3 days ago
December 25, 2012
December 18, 2012
Paris—No 5
When people talk about things that
are “over the top,” I think of Palace of Versailles, which is about twelve
miles outside of Paris and an easy train ride.
The court of Versailles was the
center of political power in France from 1682, when Louis XIV moved
from Paris, until the royal family
was forced to return to the capital in October 1789 after the beginning of the French Revolution. Versailles is therefore famous not only
as a building, but as a symbol of the system of absolute monarchy of the Ancient Regime.
According to one of the write-ups
within the Versailles, at its high point, to run and maintain this palace, it
took about 20% of all the taxes collected by the French government—now that is
living in style.
Today’s photo is of the hall of
mirrors. I manually focused my
camera about one third of the way into the scene and then held it over my head
and clicked away. My main concern
was keeping the camera level.
Enjoy.
Camera settings: Nikon D800, 28-300mm f/3.5~5.6 at 28mm, ISO 1600, f/8 at 1/60th of a second.
Post Processing:
Lightroom 4—applied Vivid preset during import, set white and black points, increased shadows and decreased highlights and added vibrance and clarity.
December 14, 2012
Paris—No 4
There are certain places in the
world that no matter how good cameras get, they will no be able to capture the
beauty of the scene. La Sainte-Chapelle is one of those places.
The chapel is located on Ile de la
Cite and was the royal chapel for King Louis IX. The chapel is considered among the greatest Gothic
architectures.
Every time I have visited the La
Sainte-Chapelle, some part of it has been under restoration; therefore, a photo
of the entire chapel would include some not-so-picturesque scaffolding. In addition, the chapel is dark but
because light streaming through the stained glass windows has a high dynamic
range of light—again complicating the photo taking process.
My Paris trip allowed me to use my
Nikon D800 much more than I have ever used it. I was quite surprised and happy with two elements of the
camera: (1) its ability to produce
clean photos at much higher ISOs than the Nikon D3x; and (2) a very large
dynamic range of the sensor—overall, probably a stop or two more than the Nikon
D3.
My post processing included some
work in Photoshop CS5 because I wanted to bring out the details and Lighroom
would did not produce the results that I wanted.
Enjoy.
Camera settings: Nikon D800, 28-300mm f/3.5~5.6 at 28mm, ISO 2500, f/3.5 at
1/15th of a second (braced against some scaffolding).
Post Processing:
Lightroom 4—applied Standard preset
during import, set white and black points, increased shadows and decreased
highlights and added vibrance and clarity.
Photoshop CS5—applied nik
Color Efex Pro Detail Extractor and Tonal Contrast filters and sharpened photo
using high pass filter method with blending mode set to overlay.
December 4, 2012
Paris—No 3
In my first post, I mentioned that
museums were one of my favorite things about Paris. If you go to Paris, I recommend that you get the museum pass
that is for specified number of days and allows you to get into more than 60
different museums in and around Paris.
Great way to see a lot of the museums of Paris.
I do not consider today’s photo as
a great photo—it may not even be a good one. But, it is one that I really like—for some reason!
The photo was taken inside Musse D’Orsay. The museum is the home of some of the best Impressionist paintings—probably my favorite school of painting. Musse D’Orsay building was a terminal for the railways of southwestern France until 1939. It became obsolete because of longer trains. The architecture is great. There are two large clocks that looks-out over the city. I first thought that I would wait for the people to clear the room but as I stood there, I began to think that the people really added to the scene. I wished that I could have used flash, but photographs are not allowed within the museum (even though you see everyone taking photos with their point-and-shoots) and I did not want to risk having security kick me out!
I could not decide whether I like this better in color or black and white, so I included both in this post.
Enjoy.
Camera settings: Nikon D800, 28-300mm f/3.5~5.6 at 28mm, ISO 320, f/8 at 60th of a second.
Post Processing:
Lightroom 4—applied Standard preset during import, set white and black points, increased shadows and decreased highlights and added vibrance and clarity.
The photo was taken inside Musse D’Orsay. The museum is the home of some of the best Impressionist paintings—probably my favorite school of painting. Musse D’Orsay building was a terminal for the railways of southwestern France until 1939. It became obsolete because of longer trains. The architecture is great. There are two large clocks that looks-out over the city. I first thought that I would wait for the people to clear the room but as I stood there, I began to think that the people really added to the scene. I wished that I could have used flash, but photographs are not allowed within the museum (even though you see everyone taking photos with their point-and-shoots) and I did not want to risk having security kick me out!
I could not decide whether I like this better in color or black and white, so I included both in this post.
Enjoy.
Camera settings: Nikon D800, 28-300mm f/3.5~5.6 at 28mm, ISO 320, f/8 at 60th of a second.
Post Processing:
Lightroom 4—applied Standard preset during import, set white and black points, increased shadows and decreased highlights and added vibrance and clarity.
November 30, 2012
Paris—No 2
We stayed in small hotel in the 6th
Arrondissement. Our hotel was
about three blocks from Jardin du Luxmbourg. About three doors down from our hotel was Le Timbre, a
sixteen-seat restaurant that severs great country French cuisine. We ate there twice and enjoyed
both of the meals.
