Trips and Expeditions

2

Biking and Rafting Alaska’s Lost Coast

Photo by Eric Parsons

Probably like no other place on earth, Alaska is the land of “Make up your own adventure, and then go beat the crap out yourself trying it out.”

The combined nature of the landscape, the weather and the sheer magnitude of this region offers up an endless variety of unique possibilities for exploration. Although I feel that I’ve done some pretty cool stuff up here, I would consider myself an infant Alaska adventurer. Especially when compared to some of the folks I know up here.

This past month, my good friend Eric Parsons, founder of Revelate Designs, along with four other incredibly adventurous souls, completed a trip of epic proportions. They spent 11 days biking and packrafting down the southern portion of “The Lost Coast,” from Yakutat to Gustavus.

While moments of the trip did involve smooth beach riding on fat tire bikes just to the right of the St. Elias Range mountains, it also involved lugging the fully loaded bikes over and around immense boulderfields and glacial moraines, through stretches of frustratingly thick forests, paddling with them around tidewater glaciers and across stretches of open sea, and of course, dodging brown bears.

The other four men who, along with Eric, are plainly and completely at fault for this activity of sheer madness are the following: Legendary Alaskan adventurer Roman Dial, expedition bike wonderkind Dylan Kentch, who just spent two years riding his bike from Seattle to Patagonia, and two Coloradoans, veteran winter Alaska biker, Mike Curiac and Steve Fassbinder.

Photo by Mike Curiac

Here are three separate accounts and many incredible photos of the trip. They are all worth reading, if for nothing else, to remind you that you only live once, and that you should undertake the most amazing adventures you can dream up. These five guys did just that and, now their lives will never be the same.

They also reaffirm that, by far, the most important ingredient in great adventure photography is the adventure itself. I can only hope to place my tiny feet in their giant footsteps as I continue to explore and adventure throughout Alaska during the coming years. Enjoy!

Photo by Roman Dial
July 1, 2011
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Biking and Rafting Alaska’s Lost Coast

eBooks, Reviews and Recommendations

0

Brand New ebook: A Deeper Frame by David duChemin

A Deeper Frame, by David duChemin, published by Craft and Vision

I have to hand it to David duChemin. The guy nearly fell to his death in Italy a few months ago, and what does he do? He takes the experience and runs with it.

I’m not saying that he’s using his own near death experience as some kind of marketing ploy. Quite the contrary; he’s using it as some kind of life ploy.

I can’t even begin to imagine what goes on inside your head when you’re lying for weeks in a hospital bed with feet broken into more pieces than a dropped wine bottle. However, I can imagine that it makes you long to recover so that you can delve even more deeply into life when you’re able to walk again.

With that in mind, it’s therefore fitting, and probably not coincidental that his brand new eBook is called A Deeper Frame: Creating Deeper Photographs & More Engaging Experiences.

Although photography is inherently a two-dimensional medium, because of it’s exacting visual representation, we’re often disappointed when our pictures fail to translate the three-dimensionality that we see with our eyes. There are ways to get around this barrier, and this is essentially what A Deeper Frame is all about.

Using such concepts as color, perspective, camera optics, stunning illustrations, and even your own experiences, David lays out how to bring that depth back into your imagery so that you can draw your viewers in and engage them with the subjects that so engaged you. He wants you to make imagery that doesn’t just get looked at, but felt, seen and heard, just as you remember.

Some of the techniques that David presents are really just the techniques that the master painters used to solve these problems centuries ago. Again, it’s probably no coincidence that the place where David had his accident is the same place the many of these master painters practice their craft.

If you’ve read David’s eBooks before, then you know that he’s not just a brilliant visionary photographer, he’s a great writer as well. He’s even better now. I don’t imagine it’s because he had so much more time to edit it while lying in bed, though. I’ll bet that it’s got something to do with the quality of time that he’s had to reflect on more than just photography and what words to cut or change.

