Posted on October 27, 2019
True story: I once had a workshop participant who put her Nikon D4 in continuous mode, metered, then pressed the shutter and sprayed in a 180 degree arc until the buffer filled. When I asked her what she was doing, she shrugged and said, “It’s Yosemite—there’s sure to be something good in there.” While I couldn’t really disagree with her, I’m guessing she wasn’t seeing a lot of growth as a photographer.
I tend to fall on the other end of the photography spectrum. Rather than a high volume of low-effort images (spray-and-pray), much of my photography style carries over from my film days. Back then, a photographer who wasn’t careful might return from Europe to find that, between the film and the processing, the photographs cost more than the trip. With our wallets forcing us to be more discriminating, we took our time, and checked (and double-checked) every composition and exposure variable before clicking.
Times have changed. While every film click cost us money, every digital click increases the return on our investment. And thanks to ridiculous frame rates, seemingly infinite memory cards, and the ease of deleting in the field, I’m afraid it has become so easy to fire at will that many digital shooters are far too casual with each frame.
The best approach is probably a hybrid of the film and digital paradigms: Careful attention to detail, combined with a no-fear freedom to fail frequently. Just as it’s important to have some kind of plan or objective, it’s just as important to be okay with not knowing how you’re going to get there. In other words, sometimes success can only when you aren’t afraid to create crappy images on the way.
I’ll often approach a scene knowing there’s a image there, but start with no idea were it is. One approach that often works in these situations is to just frame something up and click. Other times I’ll play “what-if” games with myself: What if I do this? Or that? If it works, great; if it doesn’t, I’ve learned something.
There’s a draft in here
As someone who has been writing and taking pictures for a long time, I’ve found a real connection between the creation process of each craft. We can probably agree that few writers create a polished piece of writing in a single pass. Whether it’s an important e-mail, a weekly blog, or a magazine article, I start with an idea and just go with it. But before sending, publishing, or submitting (or deleting), I read, revise, then re-read and re-revise more times than I can count—until I’m satisfied that it’s “perfect.”
Similarly, photographers shouldn’t be afraid to create “draft” images that move them forward without necessarily delivering them all the way where they want to be with one click. When I find a scene that might be photo-worthy, I compose and expose my first click more by feel, without a lot of analysis. But I’m not done after that first click, not even close. And I don’t particularly care that it’s not perfect. This is my first draft, a proof of concept that creates a foundation to build on. When that draft pops up on my LCD, I evaluate it, make adjustments, and click again, repeating this cycle until I’m satisfied, or until I decide there’s not an image there.
Sorry, but there really is no substitute for a tripod
I hear a lot of landscape photographers claim that stabilized bodies and lenses, combined with clean high-ISO sensors, have made the tripod obsolete. Since photography must be a source of pleasure, I won’t argue with anyone who says using a tripod saps their joy. But…. If the joy you receive from photography requires getting the best possible images, you really should be using a tripod.
Applying my draft/revise approach without a tripod is like trying to draw with an an Etch A Sketch (is that still a thing?), then erasing the screen after each click. That’s because after every hand-held click, what’s the first thing you do? If you’re like most photographers, to check your image, you drop the camera from your eye and extend it out front. Before you can make the inevitable adjustments to that hand-held capture, you must return the camera to your eye and completely recreate the composition before making your adjustments.
It’s the tripod that makes this shoot/critique/refine process work. Much the way a computer allows writers to save, review, and incrementally improve what they’ve written, a tripod holds your composition while you decide how to make it better. Shooting this way, each frame becomes an incremental improvement of the preceding frame.
About this image
Composition isn’t limited to the arrangement and framing of elements in a scene—it can also be the way the image conveys the scene’s light, depth, and motion. Setting up this sunrise image, I had to coordinate all of those moving parts.
I’d arrived here with my Eastern Sierra workshop group about 45 minutes before sunrise, plenty of time to familiarize myself with the scene and plan my sunrise composition. I started by identifying my foreground elements, then determined the focus point that would deliver foreground-to-infinity depth of field, and finally worked out my strategy for getting the exposure right using a long enough exposure to smooth the rippled water and maximize the foreground reflection (thanks to my Breakthrough 6-stop ND filter). In my pre-Sony days I’d have had to wrestle with a graduated neutral density filter to manage the highlights, but I knew if I was careful with my histogram, my Sony a7RIII would handle it.
One of the nice things about photographing sunrise at Mono Lake is that you anticipate the sun’s arrival on the eastern horizon by monitoring the shadows sliding down the mountains in the west. So after I found my general composition, I had the luxury of ten minutes of just playing with all the variables, firing frames I knew I wouldn’t use, then evaluating each for balance, depth, and motion effect. I don’t have any specific memory of this frame, but if I look at the series of images leading up to it, I can tell what I was doing.
Oh, and full disclosure: Even though I don’t really remember this specific click, I can tell I was thinking about a sunstar because I shot it at f/18, an f/stop I virtually never use unless I want a sunstar (at 16mm, I certainly didn’t need f/18 for DOF). I could defend myself by saying I stopped down to f/18 to get my exposure to the four seconds I used here (to smooth the water), but that doesn’t fly either because I was at ISO 200. I know if I’d have been paying attention, I’d have used ISO 100 and f/13, allowing the same shutter speed at a cleaner ISO and sharper f-stop. So I guess the moral of this small digression is, don’t let the desire to be perfect hinder your creativity—mistakes happen, they’re usually not the end of the world, and the results will almost certainly be better than spray-and-pray.
