We spent all of last Sunday riding awesome winter singletrack trails and photographing on the Fatback snow bikes. For most of the riding, I had my Nikon D700 slung around my neck and shoulder, often shooting with one hand while I rode, with either a wide angle lens or the Nikon 85mm f1.8D short telephoto lens.

The 85mm is a real favorite; it’s compact, fast and really sharp, and it’s great for isolating a small part of the scene. If I’m going light and fast, I ALWAYS take the 85mm with me.

I also took along my Nikon SB-900 Speedlight, in case I had the hankering to do any flash photography. I only used it once, but it seemed to do the trick in that particular situation. It was so dark in the forest, but there were definitely patches of low sun streaming in through breaks in the trees, so I think the flash effect works here.

In order to achieve the directional lighting effect that I wanted, I clamped the Speedlight to the bike with the Manfrotto Super Clamp, and then just stuck the bike in the deep snow a few feet off the trail. Then I fired from my selected vantage point and triggered the flash with the on camera flash on the D700.

For most of the day, though, it was all about constantly looking ahead, anticipating potential compositions as we rode, and then dealing with the very contrasting light in and out of the forest. Shooting in full 14-bit RAW on the D700 really helps in situations like this.

February 8, 2011
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Snowy Singletrack: Fat Tire Biking Photography, Alaska

Digital Imaging Tips by Dan Moughamian

For photographers who want a stand-alone application to handle their HDR workflow, you may want to consider HDR Efex Pro from Nik Software. In part 1 we will take a look at the process of merging our bracketed exposures into a single 32-bit preview and then tone-mapping the full range of tones to create a pleasing contrast.

For part two of this series, here’s a tutorial on using Topaz Adjust 4 software from Topaz Labs.

Background

Despite great technological advances in areas like high ISO performance and resolution, today’s DSLRs are not yet capable of fully capturing scenes that contain a wide range of light-to-dark tones (for example, a scene that contains both brightly lit clouds and details in a dimly lit alley). We can use HDR software to work around that limitation, by capturing an exposure for each part of the scene, and then combining them into a single picture.

After working with several different products throughout 2010 and 2011, there are two options that –while not perfect- do a great job of quickly creating a pleasing HDR look. HDR Efex Pro from Nik Software, and the brand new Color Efex Pro 4 Complete, also from Nik, are two products that you’ll want to consider. This article focuses on HDR Efex Pro, which can be used standalone with JPEG or TIF images, or if you want to work with raw images, you can invoke the plugin from Photoshop, Lightroom or Aperture.

East of Use

HDR Efex Pro is built on a foundation that will be familiar to you, if you’ve ever used Silver Efex Pro 2 or other newer Nik Plugins. Seen below, it combines basic preview controls (top), a collection of “Presets” for getting a quick start (left), and a panel of adjustments that the presets are based upon and which can be used to customize the HDR “look” (right).

The Workflow

If you want to start with raw images as the basis of your HDR photograph, from Photoshop  choose File > Automate > Merge to HDR Efex Pro. This opens a small window where you can select the files to be merged, as well as apply ghost reduction and alignment options. It’s generally best to leave Alignment active, to ensure the edges of your subject don’t become blurred. For shots with small details that move small relatively distances across the frame (water, leaves, clouds) use the Adaptive ghost reduction method; for larger objects moving across the scene = use the Global method.

Once inside HDR Efex Pro, click on the category of presets that are applicable to your subject. Typically, I find the most compelling results start with presets in the Realistic category, but there are useful options in each category. For this example I decided that the “Realistic Gradients 1” provided the best starting point, because it brought back the details in the clouds and added a nice contrast. All I needed to finish the shot was tweak a few of the exposure-related settings and then apply some color and contrast accents. Note that many times, your image will start out looking fairly dark if you take this realistic approach. However, as long as you captured enough data in your original exposures, you should be able to brighten things up without losing highlight details.