One of my favorite passages in this book comes right near the end, when he says:

Don’t look for depth, look for the things that move us. Don’t settle for the moment in between moments when there’s a more captivating one around the corner. Don’t settle for mediocre light when the storms are rolling in and waiting 30 more minutes will give you drama that makes the scene more much engaging. Is it hard? Of course it is. We can make all kinds of excuses for why we couldn’t wait longer, couldn’t get ex- actly the right camera angle, or missed the moment. But no one is moved by our excuses. No one sees the ones we missed.

For those of you who read David’s Pixelated Image Blog, or who tuned into David’s #duchemin0627 chat on Twitter yesterday, you know how enthusiastically open he is to interact with his readers and fellow photographers. He’s definitely the read deal. I’ve never met the guy, but in my mind, he seems like someone who can influence us all, and not just in the ways in which we make photographs.

Whatever caused David to survive his fall, it probably has something to do with the fact that he’s still got a whole lot more to say. A Deeper Frame is only the beginning, I’m sure. After already devouring this one, I can’t wait to see what’s next.

Speedy recovery, David!

As with all the Craft and Vision titles, get A Deeper Frame: Creating Deeper Photographs & More Engaging Experiences for only $5.

Or use the following discount codes, good until July 2 at 11:59 EST:

DEEP4 gets you the PDF version for only $4

DEEP20 gets you 20% off 5 or more books from the Craft and Vision collection

DEEPER12 gets you 12 Craft and Vision eBooks for only $40. That’s 34% off, or essentially 4 books for free.

June 28, 2011
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Brand New ebook: A Deeper Frame by David duChemin

Press, Interviews and Info

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Feature Article About Me on The PocketWizard Blog

Check it out- PocketWizard has just posted a feature interview and profile about me on their blog.

As a longtime user of PocketWizards, which in my opinion, are the best and most versatile radio trigger systems for remote cameras and flashes, I’m honored to have my imagery associated with the company. They often feature some of the best and most innovative photographers in the world on their blog, guys like Dave Black and Joe McNally.

Many thanks to writer and fellow Berklee guitarist Ron Egatz for such an engaging conversation and, of course, for crafting an exceptionally fine blog post about my imagery and photographic style.

Read the article here.

June 27, 2011
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Feature Article About Me on The PocketWizard Blog

Personal and Pro Insight, Publications

5

Recent Publication: Patagonia Spring 2012 Dealer Workbook

Here’s another recent publication from a long time client, Patagonia. This image is currently running in their Spring 2012 Dealer Workbook.

I shot the photo a number of years ago during a weekend traverse in Rocky Mountain National Park, Colorado. Remember what I said the other day about in my Getty post about the lifespan of stock photos? This shot is way more than three years old, in fact Patagonia reproduced this ad from a 35mm slide.

That’s right, a piece of celluloid film that ran through the camera and reacted chemically to the actual light that was present at the scene, before being processed and stuck in a cardboard mount, and then shipped to Ventura, California, where it was personally handled by the editors at Patagonia. There was a sense of original reality to film that you just don’t get with digital anymore.

That doesn’t meant that I don’t love my digital camera, and in fact, compared a photo from a modern DSLR, this frame of Velvia doesn’t have near the dynamic range of a 14-bit RAW file. Sometimes it’s just fun to look back with a certain fondness and reflect on the way that things once were.

I believe there’s a term for that. It’s called “History.”

June 23, 2011
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Recent Publication: Patagonia Spring 2012 Dealer Workbook

Featured Images

1

Forest Trail, Southeast Alaska


Trail through the forest, near Skagway, Southeast Alaska

Here’s a photo that I shot on the Laughton Glacier during my trip down to Skagway last week. This relatively short outing was a great opportunity for me to test out the new Manfrotto 732CY Carbon Fiber Tripod, which I’m quickly learning to love. The thing is light enough that I just carried it by hand during the entire hike, and in fact pretty much during most of my three day assignment down there.

When I don’t feel like holding it, I simply drop one of the tripod legs down in between my backpack shoulder strap and my body where it sits like some kind of a scabbard. I’ve used that method with my ice axe quite often when I don’t want to carry it, but don’t feel like strapping it to my pack.

The 732CY is light enough that this method works pretty well. However, sometimes the backpack strap can get wedged a little to tightly in the joint of the tripod leg and it takes a bit of fiddling to get it out. Maybe there’s a way to prevent this from happening.