Click an image for a closer look and to view a slide show.
Posted on October 13, 2019
Like a teenager with his first car, I was itching to take my brand new Sony 200-600 for a spin. But since I don’t photograph wildlife, my ultra-telephoto lenses are used mostly for the moon, and occasionally close-focus stuff like fall color and wildflowers. And as much as I wanted to try it on the moon, I thought the fall color in my Eastern Sierra workshop would be my first opportunity.
Because I schedule the Eastern Sierra workshop to thread the needle between the best chance for peak fall color at North Lake, while avoiding the Lone Pine Film Festival and the Bishop Classic Car Rally, it’s one of the few workshops I do that isn’t timed for something happening in the sky (like the moon, the Milky Way, the northern lights, or lightning). So imagine my excitement when, before this year’s Eastern Sierra workshop, I checked the moon and realized a 6% crescent would be setting behind the Sierra Crest between Lone Pine Peak and Mt. Whitney on the workshop’s first night. Oh boy!
I got the group in position that evening and we all had a blast photographing the new moon slipping toward the serrated Sierra peaks. It started near Lone Pine Peak, and moved closer to Mt. Whitney as it dropped through the darkening sky. My first frames, while the moon was still pretty high, were fairly wide, but as it dropped closer to the mountains, my composition tightened.
When the crescent was just a few degrees above the crest, I grabbed my 200-600 and went to work. But, also like a teenager with his first car, I soon got the urge to soup it up and reached for my Sony 2X teleconverter. This gave me 1200mm at 61 megapixels. Wow.
I always joke that I don’t photograph anything that moves because I want to know my subject will still be there when I’m ready, so for someone as deliberate as I am, it really is startling to see how fast the moon moves through a 1200mm frame. Okay, maybe not as fast as a lion chasing dinner, or a leaping salmon becoming dinner, but instead of trying to track it, I still found it easier to anticipate the spot where the moon would disappear and let it slip into my frame.
It was 35 minutes after sunset when the moon finally reached the crest, making the trickiest part about this scene the exposure. This is the kind of exposure that begs to be handled in Manual mode because a meter would have no clue that I wanted to capture enough contrast between the sky and peaks to create a silhouette, as well as definition in the moonshadow, without completely blowing out the crescent. I also knew that the properly exposed image would look like crap on my LCD (it would require processing to moderate the extreme dynamic range between the dark mountains and bright moon).
To get the exposure right, I slowly pushed the scene brighter until the small blob of highlights in my histogram (the moon) hit the right side, then gave it one more stop of light (so the moon looked completely blown in the preview), knowing (fingers crossed) I could recover them later. I was slightly apprehensive because I still hadn’t processed any images from my new Sony a7RIV, but I was confident that it would have at least as much dynamic range as as my a7RIII, and just approached the exposure the same. All’s well that ends well—phew.
In a workshop my own photography isn’t a priority, so I didn’t get a lot of opportunity to play with my new toys on that trip. But my sense is that I’m going to love this new lens. Though its size means the 200-600 probably won’t replace my Sony 100-400 GM lens (which I love, BTW) as a full-time passenger in my camera bag, it will almost certainly be my default “big moon” lens. And my preliminary feelings are that the dynamic range of the a7RIV is indeed at least as good as the a7RIII (which is pretty incredible too).
Helping my workshop group with this crescent moon shoot got me thinking about metering, and how important it is to have it down cold. I’ve written a document on metering that I provide to all my groups to help them get up to speed before each workshop, but I’ve actually changed the way I meter in the few years since I wrote it. The old approach isn’t invalid (in fact, I think any serious photographer should be able to meter the old fashioned way), but I do think live-view histograms have made it a lot easier. So this week I rewrote my document and am sharing it below. (Please forgive any typos—it’s a work in progress.)
Cameras seem to be getting “smarter” every year. So smart, in fact, that for most scenes, duplicating a two-dimensional version of what your eyes see is a simple matter of pointing your camera and clicking the shutter button. That’s fine if all you care about is recording a memory, but not only is there more to photography than approximating “reality,” there are many creative reasons to override the camera’s choices.
For the creative control that elevates your images above the billions of clicks being cranked out every day, giving your camera the control of photography’s most important decisions ignores an undeniable truth…
Sorry—mine is too. And while I can easily cite many examples, right now it’s just important to understand that your camera thinks the entire world is a middle tone. Regardless of what its meter “sees,” without intervention your camera will do everything in its power to make your picture a middle tone. Sunlit snowman? Lump of coal at the bottom of your Christmas stocking? It doesn’t matter—if you let your camera decide the exposure, your subject will turn out gray.
Modern technology offers faux-intelligence to help overcome this limitation. Usually called something like “matrix” or “evaluative” metering, this solution compares your scene to a large but finite internal database of choices, returning a metering decision based on the closest match. This works pretty well for conventional “tourist” snaps, but often struggles in the warm or dramatic light artistic photographers prefer—and it knows nothing of creativity. If you want to capture more than documentary “I was here” pictures, you really do need to take full control of your camera’s metering and exposure. Fortunately, this isn’t nearly as difficult as most people fear (or as it once was).