The first thing I needed to do for this merged exposure was boost the overall brightness a bit. The goal was to mimic the actual light of the waning sunset, while revealing more details in the scene. This was accomplished by boosting the Exposure setting and then pulling back on the preset’s default Whites, setting until the clouds couldn’t be pushed further without turning pure white.

The final steps were to add Saturation and work with the Contrast and Structure settings (the latter of which works a bit like Clarity in ACR or Lightroom, and like Definition in Aperture) so that the scene “popped” a bit more, without taking on a phony appearance that you sometimes see in HDR shots. Typically I find that it is both necessary and useful to go back and forth between each type of setting (those that brighten and maintain highlight details, those that add color and contrast) until you get just the right combination.

Experimenting with HDR Efex Pro is a breeze and once you get the feel for how the different Methods and settings work together, it’s very easy to pinpoint a look you will like. There are also several ways to add “finishing” touches such as borders and vignettes in the “Finishing Adjustments” settings, although none were needed here. I hope this quick look at HDR Efex Pro will convince you to give it a try. There are also similar workflows that you can use in Photoshop, even with 32-bit data, but you’ll have more creative options if you use both methods.

——–

Dan Moughamian is a photographer and published author, focused on digital imaging technology from Adobe Systems and other developers. A veteran of the Adobe alpha and beta testing programs, Dan has more than 16 years of experience with Photoshop and has been using Lightroom since its inception.

He is the Author of Adobe Digital Imaging HOW-TOs- 100 Essential Techniques for Photoshop CS5, Lightroom 3 and Camera RAW 6, and his work has been also been published in Photoshop User Magazine and Photo Techniques Magazine.

Visit his website at www.colortrails.com, and follow Dan on Twitter @Colortrails.

February 4, 2011
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HDR Quick & Easy: Method 1- Using HDR Efex Pro

Edit- April 2011: Now on Sale, 25% off.

To get the special discount code, visit my Facebook Page and Like me. Yes, it’s that simple.

I’m very excited to announce the release of my brand new eBook, Making The Image- A Conceptual Guide for Creating Stronger Photographs.

This 50 page eBook will guide you towards making more powerful imagery. By exploring how the human visual system responds to the world, this book breaks down individual concepts, such as light, color, balance and viewpoint, and explains how they can be used to add visual strength to your photos.

It also explores the concept of creativity as it applies to different methods of finding and making images, which can help you take a more active role in your photography.

Making The Image is richly illustrated with full page imagery, and it’s horizontally formatted, so it’s optimized for computer monitors and the iPad. That also means that if it were counted like most vertically oriented books, the page count of this book would number 100 pages, since it’s 50 full page spreads.

With visual examples that span across my entire career, and ideas that I’ve been utilizing in my imagery and teaching to my students for over fifteen years, it lays out a clear approach to helping you produce photographs that will capture your viewer and be remembered by your audience.

Since the concepts in this eBook are universal, they can be used to help you add a dynamic new level to any type of imagery, no matter what style or subject matter you shoot.

I’m really excited about this release for two reasons. Not only is it my first instructional eBook title, it also coincidentally comes on the 21st anniversary of me being a photographer. On February 2, 1990, I walked into Bromfield Camera in downtown Boston and plunked down $550 for a chrome body Nikon FM-2 and a Nikon 50mm f1.4 manual lens.

That was half my life ago, and it’s never been the same since then.

Making The Image. Get your copy today.
$10.95

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February 2, 2011
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Brand New eBook: Making The Image
The Hot Shoe Diaries by Joe McNally

Joe McNally is a legend. His career has spanned over 30 years, 50 countries and regular contributions to the biggest and best magazines, like Life, National Geographic and Sports Illustrated.

He got that way because he’s a truly awesome and innovative photographer, yes, but also because he knows how to light the scene.