Anyway, I’m finding this tripod plenty sturdy for most uses, especially with smaller lenses, like the 24mm. I’m also really psyched on the Giottos MH1302 Quick Release Ball Head that I stuck on the 732. As I mentioned in my initial review, the thing just feels really solid and it adjusts very smoothly with it’s triple friction knobs. And the knob on the QR plate makes a very nice handle for carrying the tripod down at your side.

Although I like the first shot above, I think I like this cropped horizontal version even better. It just seems to have a better sense of balance. What do you think? So, did I shoot a real horizontal when I was out there? Um… no. Why not? Sorry, couldn’t tell you, maybe I was in a hurry to get out to the glacier. Should I have? Yep, but sometimes you just forget that stuff when you’re out there in the field, even when you’ve been at for as long as I have.

The Manfrotto 732CY in action!
June 22, 2011
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Forest Trail, Southeast Alaska

Personal and Pro Insight

5

Will I Sign With Getty Images? Should You?

If you’ve been a stock photographer for any length of time, there’s a good chance that one or more of your agencies has been bought out by Getty Images and you’ve received the following notice:

Welcome to Getty Images!

Actually, for being involved in the stock photo industry for eighteen years, I’m honestly surprised that it took them so long to find me. I’ve survived acquisitions by Index Stock, Veer, Photolibrary and Corbis, but it wasn’t until Getty bought Photolibrary last month that I finally ended up with The Big G. I’m not sure if I should feel honored or if I should feel like some kind of frightened, endangered animal who’s finally been snared by the trap.

And so, like so many of you, I now join a large family of confused photographers who continually wonder if they should jump ship and escape from the clutches of Getty Images, or if they should sign (or stay) with the company and hope for the best. Its no surprise that most photographers, and the entire industry as a whole for that matter, have a love-hate relationship with Getty.

The Love

Getty sells a lot of stock photos. Having bought up nearly every agency that Corbis didn’t get first, they’re the biggest agency around. Remember Tony Stone, The Image Bank and Comstock? All Getty brands now. Allsport and Jupiter Images? Yep. Getty. The company has enormous marketing power and a vast catalog of content. And with the subscription deals that they keep writing with companies like Time Warner and Flickr, they make it even easier for clients to license their images.

The truth is that Getty actually make decent money for their more prolific rights managed photographers. Through their RF microstock channels like iStockphoto, they make money for some of the smaller time shooters as well. One of my former editors has always encouraged me to try to get in with Getty, simply because in her opinion, they make the most money for photographers who shoot stock.

I always resisted, because of…

The Hate

It’s no secret that the mere mention of the word Getty brings a foul taste to the mouth of many a photographer. Why? Because in many people’s minds, their drive to make as much money and profit as possible is devaluating and destroying the photographic landscape as we know it.

In their quest to sell the most photos, the company routinely licenses images at prices that are well below market value. For example, two years ago, they licensed an iStockphoto image to Time Magazine for cover use for a mere $30. When I pull that kind of usage up in FotoQuote, (cover, consumer mag, 1-3 mil circ.) I see a figure of $1,926.

Why on earth would a company with that kind of market power lowball prices so badly? Honestly, I’m not sure. I have my speculations. Most likely it’s because the company seeks the biggest market share in the entire industry and their method of doing this revolvers around sheer volume. Hmmm… sounds a bit like Wal Mart, don’t you think?

It’s no wonder that these practices, along with the agency’s latest contributor contract terms has ASMP advising “Getty contributors to quit the agency and find other ways to distribute their stock photographs.”

The Reality

Much like the now gone dot.com boom of the 90’s, we’re never going to return to the so called Golden Days of Stock Photography. Sorry. Not gonna happen. It’s simple economics. The industry has changed. The market is saturated with images and internet e-commerce makes it possible for anyone to sell stock photos.

Also, every agency has extensive distribution deals with as many channels as possible in order to maximize exposure. What this means is that once you place images with an agency, they can potentially be licensed by just about every other agency. Some of my Corbis Images show up as Veer images on Getty. My Veer images show up on Corbis, Photolibrary and Getty and my Alaksa Stock, Photolibrary and Corbis images all show up on Alamy.