The amount of light captured for any given scene varies with the camera’s shutter speed, f-stop, and ISO settings. Photographers measure captured light in “stops,” much as a cook uses a cup (of sugar or flour or chocolate chips or whatever) to measure ingredients in a recipe. Adding or subtracting “stops” of light by increasing or decreasing the shutter speed, f-stop, or ISO makes an image brighter or darker.
The simple beauty of metering is that a stop of light is a stop of light is a stop of light—it’s always the same amount of light, whether you change it with the:
But while an aperture stop adds/subtracts the same amount of light as a shutter speed or ISO stop, the resulting picture can still vary significantly.
Your aperture choice determines the picture’s depth of field (DOF), while your shutter speed choice determines whether motion in the frame is stopped or blurred. And while an ISO stop also adds/subtracts the same amount of light as shutter speed and aperture without affecting motion and depth, image quality decreases as the ISO increases. So getting the light right is only part of the exposure objective—you also need to consider how you want to handle any motion in the scene, how much DOF to capture, and the ISO that generates the least noise.
Let’s say you’re photographing autumn leaves in a light breeze. You get the exposure right, but the leaves are slightly blurred at 1/15 second. To freeze that blur, you change your shutter speed to 1/30 second, which also reduces the light reaching the sensor by one stop. To replace that lost light (keep the exposure the same), you could open your aperture by a stop (change the f-stop), double the ISO, or make a combination of fractional f-stop and ISO adjustments that total one stop. Each choice will render a different result, but that’s a creative decision your camera isn’t capable of.
Today’s cameras have the ability to measure, or “meter” the light in a scene before the shutter clicks. In fact, most cameras have many different ways of evaluating a scene’s light. Your camera’s metering mode determines the amount of the frame the meter “sees.” The larger the area your meter measures, the greater the potential for a wide range of tones. Since most scenes have a range of tones from dark shadows to bright highlights, the meter will take an average of the tones it finds in its metering zone.
Metering mode options range from “spot” metering a very small part of the scene, to “matrix” (also known as “evaluative”), which looks at the entire scene and actually tries to guess at what it sees. Each camera manufacturer offers a variety of modes and there’s little consensus on name and function (different function for the same name, same function for different names) among manufacturers, so it’s best to read your camera’s manual to familiarize yourself with its metering modes.
Since I want as much control as possible, I prefer spot metering because it’s the most precise. The spot meter covers the smallest area of the frame possible, an imaginary circle in the center 3% (or so, depending on the camera) of the viewfinder. (Some cameras optionally allow you to spot meter on the current focus point instead of the center of the frame.) When spot metering, I can target the part of the frame I deem most important and base my exposure decision on the light reading there.
Spot metering isn’t available in all cameras (this was more true with older models). In some cameras, the most precise (smallest metering area) metering mode available is “partial,” which covers a little more of the scene, somewhere around 10%.
Regardless of the size of the metering zone, the camera will take an average of what it finds. In some modes that average is evenly extracted from the entire zone, in other modes, the average is biased toward the middle: “center-weighted.”
Don’t confuse the metering mode with the exposure mode. While the metering mode determines what the meter sees, the exposure mode determines the way the camera handles that information. Most mirrorless and DSLR (digital single lens reflex) cameras offer manual, aperture priority, shutter priority, plus a variety of program or automatic exposure modes. Serious landscape photographers usually forego the full automatic/program modes in favor of the manual (my preference) or aperture/shutter priority modes that offer more control.
If you select aperture or shutter priority mode, you specify the aperture (f-stop) or shutter speed, and the camera sets the shutter speed or f-stop that delivers a middle tone based on what the meter sees. But you’re not done. Unless you really do want the middle-tone result the camera desires (possible but far from certain), you then need to adjust the exposure compensation (usually identified by a +/- symbol) to specify the amount you want your subject to be above or below a middle tone.
For example, if you point your camera’s spot-meter at a bright, sunlit cloud, the camera will only give your picture enough light make the cloud a middle tone—but if you’ve only given your scene enough light to make a white cloud gray, it stands to reason that the rest of your picture will be too dark. To avoid this, you would adjust exposure compensation (the +/- symbol) to instruct your camera to make the cloud brighter than a middle tone by adding two stops of light (or however much light you want to give the cloud to make it whatever tone you think it should be).
Rather than aperture priority, I prefer manual mode because I want control: my camera should not be making decisions for me. And once it’s mastered (it really isn’t hard), I think manual metering is easier. But if you can successfully handle each exposure situation with aperture or shutter priority, you’ll be fine—just stay away from the full automatic modes.
I always try to use my camera’s best ISO, and the aperture that gives me the sharpest frame. Not just the desired DOF, but also the least diffraction (diffraction is a loss of detail caused when light passes through a small opening and spreads slightly—the smaller the opening, the greater the diffraction softening). But sometimes exposure-setting compromise is the only way to achieve the desired results.
For example, when DOF isn’t a consideration, I keep my f-stop in the f/8-f/11 range because it provides a reasonable amount of DOF, and that’s where lenses tend to be sharpest (least distortion), and diffraction is less of a concern (than it is at smaller apertures). But when I need a specific DOF, or want to capture a sunstar (small aperture), I have no problem compromising my f-stop setting to get there.
