIK Silver Efx in Photoshop.  In this case, I really preferred the ON1 version above.  I suspect that with enough knowledge, I could achieve essentially similar results in either program.  But I am warming to the ON1 software and process as I continue to use it.

Barns; Glen Haven, Michigan
Copyright Andy Richards 2018

The “D.H. Day Barn,” in Glen Haven, Michigan is just off the coast of Lake Michigan.  I spent a couple hours here one autumn afternoon, intending to photograph the barns in front of a wash of fall color.  The color was nice, but not spectacular.  But there was a lot of color in the foliage to the right side of the image.  I also like the repetition of these barns which get physically small, and recede in the distance as well.  This is one of the few images I have made in the past couple years that I thought would render well as a B&W image someday.

D.H. Day Barn
Sleeping Bear National Lakeshore; Glen Haven, MI
Copyright 2014 Andy Richards

I worked this image in ON1, using the “develop” and then “effects” modules from a raw image.  After adjustments to contrast mainly (I used the “dynamic contrast” filter), I converted this to B&W.  The ON1 effects module uses layers (much like the adjustment layers process in Photoshop CC) to add these “filters.”  Each layer has a lot of individual adjustment capability within it, and there is a great masking brush set of tools to achieve local adjustments (I am being repetitive, here, but I am just beginning to understand the potential of this software and trying to compare and contrast how it matches up to Photoshop.  But I see myself using both softwares for the future).  I wanted to do my own conversion here, rather than using a pre-set template.

My goals were to bring out the color contrasts in the sunlit area; build a little drama in the sky, preserve and highlight the white barns, contrasting against the black roofs, and enhance the texture and brightness of the grasses in the foreground.  I feel like I succeeded in all but the last, in the ON1 program.  I am sure I could have accomplished that too, with a little added knowledge and experience in the ON1 program.  But I have to catch a plane in a couple hours to head back to the frozen tundra of Michigan :-).  So I got a little lazy, and to the image back into Photoshop and my trusty NIK suite, adding some brightness and structure to the grass. I am new at this.  Be gentle 🙂 .  But I was pretty pleased with the result.  Lots to learn and looking forward to more experimentation with this stuff.  As always, thanks for reading.

What’s Next?

Venice Rooftops
Copyright Andy Richards 2018

In keeping with my latest theme, “playing,” I am still trying some new things.  I have been a student all my life.  I like to learn.  I don’t necessarily like to test though 🙂 .  In my “day job,” I have always felt that one of its positives was that it required me to be a lifetime student.  There are always good, new things to learn.  Indeed, if you aren’t actively learning, you are probably moving the wrong direction; backward.

So lately, I have ramped up the “learning” process in my photography.  And one of the areas that has always frankly intimidated me is black and white.  It may be because it is graphic and highlights the shortcomings of my craft.  It often lays the important elements of exposure and compositional interest bare.  And perhaps because it is relatively uncharted territory for me.

If you aren’t actively learning, you are probably moving the wrong direction; backward

I shot a fair amount of B&W in college, out of necessity.  I was on the college newspaper staff.  It was printed in B&W and we had a B&W darkroom.  I learned just a few things.  I have, of course, forgotten most of them 🙂 .  But that was mostly reportage.  the subjects were usually people and events and it was rarely a matter of “art.”  So when I look at some of my landscape and art-based images and think about them in black and white, I realize how little I know of the craft and how much I have to learn.  Some years back, I read Ansel Adams books on the Negative and the Print.  I really need to revisit them (but they are currently packed away in a box somewhere, awaiting my someday final move to Florida).  I am currently reading Michael Freeman’s “Black and White Photography,” but have a ways to go into the book before I venture into to much post-processing work.

B&W is uncharted territory for me

Meanwhile, I continue to experiment.  The opener here is an image that by now should be familiar, with a layering technique I have read about as a method to “colorize” a single element of a B&W image.  A bit sophomoric perhaps, by my beginning into experimentation with B&W.