Whether he’s using a bank of Speedlights, softboxes, umbrellas, diffusers and bounce techniques, or a single flash, Joe has supreme technical mastery and ingenious creativity when it comes to throwing beautiful, appealing light onto his subjects. Light that makes you want to scream and shout. Light that makes you want to cry. Light that, as a photographer, you wish you had even a sliver of the control and creativity that he has when he shoots.

That’s where this book comes in. The Hot Shoe Diaries: Big Light From Small Flashes. AKA the Nikon Flash Bible. In it, Joe actually shows you how to create and control the light in ways that give you not on the technical know-how, but also the confidence to go out and light scenes that would have scared you to death in the past.

Back when I went looking to expand my own lighting skills and equipment, I went out and got this book. Over the course of the next week, I read it from cover to cover. Then I read it again. Then I read it yet again, this time with my little red Moleskine notebook in hand, jotting down notes and ideas as I covered each chapter for the third time.

Then I went out into the world and lit things, and I suddenly saw the world open up. As someone who had previously relied primarily on natural light for my photography throughout my career, I realized that I didn’t need to be scared or intimidated anymore if my subjects weren’t lit by perfect afternoon sun anymore. I had options. I had equipment. I had new ideas.

I’ve actually been shooting with off-camera flashes for quite a few years, ever since the days of the Nikon SB-25 and 26 units. These days I’m using the SB-800 and SB-900 units, which offer wireless communication and creative options that far exceed anything that the SB-26’s could every do.

That combined with the knowledge that I gained from reading The Hot Shoe Diaries, I feel like my style and professional abilities have a whole new edge compared to what they were in the past. I don’t run, frightened when I need to shoot inside, or when the light outside is not optimum. In fact, I actually seek out challenging shooting situations with excitement and confidence. Hard to believe that one book could make that much difference, but it did.

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Even though Joe uses Nikon flash equipment, his concepts for creating and throwing light are universal. So, if you’re a Canon user, you can still get a lot from his book, although you might want to also check out the long awaited Canon Flash Bible, Speedlighter’s Handbook: Learning to Craft Light with Canon Speedlites by Syl Arena, which I reviewed earlier this month.

No matter which system you use, if you want to expand the scope of your photography skills and creativity, I’d definitely recommend either of these books, although if you’re a Nikon user, then it’s a no brainer- check out The Hot Shoe Diaries, I promise, you’ll walk away inspired.

January 31, 2011
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The Hot Shoe Diaries by Joe McNally
Photos by Carl Battreal- www.photographalaska.com

I’d like to say that these are my photos. They’re not. They were shot by another Alaska photographer, Carl Battreall.

Not only is Carl an incredible landscape photographer who shoots stunning imagery of the natural world up here, he’s also a friend and an all around good guy. He recently completed the photography for his latest book, Alaska’s Chugach State Park. It’s due out in May and from the imagery that I’ve seen so far, it looks like it will be an absolutely gorgeous collection of photographs.

Visit Carl’s Website at www.photographalaska.com.

January 28, 2011
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Carl Battreall- Photograph Alaska

long evening gownAfter reading such a wonderfully insightful post yesterday by Anne McKinnell about personal choices and her own approach to life and photography, and the great comments from everyone who took the time to respond, I find it hard to just follow up today with something so seemingly trivial as a gear or book review or a photography tip.

Not that those things aren’t important. After all, you often depend on this site for resources, methods and ideas that can help you improve your photography, both creatively and professionally, and I promise, I’ll continue to bring you that stuff, just not today.

Instead, I find myself turning inward and looking back at my own path, reflecting a bit on the choices that I made along the way. I can certainly identify with the notion that doing photography for work has the potential for causing creative and passion burnout. Fortunately, I haven’t ever hit that wall, but that could be because I experienced the same thing earlier in my life with music and learned from it.

As a guitar player in high school, I wanted nothing more than to try and make a career out of that passion. My determination led me to enroll at Berklee College of Music, where I aspired to become a professional grade, technically proficient musician who was capable of making a living with music.