And I only compromise my ISO when there’s no other way to achieve a certain motion effect. So while ISO 100 is ideal (for my Sony a7RIV and the majority of other cameras), when the wind blows or I want to freeze moving water, I’ll increase my ISO to achieve the motion and DOF combination I need. And if I want a little more motion blur, I have no problem dropping down to ISO 50 to a allow a longer shutter speed.
The simplest way to minimize the need to compromise image quality is to use a tripod. A tripod removes camera shake from the exposure equation, meaning the only time shutter speed matters is when there’s motion in the scene. And when shutter speed doesn’t matter, you can always use the perfect ISO and aperture by going with whatever shutter speed you need, regardless of its length.
Some scenes are all about compromise, even with a tripod. For example, I’d love to photograph the Milky Way at ISO 100, f/8, 1/100 second, but that would give me a black frame. Since star motion increases with shutter speed, I push the ISO as far as I can without getting unfixable noise, open the aperture as wide as I can without obvious distortion—and I still have to live with a shutter speed that gives me a little star motion. All of these exposure choices are compromises that render less than perfect results, but without them, I’d have no Milky Way image at all.
Armed with all this exposure understanding, it’s time to think about the best way to read and capture the light in a scene. For most of my photography life, in manual mode I’d set my camera to its native ISO (or to the ISO/ASA of the film I had loaded), determine my aperture (based on the DOF I want and/or the sharpest f-stop for my lens), point my camera’s spot-meter zone at the area on brightest part of the scene, and dial my shutter speed until it indicated the spot-meter zone is the tone I want. (I chose the brightest part of the scene because I know if I don’t blow it out, nothing in my frame will be lost.)
During my film days, and in my early digital life, that approach served me well. In fact, I think every serious photographer should understand metering well enough to do it this way. But….
In the film days, we didn’t know if the exposure was right until the pictures were processed. To insure against missing the exposure, we’d bracket exposures by (usually) one stop on either side of what we believed to be the correct exposure. Today, thanks to the histogram, bracketing is no longer necessary.
The histogram is a graph of the tones in an image, from absolute black to absolute white. Instead of clicking and hoping as we did in the film days, the addition of a histogram on every digital camera (that’s not a smartphone) provides photographers instant feedback on each image’s exposure. Better still, live-view histograms in mirrorless viewfinders, or on DLSR and mirrorless LCD screens, provide that essential exposure feedback before we click the shutter.
While any graph has the potential to evoke flashbacks of high school science trauma, a histogram is really quite simple—simple enough to be read and interpreted in the blink of an eye. And not only is your histogram easy to read, it really is your most reliable source of exposure feedback.
Simple Histogram: The shadows are on the left and the highlights are on the right; the far left (0) is absolute black, and the far right (255) absolute white.
When an image is captured on a digital sensor, your camera’s “brain” samples each photosite (the sensor’s individual pixels comprising the megapixel number used to measure sensor resolution), determining a brightness value that ranges from 0 (black) to 255 (white). Every brightness value from 1 to 254 is a shade of gray—the higher a photosite’s number, the brighter its tone.
Armed with the brightness values for each photosite in the image, the camera starts building the image’s histogram. The horizontal axis of the histogram has 256 discrete columns (0-255), one for each possible brightness value, with the 0/black column on the far left, and the 255/white column on the far right (they don’t display as individual columns because they’re crammed so close together).
Despite millions of photosites to sample, your camera builds a new histogram for each image virtually instantaneously, adding each photosite’s brightness value to its corresponding column on the histogram, like stacking poker chips—the more photosites of a particular brightness value, the higher its corresponding column will spike.
The black-and-white histogram most of us are familiar with is the luminosity histogram. But each photosite on a conventional sensor actually measures the tone of one of three colors: red, green, and blue (RGB). The RGB histogram uses the same pixel sampling process to separate the luminosity histogram into three separate, more granular, graphs, one for each color.
The luminosity histogram shows the detail you captured, but it doesn’t tell you whether you lost color. In fact, the luminosity histogram could look fine even when two of the three RGB channels are clipped (cut off, indicating color is lost). So in high dynamic range scene (extreme highlights and shadows), or scenes with an extreme amount of one color (such a brilliant sunset or a backlit poppy), checking the RGB histogram to ensure that none of the image’s color channels is clipped is especially important. The solution for a clipped RGB channel (or two) is to reduce the exposure.
There’s no such thing as a “perfect” histogram shape. Rather, the histogram’s shape is determined by the distribution of light in the scene, while its left/right distribution (whether the graph is skewed to the left or right) is a function of the amount of exposure you’ve chosen to give your image. The histogram graph’s height is irrelevant—information that appears cut off at the top of the histogram just means the graph isn’t tall enough to display all the photosites possessing that tone (or range of tones).
When checking an image’s histogram for exposure, your primary concern should be to ensure that the none of the tone data is cut off on the left (lost shadows) or right (lost highlights). If your histogram appears cut-off on the left side, shadow detail is so dark that it registers as black. Conversely, if your histogram appears cut off on the right side, highlight detail is so bright that it registers as white.
Basing the image’s exposure on the way the picture looks on the LCD is the single biggest exposure mistake I see photographers make. The post-capture review image that displays on your camera’s LCD is great for checking composition, but the range of tones you can see in your review image varies with many factors, such as the review screen’s brightness setting and the amount of ambient light striking the LCD. Even more important, because there’s more information captured than the LCD preview can show, even in the best conditions, you’ll never know how much recoverable data exists in the extreme shadows and highlights by relying on the LCD preview.