So, in the end, does it really matter who you’re with? In some sense it does, because that’s who’s contract you end up signing. Getty’s contract is certainly not ideal, especially their new terms that state that they can freely move images that haven’t licensed images for three years into RF and microstock.

I don’t know about you, but I see sales all the time from older images. That’s how stock photography works, especially if you take care to shoot images that don’t look dated too quickly. So, that particular term could definitely be considered a deal-breaker for many.

Should You Bail?

Ah, the tough question, indeed. If you’re a Photolibrary contributor, should you sign the Getty contract and join the family, or should you bail? Or maybe you’re a fed up Getty photographer. Should you stay? Am I going to sign the Getty contract or just let my Photolibrary contract run out and eventually drop from the rolls?

I’m not sure yet, but let’s look at the reality of both options.

What happens if you bail? Suppose you have a few thousand images with Photolibrary, or with Getty. Terminating means that they fall out of the channel. How long would it take you to get them resubmitted to another agency, and how many of them would actually get taken by another agency? Maybe 10-20%. 30% if you’re lucky. Certainly no more than 50%. That’s a large number of potentially sellable images that are out of the marketplace

Of course, you could take them all and set up your own searchable stock website. This takes time and effort, but it’s possible and at least something to consider, depending on what you shoot, how you market and what kind of website model you plan to set up.

What happens if you sign or stay? You get (or retain) access to Getty’s enormous marketing arm and have the potential to make some more money off of those images. Of course, how much you stand to make, if any, is subject to compete speculation at this point. It’s safe to say that you’ll probably make at least some money, certainly more than you would if you didn’t sign.

That said, will you be able to stand seeing some very small commission rates on your statements? Will you be able to stand the pain of seeing your imagery devaluated to the level of mircostock subscription photography? What if you make a few hundred or a few thousand dollars per quarter, but most of the sales are less than ten dollars? Less than one dollar?

My Decision

I haven’t made it yet. However, in addition to the many factors above, two things have me leaning towards signing. The first is sheer curiosity. Like I said, I’ve been involved in stock photography for almost twenty years and after all that time, I finally got scooped up by Getty. Out of sheer professional interest and experience, I’m curious to at least see what they’re like from a contributor standpoint. After all this time, it would almost be a shame not to, right?

Also, it means that I’ll finally have in inside perspective from which to write about. It means that I can better educate you with firsthand knowledge when I write about the stock photo industry here on my blog and on The Photoletariat. That’s worth something to me, hopefully I can make it worth your while as well, and in the meantime, spare you any possible agony. It will be like me taking one for the team.

The second reason that I may go ahead and sign is based on what I said above. I have over a thousand images with Photolibrary and I don’t it would be in my best interested to just pull them all out of the channel. I could sign, give it some time and see how those do before sending them any more submissions, if ever.

And hopefully in the meantime, one of three things will happen; hopefully all of them. One, ASMP’s continuous efforts will influence Getty to write a better contract. Two, with the economy in revival, the overall valuation of stock imagery will start to climb out of the gutter. Three, through websites, blogs, SEO efforts, and photo sharing sites, photo buyers will continue to seek out high quality imagery direct from photographers instead of from agencies that they feel don’t often feel offer the best selection, which means that we won’t have to rely on companies like Getty in the future.

One and two? Not holding my breath. Three. It’s already happening.

As always, I’d love to hear your comments on this issue.

June 21, 2011
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Will I Sign With Getty Images? Should You?

Camera Gear, Reviews and Recommendations

2

Tripod Review: Manfrotto 732CY with Giottos MH 1302 Head

If you read my 3 Ultra Lightweight Tripods post a few weeks ago, you know that I’ve been looking for a new backpacking tripod ever since I broke my Velbon MAX-i 343E.

It wasn’t the sturdiest tripod around, but it had a following among a number of nature and outdoor shooters and was small enough to fit on the bike in my Revelate Designs Tangle Bag.

I decided to take this opportunity to get something that wasn’t so… um… cheap, and after looking around and considering my needs and my budget, I picked up the Manfrotto 732CY Carbon Fiber Tripod and a Giottos MH 1302-665 Ball Head.