Barn in B&W
Copyright Andy Richards 2018

I have been spending some time pouring through my image library for shots the might “work” in B&W.  One of the things I have learned from the Freeman book is that there may be some images in my library that don’t really make it as color images, but that actually might work better in B&W.  The barn image, in my view, might be one of them.  This image is a composite from the pencil drawing below (from Painter Essentials), layered with the original image, converted to B&W in NIK Silver EFEX Pro.  I want to add some gritty-ness to the image and the layer seemed to do it for me.

Barn; Pencil Drawing
Copyright Andy Richards 2018

More to come. 🙂

More Santorini


There were, of course, many shots other than the blue-domed churches.  As the view from our cruise ship shows, the Island of Santorini (which is composed of 3 villages) is entirely build along the top of the volcanic rock (the Caldera) which comprises the island.  Santorini is part of the Cyclades Islands, and is approximately half-way between Athens on the mainland and the Isle of Crete

Santorini, Greece
Copyright Andy Richards 2017

In years past, the only way to the villages from the harbor was on foot, or by donkey up the steep, winding path shown to the left of the photo.  Pathways in the Village of Oia likewise show the steep foot paths down to the Agean Sea. The Greek Isles are full of white stucco buildings with very colorful accents, and often colorful flowers in addition.

Santorini, Greece
Copyright Andy Richards 2017

The pathway up into Oia from the back side had traditional Greek windmills, and shops and homes that are very colorful and picturesque.  I am continually amazed at the Mediterranean methods of building shops and dwellings into the steep cliff faces.

Santorini, Greece
Copyright Andy Richards 2017

Santorini, Greece
Copyright Andy Richards 2017

Like the other Greek Islands, the inhabitants of the Island like splashes of color and particularly, colorful, blooming flowers.

Santorini, Greece
Copyright Andy Richards 2017

George took us to a spot that he believes is not well known to many tourists, but provides yet another sweeping view of the island.

Santorini, Greece
Copyright Andy Richards 2017

He also opined that, although the blue-domed church images are sought-after and iconic, he believes this image is the next “famous” Santorini shot.

Santorini, Greece
Copyright Andy Richards 2017

After seeing many gorgeous sights in Santorini, George took us to a local restaurant of the proverbial beaten path, and far from the tourist areas.  It was a beautiful, quiet, oceanfront restaurant with outstanding food and local wine.  Over the years, we have had a number of very good guides.  Indeed we have have an overwhelmingly positive experience with our guides.  But George will be one of the more memorable ones we have had, with a lively personality and a great enthusiasm for Santorini.  His quirky sense of humor can pretty easily be seen here.  I want one of these t-shirts 🙂

Santorini, Greece
Copyright Andy Richards 2017

 

Here We Go Again (It’s Fall!)

Second Edition!

Here we go again.  It’s fall foliage photography season.  Are you ready?

Reflections; Cascade River, Minnesota

Over the nearly 10 years since I started blogging here, I must have blogged about fall color and foliage a dozen times.  Maybe More. Not surprisingly, it remains a favorite subject for me.  For some who are fortunate enough to have great foliage photo-ops in their backyard, what I will say here may not apply. But for perhaps the vast majority of us, these opportunities often come only after travel to a more aesthetically accommodating venue.

Somesville Town Hall and Bridge
Somesville, Maine
Copyright Andy Richards 2009

I have traveled to New England (prominently: Vermont), the Upper Peninsula of Michigan, Maine, Minnesota, West Virginia, Virginia and New Mexico, in various years, to photograph fall color. Vermont has long been a love of mine, and I have made numerous trips there; enough to prompt me to take my first foray into “publishing” with the first edition of “Photographing Vermont’s Fall Foliage” in 2012.

As the previous blog notes, I am very happy to announce the 2nd Edition of this book, with updates and substantial additional locations (the first edition is no longer available, as the sellers required that it be removed from circulation in order to sell subsequent editions). The New Edition is currently available on Amazon, Apple, in the iBookstore, and Kobo.