It’s human nature to try to expose a scene so the picture on the LCD looks good, but an extreme dynamic range image that looks good on the LCD will likely have unusable highlights or shadows. As counterintuitive as it feels, exposing a high dynamic range scene enough to reveal detail in the darkest shadows brightens the entire scene (not just the shadows), likely pushing the image’s highlights to unrecoverable levels. And making an image dark enough on the LCD to salvage bright highlights darkens the entire scene, all but ensuring that the darkest shadows will be too black.
In fact, a properly exposed, a scene with both bright highlights and dark shadows, such as a sunrise or sunset, will look awful on the LCD (dark shadows and bright highlights) because there’s information there you can’t see (yet). The histogram provides the only reliable representation of the tones you captured (or, in your live-view LCD display or mirrorless electronic viewfinder, of the tones you’re about to capture).
Starting with the live-view screen, and now in mirrorless viewfinders, we can view our histogram before clicking the shutter. So instead of guessing the exposure settings that return the tones we want, we have an actual pre-capture picture of the tones to monitor and adjust.
Using the pre-capture histogram—almost always in my Sony mirrorless viewfinder, but the histogram on a mirrorless or DSLR LCD screen will work too—I start the exposure process as I always have. In manual exposure mode, I default to my camera’s best ISO (100 for most cameras, but definitely not all, so check your camera’s native ISO), and the best f-stop for my composition. I don’t touch these settings unless motion in my scene, such as wind or star movement, forces an ISO and/or f-stop compromise. With ISO and f-stop set, I slowly adjust my shutter speed with my eye on the histogram until it looks right. Click.
In a low or moderate contrast scene, I’ll have a little room on both sides of the histogram (the graph doesn’t bump up against either side)—a very easy scene to expose. But in a high dynamic range scene, the difference between the darkest shadows and brightest highlights might stretch beyond one or both sides of the histogram. When a high dynamic range scene forces me to choose between saving the highlights or the shadows, I almost always bias my exposure choice toward sparing the highlights, carefully dialing the shutter speed until the histogram bumps against the right side.
When forced to decide between the highlights or shadows, I almost always try to spare the highlights, for a couple of reasons: First, shadows are usually easy to recover than highlights; second, highlights are almost always more important than shadows. In fact, because the human eye is reflexively drawn to the brightest areas of the frame, I rarely have anything important in the shadows of a high dynamic range scene.
The post-capture histogram is usually more reliable than the pre-capture histogram. Sometimes this doesn’t matter, but in a high dynamic range scene, or any time I push my histogram close to the right side, I verify my exposure by checking the post-capture histogram. Another situation that can sometimes fool the pre-capture histogram is blurred (long exposure) whitewater.
Most mirrorless cameras, and many newer DSLRs, offer “zebra” highlight warnings in their pre-capture view. The first time I meter a scene, my camera’s current exposure settings (based on my previous scene) might be far from what the new scene requires. When that’s the case, I push my shutter speed fast until the zebras appear (if my prior exposure was too dark) or disappear (if my prior exposure was too bright), then refine the exposure more slowly while watching the histogram. While these alerts aren’t nearly as reliable as the histogram and should never be relied on for final exposure decisions, I use their appearance as a signal that it’s time to monitor my histogram.
Photographers who shoot raw make exposure decisions with the understanding that the capture exposure is simply the start, and the final exposure is determined by the processing. But the more photons you capture, the greater your latitude for adjustment later.
Trusting the histogram is a great start, but every camera model interprets and displays its exposure information differently. Added to that, the histogram is based on the jpeg the camera displays, so raw shooters always have more image information than their histogram shows—it’s important to know how much more.
With my Sony a7R bodies, I know I’m pretty safe pushing my histogram at least a full stop beyond the left or right (shadows and highlights) histogram boundary. This knowledge enables me to get the most out of even the most challenging high dynamic range scenes.
Like most things in photography, the more you do it, the easier it becomes. For many people reading this, my approach is nothing revolutionary. But if it’s all new to you, or if you feel a little rusty, I suggest that you go out and try it in a low stress situation. Keep working on it whenever you find yourself in a situation where getting the shot doesn’t feel life or death.
When you do get into one of those “Oh my God, look at that!” moments, go back to whatever feels most comfortable to you. I think you’ll find that it won’t take too much practice before the right way is also the most comfortable way.
Click an image for a closer look and to view a slide show.
Posted on October 21, 2018
Read about the travails leading up to this shoot in my previous post. But enough about that….
I’m afraid that when faced with a beautiful scene, photographers (myself included) sometimes settle for the obvious shot and leave more subtle opportunities on the table. But the most creative photography (though not necessarily the most popular) comes from looking beyond the obvious to find the scene’s essence.
The question photographers should ask themselves is: What about this scene makes it special? That’s really a personal challenge with as many answers as there are photographers seeking them. Once we identify something to emphasize, we need to figure out the best way to guide our viewers’ eyes. The tools at our disposal include our exposure settings to control the scene’s motion, depth, and light, and compositional elements like isolation, juxtaposition, lines, and shapes.