Manfrotto 7322CY M-Y

I like the Manfrotto 7322CY  because it’s a great compromise between weight and price. The latest version comes with a Manfrotto ballhead, it weights about three pounds, and it has a street price of around $219. That’s well under half of what a comparable Gitzo costs, like the GT0531 Mountaineer, which runs about $469. In my case, price won out.

With three leg sections and the center column, it will extend to about five feet. The legs can also extend with the flip lock buttons (see photo above) for shooting low to the ground.

It’s not quite a sturdy as some of the Gitzo models, but it will handle most normal and medium size cameras/lens combinations just fine, especially if you’re not running the legs too far out. Those small legs are pretty thin when fully extended, but how often are you shooting landscapes when the legs fully extended anyway? Like I said, for the price and weight, it does a pretty darn good job.

Giottos MH-1302 Ball Head

For the head, I considered the Manfrotto 494 Medium Ball Head, but ultimately went with the Giottos MH 1302-665 Ball Head. (Street price, just over $100.)

I’m a big fan of the Giottos heads. They’re nicely machined and just feel really sturdy in your hands. And even though I usually like the simplicity of the single ball head, I love the precise, rock solid adjustments of the triple knob design that the Giottos use. It just feels more professional.

I got the MH 1302-665 model, which has the Arca-compatible quick release plate and a bubble level. Giottos also make the MH 1302-210C, which is basically the ball head without the quick release plate. It’s certainly lighter, more compact and would work fine for some of the lighter DSLR cameras. I just felt that the QR plate would hold some of my heavier camera and wide angle lens combos. (D700 and 14mm f/2.8.)

Also, I like the QR option, because I see myself getting Giottos heads for my other larger tripod as well. The plate itself is pretty low profile, and in fact, its been on my main camera for a few weeks know and I almost don’t even notice it’s there.

I see this as great tripod/head combination for a wide variety of nature, outdoor and travel photography. It’s light, it’s relatively sturdy and it didn’t set me back the better part of a grand. I’ve already used this new setup a few times, but I look forward to taking it up into the high country this summer. I’ll post a more complete review later after I beat it up on a few photo trips.

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June 13, 2011
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Tripod Review: Manfrotto 732CY with Giottos MH 1302 Head

Camera Gear, Reviews and Recommendations

2

Quick Look: The Nikon AF-S Nikkor 50mm f/1.8G Lens

Attention Normal Lens fans, the new Nikon AF-S 50mm f/1.8G lenses are now here!

Billed as a more affordable alternative to the Nikon AF-S 50mm f/1.4G lens, the new f/1.8 version is a major upgrade from the older Nikon 50mm f/1.8 D lens.

Of course, the main addition to this lens is the Silent Wave Motor autofocus system, which allows for incredibly fast and precise focusing, even when tracking moving subjects.

The Nikon AF-S 50mm f/1.8G offers everything you’d expect from a professional quality normal lens. With a maximum aperture of f/1.8, it’s fast enough for just about any application. In fact, it’s a great all around, everyday lens for all kinds of photography, whether you’re shooting indoors, outdoors, people, travel or still life or nature.

It’s an especially excellent choice when shooting portraits or other shallow depth of field imagery because it produces a wonderfully soft, bokeh effect or background blur. And with aspherical lens elements, its designed to reduce flare and reproduce your subjects with incredible contrast and color accuracy, which will really make them pop against that soft background.

How it compares to Nikon’s other 50mm lenses

If you’ve read any of my other reviews, you know that I’m a fast lens guy. I always preach that you should get the fastest lens you can reasonably afford. After all, I’m the guy who routinely carries my 3 lb. 80-200mm f2.8ED lens into the backcountry. However, in this case, I see no reason why you wouldn’t choose the new AF-S 50mm f/1.8G lens over the older 50mm AF-S /1.4 model.

Sure, it’s lighter, although not by much; we’re talking 6.6 oz vs. 9.9 oz. What’s that, the weight of another Clif Bar? The big difference is price. The new f/1.8 version comes in at $219 vs. $479 for the f/1.4 model. That’s huge. Normally, I’d say go faster, but at that focal length, f/1.8 is plenty fast for just about everything you’re going to shoot.