Maple Leaf
Stowe, Vermont
Copyright Andy Richards 2005

Many of the persons I communicate with at this time of the year are primarily leaf peepers with cameras. For those folks, go and enjoy! For serious photographers, I want to make a few observations, based on my own travel experience.

Miner’s Castle; Pictured Rocks National Lakeshore
Michigan U.P.
Copyright 2012 Andy Richards

Preparation is Key

Mental preparation is the most important piece of this. Just because it is fall foliage season, doesn’t mean the rules for good photography change :-). It is important to be thoroughly familiar with the gear you will be using, as the “window” for a great image is often very short, and you may only have one chance to visit the location. In 2010, prior to my planned week-long trip to Vermont, I hit a milestone of sorts, in my own photography.  I had always planned my locations and tried to find as much “intel” about a location as I could.  But this time, I focused less on those details, and instead gave some contemplative thought to what I wanted to present visually, emotionally, and artistically.  I think this contributed to one of my most successful trips.

Hiawatha NF Color Sections
Michigan U.P.
Copyright 2012 Andy Richards

What you can take on a trip is also always a consideration. When I shoot near home, or somewhere I can drive to, the photographic gear I will take is generally only limited by what I own (and can afford).  When flying, you really have to consider weight, and bulk. Most of us do not feel comfortable checking a bag with photo gear in it for a number of reasons. So what can you carry on, along with your other needs?  One of the miracles of modern technology is the ability to make great images with a lighter, simpler gearset.  For “casual” travel (I define that as any travel I do that is not specifically and solely dedicated to photography), I now carry a very small, packable carbon fiber tripod and the RXSony 100 iv (a point & shoot sized camera, with some professional credentials).  Even when I go on a dedicated photo shoot, the camera, lenses and tripod are much small and lighter than in the past.

Glade Creek Gristmill
Babcock State Park, WV
Copyright 2011 Andy Richards

A better question might be “what lens will you use?”

Photographic gear is a subject that is often over-thought, in my opinion.  Cameras, lenses, filters, and accessories are — for sure — tools that are necessary to the making of an image.  And there is no doubt that higher quality tools can render a technically better result.  If that is what you seek.  I have already read, several times recently, the question:  “what is the best lens for foliage photography?”  I don’t think there is a “correct” answer to that question.  A better question might be “what lens will you use?”

Tahquamenon Falls
Michigan Upper Peninsula
Copyright 2004 Andy Richards

However, that there are other considerations that will have a more direct bearing on the successful image.  Understanding light, and composition will have much more effect on imagery, in my view, than any other factor.  This assumes, of course, that you already have a solid grounding on exposure principles, how to focus the camera, and considerations of aperture and depth of field.  This relates directly back to the first point:  preparation.  If you do not come to your subject in the best light, it will be difficult to make a really great image.  More often than not, this means early and late (or–think:  during breakfast and supper :-)).  Much of my more recent travel has centered around other activities, such as family time, tours, etc.  While I do make images, it is often apparent that they were not take in the “best” light, and I frequently lament that it would be nice to be at a location either very early or in the late afternoon/early evening.  If your trip is photography-focused, you will need to be mentally prepared to be on site at times that may be inconvenient to others you travel with.  When I have made my fall foliage trips, the majority of them have either been alone, or with other, equally serious, photographers.

Santa Fe Ski Basin
Santa Fe, NM
Copyright 2008 Andy Richards

Don’t forget the “other” gear you may need.  Most fall foliage locations have the potential for very warm weather, rain, and even freezing temperatures (especially at sunrise).  Hat, gloves, sunscreen, and adaptable clothing is important.

Fall Color Reflection
Copyright 2012 Andy Richards

Most important of all, though is to have fun and enjoy the process as much as the result!  Best to all of out out there and good shooting!

Burton Hill Road
Barton, Vermont
Copyright 2010 Andy Richards