There were many “obvious” shots at North Lake this morning, and my group certainly did its best to exhaust them. But we spent enough time there that I was able to make it around to everyone to encourage them to break free of whatever they were locked onto and try to find something different. A couple dropped low with a wide angle to put foreground rocks close, some extracted a telephoto and isolated the reflection and/or colorful aspen across the lake, while others switched to a vertical composition that emphasized the clouds building above the peaks. Many played with variations of some or all of these approaches. I’ve shot here enough that I pretty content to observe, until…
About an hour into the shoot the clouds behind us parted and a shaft of sunlight snuck through to spotlight the cascade of orange across the lake, and I couldn’t resist. This sweet accent would be lost to wide field of the Sony 16-35 f/2.8 GM lens I’d had on my a7RIII all morning, so I (very) quickly replaced it with my Sony 24-105 f/4 G and went to work isolating the scene’s best elements. Even though I hadn’t shot much, I’d been composing in my head all morning, so I had a pretty good idea what I wanted to do.
In my mind the scene’s best feature was the vivid color and its reflection. But as striking as these features were, to turn it from a scene into a picture, I needed something to move the eye, and a visual landing place. Enter the zig-zag diagonals and fortuitously positioned sunlight.
I wanted to compose as tightly as I could without losing the light and reflection. With the color as my canvas, I simply let the diagonals span the frame (taking care to include the intersection on the left), and the sunlight fall near the top.
Click an image for a closer look and slide show. Refresh the window to reorder the display.
Posted on October 19, 2018
By the time I made it to North Lake for sunrise, I’d already had a trying morning. After some frustrations with the cars, my Eastern Sierra workshop group had gotten on the road about five minutes later than I’d planned. Fortunately I always schedule a little wiggle room, so we were on track, but still…. Then, just a couple of miles before the turn-off to the lake, I had to swerve to avoid a grapefruit-sized rock in the road, barely avoiding it. Phew. But the middle car in our mini-caravan wasn’t so lucky: Flat tire. Crap.
This year’s group had 13 people (including Don Smith, who was assisting, and me), but this little mishap suddenly dropped us to two cars (10 seats), with sunrise rapidly approaching. Surveying the damage, I decided that rather than make everyone wait, we could still cram all but three of us into the two remaining cars. I sent them up to the lake in Don’s care while I stayed behind with the unfortunate couple and their wounded car. Once everyone was situated at the lake, Don agreed to return in case we weren’t able to replace the tire.
Don pulled up about 20 minutes later, just as I put the finishing touches on the miniature spare. After a brief discussion we decided it wouldn’t be wise to take that (poor excuse for a) tire on the unpaved North Lake road, so the couple decided to return to Bishop to get their tire replaced. Since that would leave us with 11 people to transport with the two remaining cars, Don volunteered to return with them to Bishop while I drove up to North Lake to meet the group.
So I was pretty much worn out by the time I parked, hefted my camera bag onto my back, and started the short walk down to the lake. Making it to the lakeshore right around “official” sunrise, the scene that greeted me was an instant jolt of energy. In nature photography you do your best to time your visit for the best possible conditions, but ultimately have to deal with whatever you’re dealt. The variables we cross our fingers for at North Lake are good color, a crisp reflection, and nice clouds. We hit the trifecta this morning, with peak color from top to bottom across the lake (and everywhere else), water like glass, and a sublime mix of swirling clouds and blue sky. An unexpected bonus was the relatively small number of photographers competing for space at this always popular autumn sunrise spot.
One of the things I like most about North Lake is the variety of fall color here, a rare sight in California. The trees on the slope are a mix of orange and red, while those lining the lake are always vivid yellow. I’ve photographed North Lake a lot over the years, and my own photography during a workshop is never my priority, so I rarely photograph here anymore. But this morning was special and I couldn’t resist, so as I moved around to everyone in the group I found time to fire off a few frames of my own.
The background of the image I share here is a version of the broader, more conventional scene that is usually the starting point for a North Lake fall color composition. (In future posts I’ll share one or two others that I think capture the less obvious essence of the scene.) As always, I worked to find a foreground that complemented the primary scene, finally settling on the tall grass as a frame for the reflection and the the scene beyond—I thought the grass added just enough detail without distracting.) I liked the clouds, but the color was long gone by the time I was able to photograph, so I decided not to include too much sky. Finishing the scene off, I panned left to include a tall, yellow aspen for the left side of my frame. I composed, metered, and focused at eye level, but to get as much reflection as possible, before clicking I elevated my RRS TVC-24L tripod (I love having a tall tripod) to its maximum height, then used the tilting LCD on my Sony a7RIII to restore the composition I’d identified.
Given the way things started out, it would have been very easy to just pack it in and write the morning off as a loss. But despite the difficulties, this turned out to be a wonderful morning of photography for everyone. Just one more reminder that the happiest endings often start with a little hardship.
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Posted on September 23, 2018
Autumn has arrived, my favorite season for creative photography. To kick off the festivities, I’m sharing an updated version of a post I wrote a few years ago explaining the often misunderstood process responsible for it all.
Few things get a photographer’s heart racing more than the vivid yellows, oranges, and reds of autumn. And the excitement isn’t limited to photographers—to appreciate that reality, just try navigating the Smoky Mountains backroads on a Sunday afternoon in October.