Didn’t quite turn out that way. When I got into Berklee, I was overwhelmed, and somewhat intimidated by all the other guitar players, many of whom were so much better than I was, and so I turned my energy towards music recording and production.

I actually found that I loved that part of the music process and quickly discovered great passion within myself for being a recording engineer. It combined the specialized knowledge of using technical equipment to direct and manipulate electronic signals, the innovative creativity of microphone placement and mixing together different sounds and instruments and the inspiration of capturing a great performance from the musicians. It seemed like a tailor made career for me.

However, as I got closer to graduation, two things happened that disrupted that path. The first thing was the fact that I started to burn out on music. It somehow became a highly competitive chore in a very hierarchal environment, especially when I spent every other Friday interning at a professional recording studio, where the head engineers treated me like nothing more than a coffee boy. That jaded me to the business pretty quickly.

The other thing that happened is that while attending Berklee, I got this wild idea to buy a camera. Very quickly, that took over as my main passion and creative outlet. By the time I graduated, the seeds were already planted. I knew that photography was what I wanted to do in life, instead of spending my working life in windowless recording studios and smoky bars.

Problem was, though that I wasn’t sure how to get there. I considered going back to school for photography, but quickly remembered how I’d burned out on music. I also ignored the people who told me that I should become a full time assistant or shoot weddings because that’s how other people make money at photography. I knew that those paths wouldn’t bring me happiness and so I simply waited. I bided my time, improved my craft, worked on developing my vision, got the job as a photo editor and kept my eyes open for the right opportunity.

Eventually the right time came for me when I was let go from my last day job. I haven’t ever looked back since that day. Sure, my passion, excitement, and creativity have wavered a bit over the years, as they always will, but they’ve never died.

And although my grumpy factor has gone up and down numerous times during different periods of my career, I’ve managed to quell it to a manageable level. In fact, despite the fact that the photography business has completely reshaped itself in recent years, I find myself standing tall with as much inspiration, excitement and passion than I had on February 2, 1990, which is the day I bought my first camera.

In one week, I will have been a photographer for twenty one years, and I still love it. Every single day. It continues to be the number one driving force in my life. Even when I struggle with the business, I still love it, because I don’t follow it with ideas that I know aren’t right for me.

And I still play guitar and record music, but not for a living. I do it just for fun. In fact, I may even love guitar more than photography. Not sure though, I just know that if someone made me choose between cameras and guitars, I just can’t see every giving up guitars forever. Glad that I don’t have to make that choice.

Anyway, my point here, and my response to Anne’s article is that everyone must follow their own path. Listen to your heart. Do what you know is best for you. If that means that photography remains your hobby instead becoming of your profession, so be it. That doesn’t mean that you love it any less that I do, it might just mean that you don’t want to risk burning out on it and that’s an admirable position to hold.

And if you do choose to make it your profession, don’t force it. Remember to be true to yourself and to evaluate every decision along your path to make sure that it’s the right course of action for you.

Thanks, Anne, for making us all think a little bit, and thanks to everyone who also shared their own thoughts on the matter. Your input on this blog is very much appreciated, and not just by me.

Oh, and by the way- if you want to hear some of my guitar playing, songwriting and recording skills, visit my page at iCompositions.com. I even sing on some of the songs.

January 27, 2011
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Reflecting on My Own Photographic Path and Passions

The most difficult thing on the road to going pro is figuring out where you want your road to go.  I started off on the road because I love photography and am ready for a change in my life.  I want to do something creative and spend more time outside so I started thinking about how I could make a business out of it.

My experience in project management came in handy as I worked through some business ideas.  One of the ideas combined my boating experience, business experience and photography into one exciting marine photo tour adventure.  My clients could be tourists or amateur photographers.  I would need a bigger boat, which is a significant investment and sent me further down the planning path to make sure I wasn’t making a mistake.