In my mind, spending $260 more for that extra 2/3 stop just isn’t worth it. If you need the extra speed, crank up your ISO a bit and save the rest for a plane ticket to Alaska.

Compared to the older model 50mm f/1.8D lens, which is the lens I currently use, this new Nikon AF-S 50mm f/1.8G rocks. If I were buying one today, I’d get the new one. Why? The AF-S focusing and improved glass more than make up for the modest $80 price difference. Unless you’re really strapped for cash, I see no reason to go with the older model.

Right now, these lenses are in stock in limited quantities, so if you’re in the market for a 50mm lens, you should probably snatch one of these things right now. With earthquake-related camera production cut way back lately, there’s no indication as to when the next batch will arrive. Remember how long it took for that second batch of Nikon D700’s to show up in the stores?

And if you get it here, you’ll be helping to support my growing collection of bicycles, backpacks, and bush plane trips into the backcountry, all of which help me continue to bring you all this great content! It doesn’t cost you anything. In fact, just think of it as a big “like” button for this blog.

Finally, if you’re still on the fence about whether you really need a 50mm lens in your camera bag, read my post about why I think they’re great.

June 10, 2011
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Quick Look: The Nikon AF-S Nikkor 50mm f/1.8G Lens

eBooks, Reviews and Recommendations

1

(micro)Stock: From Passion to Paycheck- New eBook by Nicole S. Young

Craft and Vision has just released their latest eBook- (micro)STOCK: From Passion to Paycheck, by Nicole S. Young.

I’ll be up front here, I wasn’t going to review this one. As someone who focuses on licensing Rights Managed imagery and preaches about the value of original content, I’m not a big fan of the whole Microstock business. I think it’s a shortsighted model that’s done a tremendous amount of damage to the industry.

I know that some of you will argue with me about this, and I’ll even accept that you’d have some valid points. However, that’s for another post. The truth is that people ARE making money with microstock and this eBook actually does a good job at showing you how.

When I took the time to open up my stodgy old rights-managed mind and give it a read, I was pleasantly surprised to find that it’s filled with lots of really honest information about what it takes to succeed in the world of stock photography.

Although they gave it the title (micro)STOCK, Nicole does a very thorough job of explaining the different types of licensing models and outlines not just how to approach getting into shooting stock photos, but how to prepare professional quality images and reduce your chance of having them rejected by the agency.

Nicole outlines her own path towards getting into stock photography, and she also presents interview/case studies of other four other photographers who have managed to succeed and make good money at shooting stock. She clearly shows you that there is no “one way” to get into stock, because nearly everyone has a different style and path towards achieving success in this business.

From covering what types of images sell, how to discover your own niche, how to think like a designer, to analyzing whether stock photographers can really be successful in today’s photography industry, and understanding whether microstock is even a sustainable business model, Nicole does a very good job presenting relevant information and a diverse selection of imagery to illustrate.

If you’re curious about what it takes to get into stock photography and build an additional revenue stream with your photography, I’d definitely recommend (micro)STOCK: From Passion to Paycheck. For only $5, it’s filled with a surprising amount of relevant information. It won’t guarantee success, but it will get on track towards producing, managing and marketing sellable imagery.

See the entire Craft and Vision collection.

June 7, 2011
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(micro)Stock: From Passion to Paycheck- New eBook by Nicole S. Young

Guest Post, Personal and Pro Insight

2

Technology Vs. Vision- Today on B&H Photo Insights

As photographers in this highly advanced digital age, we sometimes forget that creative image making isn’t about the technology, it’s about the vision. We tend to get so wrapped up in megapixels, autofocus speed, TTL, iTTL, E-TTL, IS, VS and all that other stuff, that we occasionally forget about what really matters: Light, Moment and Expression.

Read more in my guest post today on the B&H Photo Insights Blog and remind yourself that creativity doesn’t depend on how much gear you have, it depends on how you use it.

June 7, 2011
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Technology Vs. Vision- Today on B&H Photo Insights