JD ordered a terrine the second
time we ate at Le Timbre. It was
the best terrine that I have ever eaten.
We were seated right next to the kitchen, which was separated from our
table by a simple bar. I told the
chef (also the owner) that the terrine was the best that I had ever eaten and
would love to have the receipt.
About ten minutes after my request, he placed the receipt on our table. Of course I thanked him for the receipt but really did not look at it very closely. I decided to make the terrine for Thanksgiving so when I took it out and began to study it I noticed couple things—first, the receipt was a combination of English and French and second, all the measurements were in Metric/Celsius. Thanks to JD, the translation was relatively easy and thanks to converters on my iPad, the conversion was also relatively simple.
The terrine? It came out GREAT!
Enjoy.
Camera settings: Nikon D800, 28-300mm f/3.5~5.6 at 62mm, ISO 2200, f/4.8 at 160th of a second.
Post Processing:
Lightroom 4—applied Standard preset during import, set white and black points and added vibrance and clarity.
About ten minutes after my request, he placed the receipt on our table. Of course I thanked him for the receipt but really did not look at it very closely. I decided to make the terrine for Thanksgiving so when I took it out and began to study it I noticed couple things—first, the receipt was a combination of English and French and second, all the measurements were in Metric/Celsius. Thanks to JD, the translation was relatively easy and thanks to converters on my iPad, the conversion was also relatively simple.
The terrine? It came out GREAT!
Enjoy.
Camera settings: Nikon D800, 28-300mm f/3.5~5.6 at 62mm, ISO 2200, f/4.8 at 160th of a second.
Post Processing:
Lightroom 4—applied Standard preset during import, set white and black points and added vibrance and clarity.
November 27, 2012
Paris—No 1
More-or-less on the spur of the
moment, JD and I recently visited Paris for a week. Before I retired, I would often go to Paris on business but
have not been back since I retired.
I love Paris. There are so many great things there—great food, great wine, wonderful museums, fabulous walking and a certain excitement everywhere you go.
This time, Paris seemed tired. The people seemed to have lost their great love of life. They seemed to be just going through the motions.
Today’s photo is of one of Paris' great icons—the Eiffel Tower at sundown taken from the Esplanade du Trocadero.
Enjoy.
Camera settings: Nikon D800, 28-300mm f/3.5~5.6 at 70mm, ISO 1600, f/11 at 1/2 of a seconds on a tripod
Post Processing:
Lightroom 4—applied Vivid preset during import, set white and black points and increased overall vibrance and added clarity to the Eiffel Tower using the adjustment brush.
I love Paris. There are so many great things there—great food, great wine, wonderful museums, fabulous walking and a certain excitement everywhere you go.
This time, Paris seemed tired. The people seemed to have lost their great love of life. They seemed to be just going through the motions.
Today’s photo is of one of Paris' great icons—the Eiffel Tower at sundown taken from the Esplanade du Trocadero.
Enjoy.
Camera settings: Nikon D800, 28-300mm f/3.5~5.6 at 70mm, ISO 1600, f/11 at 1/2 of a seconds on a tripod
Post Processing:
Lightroom 4—applied Vivid preset during import, set white and black points and increased overall vibrance and added clarity to the Eiffel Tower using the adjustment brush.
November 16, 2012
New York City before Sandy—Part 5
Lights! Action! New
York City!
Walking along 8th Avenue
and 42nd Street, I came across this scene. To me, it says:
New York City at night. In the photo, I wanted it to be totally about the
bright lights and the dynamic movement.
Again, here is hoping that all of
you affected by Hurricane Sandy get back to normal as soon as possible.
Enjoy.
Camera settings: Nikon D4, 28-300mm f/3.5~5.6 at 70mm, ISO 1600, f/8 at
1/90th of a seconds.
Post Processing:
Lightroom 4—applied Standard preset
during import, set white and black points and added vibrance and added clarity
to make the photo look similar to an HDR photo and used manual lens correction
to adjust the distortion of the buildings.
November 13, 2012
New York City before Sandy—Part 4
Today’s photo is another one taken
in New York City’s Times Square.
It is one of JD’s favorite photos from our trip this year.
You are probably asking
yourself: “why are all of these
people setting in Times Square?”
Well, every year the opening opera of the New York Metropolitan Opera is
projected on screens in Times Square.
You can see four screens in the photo, but I counted sixteen screens
that were showing the opera.
What do I like about the
photo? For sure, it is the
intensity of the viewers watching the screens. They are totally into the performance.
Enjoy.
Camera settings: Nikon D4, 28-300mm f/3.5~5.6 at 70mm, ISO 3200, f/5.6 at
1/90th of a seconds.
Post Processing:
Lightroom 4—applied Standard preset
during import, set white and black points and added vibrance and added clarity
to make the photo look similar to an HDR photo.
November 9, 2012
New York City before Sandy—Part 3
Lots of people often default into
thinking about “the bright lights of Times Square.” Now, Times Square is not one of my favorite places in New
York City, yet I do believe that it does illustrate what is New York City—for
better or worse.