But despite all the attention, the annual autumn extravaganza is fraught with mystery and misconception. Showing up at the spot that guy in your camera club told you was peaking at this time last year, you might find the very same trees displaying lime green mixed with just hints of yellow and orange, and hear the old guy behind the counter at the inn shake his head and tell you, “It hasn’t gotten cold enough yet—the color’s late this year.” Then, the next year, when you check into the same inn on the same weekend, you find just a handful of leaves clinging to exposed branches—this time as the old guy hands you the key he utters, “That freeze a few weeks ago got the color started early this year—you should have been here last week.”
While these explanations may sound reasonable, they’re not quite accurate. Because the why and when of fall color is complicated, observers resort to memory, anecdote, and lore to fill knowledge voids with partial truth and downright myth. Fortunately, science has given us a pretty good understanding of the fall color process.
It’s all about the sunlight
The leaves of deciduous trees contain a mix of green, yellow, and orange pigments. During the spring and summer growing season, the green chlorophyl pigment overpowers the orange and yellow pigments and the tree stays green. Even though this chlorophyl is quickly broken down by sunlight, it is continuously replaced in the process of photosynthesis that sustains the tree during the long days of summer.
As the days shrink toward autumn, things begin to change. Cells at the abscission layer at the base of the leaves’ stem (the knot where the leaf connects to the branch) start to thicken, blocking the transfer of carbohydrates from the leaves to the branches, and the movement of minerals to the leaves, that had kept the tree thriving all summer. Without these minerals, the leaves’ production of chlorophyl dwindles and finally stops, leaving just the yellow and orange pigments. Voila—color!
Sunlight and weather
Contrary to popular belief, the timing of the onset of this fall color chain reaction is much more daylight-dependent than temperature- and weather-dependent—triggered by a genetically programmed day/night-duration threshold, and contrary to innkeeper-logic, the trees in any given region will commence their transition from green to color at about the same time each year (when the day length drops to a certain point).
Nevertheless, though it doesn’t trigger the process, weather does play a significant part in the intensity, duration, and demise of the color season. Because sunlight breaks down the green chlorophyl, cloudy days after the suspension of chlorophyl creation will slow the coloring process. And while the yellow and orange pigments are present and pretty much just hanging out, waiting all summer for the chlorophyl to relinquish control of the tree’s color, the red and purple pigments are manufactured from sugar stored in the leaves—the more sugar, the more vivid the red. Ample moisture, warm days, and cool (but not freezing) nights after the chlorophyl replacement has stopped are most conducive to the creation and retention of the sugars that form the red and purple pigments.
On the other hand, freezing temperatures destroy the color pigments, bringing a premature end to the color display. Drought can stress trees so much that they drop their leaves before the color has a chance to manifest. And wind and rain can wreak havoc with the fall display—go to bed one night beneath a canopy of red and gold, wake the next morning to find the trees bare and the ground blanketed with color. And of course all these weather factors come in an infinite number of variations, which makes each year’s color timing and intensity a little different from the last.
Despite our understanding of the fall color process, Mother Nature still holds some secrets pretty close to her vest—just when we think we’ve got it all figured out, she’ll surprise us. For example, last year’s Eastern Sierra fall color featured lots of black leaves that I attributed to California’s extreme drought conditions. With the drought persisting, and in fact intensifying, this year, I feared this fall would be even worse. So I was quite pleased to find everything going along right on schedule, with lots of yellow, more red than usual, and hardly a black leaf to be seen. Go figure.
About this image
Driving Rock Creek Canyon north and east of Bishop, I pulled my car over at a random spot and wandered over to the creek. I found trees beyond peak and the creek bank blanketed with yellow aspen leaves, by far the predominant color in the Eastern Sierra. As I turned to return to my car my eyes caught a rare flash of orange. Moving in that direction, I found matching red-orange leaf less than a foot away.
I’m sometimes accused of placing or arranging leaves in my scenes, something I never do, but I understand why people might think that. I very consciously look for leaves that stand out from their surroundings that I can isolate in my frame.
Circling this scene, I didn’t have to work to hard to decide that a symmetrical diagonal arrangement was the way to go. A thin overcast made exposure easy.
Posted on February 9, 2018
My previous post was about dynamic juxtaposition in landscape photography—combining static landscape subjects with transient meteorological and celestial elements. The other side of the juxtaposition coin I call static juxtaposition: combining stationary landscape objects. I am a little reluctant to use the word “static” because there is one element that absolutely can’t be static in these compositions: You.
Since I don’t photograph people or wildlife, I often joke that I don’t photograph anything that moves. And because of this, I need to create motion by encouraging my viewers’ eyes to move through my frame, either providing a path for their eyes to follow and/or a place for them to land. Accomplishing this with static subjects isn’t necessarily difficult, but it does require some physical effort.
Most photographers don’t have a problem getting themselves to the general locations that align foreground and background subjects, but many get a little lazy once they’re there, planting their tripods clinging to the spot like a ship an anchor.
Once I’ve arrived at a location and identified my primary subject, I challenge myself to find at least one other element on a different plane. Sometimes that’s easy, other times…, not so much. Nevertheless, when my subject is in the distance, I look for something closer that has visual weight; likewise, if my subject is nearby, I want something with visual weight in my background. Visual weight is something that pulls the eye: a flower, tree, shrub, leaf, reflection, rock—I could go on, but you get the point. Sometimes it’s not even a distinct entity, but rather a pattern, texture, color, or splash of light.