One key ingredient in any good business plan is the risk assessment.  I tried hard not to think negatively at first, but my business experience told me I should, at least just for a moment.  Thinking hard about the risks to my personal satisfaction I came up with these:

  • I might not become a successful photographer if my focus is running a tour business
  • I might end up in the poor house with a giant debt from buying the boat
  • I might hate working with people because I am a loner at heart
  • I might do all this work to change my life to something I like better, and then not like it better

…and then the worst risk of all came to me …

  • I might stop liking photography.

This is when I realized I might be on the wrong path.  It stopped me dead in my tracks.  Not only because I like photography and it would be a shame to loose all enjoyment in something I like, but because photography changed my whole outlook on life.

A person’s inherent characteristics have to be taken into account.  I have to be honest with myself: I am a negative thinker, a depressed person, a loner, and I see all the bad the things in the world.  The world is an evil place and a lot of nasty stuff happens.  I have to put real effort into seeing anything good.  And that’s where photography comes in.

To help myself become a happier person, I decided to photograph only beautiful things.  No more graveyards, homeless people, and injustice like I used to shoot way back in my university days.  I leave the darker side of life to other photographers.  (I also had to stop watching crime shows on TV.) Using the camera to focus only on good and beautiful things helped me change my outlook on life. If beauty and goodness exist, the world cannot be entirely evil.  I am trying to follow the advice of Dewitt Jones and “celebrate what is right with the world”.

If I lost the one thing that helps me see goodness in the world because I can’t stand working with the public, because I am stressed out over debt, or because photography becomes a J.O.B. and not a passion, I risk loosing all the happiness and appreciation for the world that photography has helped me find.  I would go back to seeing only bad things.  That is a risk I cannot take.

So, with a big sigh, I started my planning all over again from the top.  I have done a big round trip, but one I think was worthwhile and probably saved me a lot of grief.  I would still like to create a successful photography business but it has to be done in a way that relates to  my ultimate purpose: to create beautiful images that inspire me to believe in the world whether I make money or not.  After all, if the goal is making money, I would be better off staying in my current career.

If I want to live my dream, I have to carefully define my dream so I don’t end up on the wrong path.  There are much worse things than ending up in the poor house.

————

Anne McKinnell is an emerging photographer based in Victoria, BC. She shares her insight here each month as a voice to other aspiring pro photographers. Read Anne’s other articles on this site.

photos.annemckinnell.com • blog.annemckinnel.comAnne on TwitterAnne on Facebook

January 26, 2011
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The Benefits of Negative Thinking, by Anne McKinnell

And now for the first time ever on this blog- Video!

Yesterday I went out with my snow bike and a pack full of camera gear and tried to come up with some cool action photos by playing around with different vantage points. I also took along my new Flip UltraHD video camera which works great for projects like this.

The idea was simple: Attach my Nikon D700 and 14mm f2.8D lens to the bike using a Manfrotto Super Clamp and a Manfrotto Variable Friction Magic Arm, and see what kinds of images I could come up with.

So, here’s my first attempt at video. Bear with me. Or go ahead and laugh, as long as it’s all in the name of fun. I can take it. Be sure to view as large as possible on your screen, as the photos are 720 pixels on the long end.

A few notes. I didn’t actually end up riding the bike, the camera was too much in the way, so I pushed it down the trail. Hence the comment about almost falling over a few times. I’m sure that I looked pretty silly to the cross country skiers who passed me.

Also, I didn’t use the self timer, instead I used the D700’s Interval Shooting Mode. I programmed the camera to take a series of 9 shots, each one second apart. I’d get all set up, hit OK on the camera and take off running with the bike.

Oh, and yea I know, I got the stud size wrong. The two screw sizes on the standard studs are the 1/4″ and the 3/8″. Hey, give me a break, it was cold outside.

Edit: This shot below was featured as a double page section opener in the October 2011 issue of Alaska Magazine. See the published version here.

January 24, 2011
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Video: The Snow Bike and The Super Clamp