My secondary subject can have strong aesthetic value or not—sometimes it’s there simply to balance the frame, while other times it has almost as much visual appeal as my primary subject. Regardless of its visual strength, my secondary subject’s placement, both in the frame and relative to the scene’s other visual elements, can make or break an image. And lacking a forklift, pretty much the only way to change the relative position of two static objects in a photographic frame is carefull positioning of the camera (and the photographer behind it!).
As a general rule I avoid merging my essential visual elements—to do conflates those elements and sacrifices the illusion of depth that’s so essential in a two-dimentional image. Another thing I try to avoid is objects with visual weight at the edge of my frame because anything that pulls my viewers’ eyes toward the image’s boundary dilutes its impact.
Viewers’ eyes move most effectively through a scene by following lines. Sometimes those lines are tangible, like a horizontal horizon, vertical waterfall, or diagonal river. But often it’s up to me to create virtual lines—an implicit, connect-the-dots path between visual elements, or textures and shapes that frame my primary subject and constrain my viewers’ eyes. For example:
Last week I was at Mobius Arch beneath Mt. Whitney, the final stop of my annual Death Valley photo workshop. After three days of spectacular Death Valley sunrises and sunsets that seem to be trying to outdo the one before it, I didn’t dare to hope that the string would continue when we moved to the Alabama Hills.
The real show here is sunrise, when day’s first rays of sun color the Sierra Crest with alpenglow’s pink hues, even on clear sky mornings. Sunsets here require a little help. The view here faces west, so at sunset you usually find yourself photographing the shaded side of your subjects against the brightest part of the sky—not really a recipe for success. But a few clouds on the western horizon not only add color and texture, they soften the light. And that’s what happened last week.
Before sunset the thin, translucent cirrus layer was lost in the late afternoon glare, but as the sun dropped below the horizon, the clouds picked up its refracted long wavelengths and colored the sky deepening shades of red. Soon the color was so intense that it shaded weathered granite boulders.
The three elements I wanted to feature in my composition were Mobius Arch, the Sierra Crest (Lone Pine Peak and Mt. Whitney), and the colorful sky. As dramatic as the Sierra Crest is, the star of this scene is the arch. With no real access to a telephoto view, filling my frame with the arch means a wide angle lens that includes too much sky. But the vivid color this evening gave me a rare opportunity to include a sky worthy of the rest of the scene.
My Sony 12-24 f/4 G lens allowed me to within a couple feet of the arch while still fitting it in my frame. With the Sierra Crest framed by the arch, I was careful to position myself so both Lone Pine Peak (on the left) and Mt. Whitney (on the right) were visible. Finally, I needed to decide the camera height. When the sky is less interesting, I raise my camera to fill the arch’s opening with the mountains and minimize the sky. But this evening the colorful sky was an asset, so I dropped as low as I could to maximize it.
At such a wide focal length, depth of field was a piece of cake—I didn’t need to check my hyperfocal app to know that I had lots of margin for error. Focusing toward the back of the arch, I easily achieved the front-to-back sharpness I wanted. Click.
Posted on October 21, 2017
Leading 15-20 photo workshops per year means coming to terms with photographing the same locations year in, year out. This is not a complaint—I only guide people to locations I love photographing—but it sometimes makes me long for the opportunity to capture something new. Which is why I’m loving visiting my familiar haunts with my newest lenses, the Sony 12-24 G and Sony 100-400 GM. (I’ve had the Tamron 150-600 for a couple of years, but find it too big to lug routinely.)
Back-to-back Eastern Sierra workshops earlier this month meant multiple visits to Mono Lake. My first group hit the jackpot on our South Tufa sunset shoot, finding a glassy reflection (usually reserved for sunrises here) beneath a striking formation of cirrocumulus clouds. Because I was with my group, and I’d guided them all to the spot where the majority wanted to be (justifiable so for first-time visitors), I couldn’t go out in search of something a little different. Instead I just whipped out my 12-24 lens, dropped my tripod to lake-level with one leg in the water, and started composing.
I’m still getting used to shooting at 12mm, which is not only considerably different from what my eyes see, it’s considerably different from what I’ve become used to seeing in my viewfinder (the difference between 16mm and 12mm is huge). The lesson here is the importance of a strong foreground in a wide composition—the wider the focal length, the more important the foreground becomes. Here the entire lakebed was so alive with color and shape, and the water was so still and clear, finding a foreground wasn’t really a problem. I just needed to make sure I organized all the scene’s visual elements into something coherent.
Anchoring my frame with a nearby quartet of small rocks (just a couple of feet away) and a larger protruding lump of tufa a little behind it (everything else in my foreground was submerged), I peered into my viewfinder and quickly decided to go for symmetry with the larger background elements. The clouds couldn’t have been more perfectly positioned—combined with their reflection, they seemed to point directly my composition’s centerpiece, the “Shipwreck” tufa formation (not really an official name, but widely used) that is probably Mono Lake’s most recognizable feature. At 12mm depth of field wasn’t a huge concern—I focused about three feet into the scene and was able to achieve sharpness throughout my frame.
Anyone who has ever been to Mono Lake’s South Tufa can appreciate, looking at this image, how 12mm on a full frame body shrinks distant subjects—the Shipwreck is a very prominent feature here, but the wide lens shrinks it to almost secondary status. On the other hand, dropping down and getting as close as possible to the shore at 12mm really emphasizes the beautiful submerged patterns.
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