Here is a photograph of a clown
that was walking around the area.
Immediately upon me raising my camera to my eye, he broke into this
pose. I like the photo because it
is a typical scene that you will see in Times Square.
Enjoy.
Camera settings: Nikon D3, 28-300mm f/3.5~5.6 at 70mm, ISO 1600, f/5.6 at
1/30th of a seconds.
Post Processing:
Lightroom 4—applied Standard preset
during import, set white and black points and added vibrance and added clarity.
November 6, 2012
New York City before Sandy—Part 2
Again, looking over photographs of
New York City that I took over the past two years, this one struck me as
“typical NYC.”
Today’s photo shows the main
reading room of the public library.
When I worked in Deloitte’s executive office during the mid-1970s, I
would often walk across the street and spend my lunch hour reading in this
room. It is a beautiful room and
always full of people.
Enjoy.
Camera settings: Nikon D4, 28-300mm f/3.5~5.6 at 28mm, ISO 1600, f/3.5 at
1/30th of a seconds with camera braced on top of bookcase.
Post Processing:
Lightroom 4—applied Standard preset during
import, set white, black points
and added vibrance and added clarity, sharpness and contrast to lower portion
of photo with an adjustment brush to bring out detail.
November 2, 2012
New York City before Sandy—Part 1
I have been looking at many
photographs of New York City after Hurricane Sandy hit. Both in 2011 and 2012, I spent a week
in New York City. It is almost
spooky looking at the streets of New York without any people in the scene. It’s just not New York City.
When I think of New York City, I
think hustle and bustle, people hurrying here and there, and, of course,
strange scenes just about everywhere you look.
When you look at today’s photo, you
just got to think: “what does a
New York Police officer think of this unpaid advertising?”
Our prayers go out to everyone affected by Hurricane Sandy. Those of us who live on the Gulf Coast know what you are going-through.
Enjoy.
Camera settings: Nikon D3, 28-300mm f/3.5~5.6 at 120mm, ISO 800, f/5.6 at
1/500th of a seconds.
Post Processing:
Lightroom 4—applied Standard preset during import, set white and black
points and added vibrance and clarity.
October 31, 2012
Importance of Color Combinations
This is a photo I took right after
I received my Nikon D800. I wanted
to see how much detail that I could get from my new camera. And, as I found out, more than enough!
The details in the flower are
great, but to me, what makes this shot is the color combination of deep green
background (which fades nicely into the background) versus the strong, vibrant
purple and magenta of the flower (which brings the flower to the front of the
image).
Color combinations are very
important and I think that many of us photographers do not pay enough attention
to it; and then, we are surprised when we see how well good color combination
work. So, what’s the moral to this
story: pay attention to different
colors you have within your frame and try to work with color combinations that
go together—usually, colors on opposite sides of the color wheel help bring-out
each other.
Enjoy.
Camera settings: Nikon D800, 85mm f/1.4, ISO 100, f/11 at 1/20th
of a second on a tripod with Elinchrom Quadra flash with large softbox to left
of camera.
Post Processing:
Lightroom 4—applied Landscape preset
during import, set white and black points, added vibrance, adjusted hue of
greens and increased the saturation of purple and magenta and added clarity and
vibrance to flower with adjustment brush.
October 30, 2012
Photos that All Photographers Must Take—But Why?
I was looking through photographs
taken by serious photographers on a website a couple weeks ago and all of
sudden, it struck me that there are photographs that are “standards” that all
photographers seemed compelled to take.
Today’s photo is one of them—a male peacock with its tail spread.
When I see a photo like this one, I usually think: “same ole, same ole.” Yet, when I was presented with the
opportunity to photograph this peacock I took over 70 frames of this peacock.
Why? I have no idea.
Is my photo any better than the thousands that I have seen before. Not really. So why did I spend so much time taking and retaking photos
of the subject?
I have no idea!
Enjoy.
Camera settings: Nikon D4, 24-70mm f/2.8, ISO 200, f/8 at 1/500th
of a seconds.
Post Processing:
Lightroom 4—applied Landscape preset
during import, set white and black points and added clarity and vibrance.
October 26, 2012
Trying Different Things
Last week I was at my Cole’s
baseball game and I saw a mother photographing one of the players (I assume it
was her son that she was photographing) through the fence. You can see the fence in the background; it is your normal chain-link fence. I
immediately thought: “Doesn’t she
know that the fence grades will show-up in her frame?” Then, I thought: “That might make for a most interesting
special effect.”
So, I then proceeded to copy
her. I probably shot 100 or so
images through the fence. I was
using my trusty Nikon 28-300mm and I was racked out to 300mm for most of the
shots. Additionally, I really
wanted to isolate on the batter so I usually shot at or near a wide-open
aperture, f/5.6 to f/6.3.
Image my surprise when I opened the
images in Lightroom and I saw none of the fence in the image. Rather, I had a good isolated image of
the batter. The first photo is a
full frame of the shot and the second image is a 100% crop of that image.
The point of today’s post is not to
shoot through fences at sporting events, rather, it is to try different things—you
never really know what you are going to get
Enjoy.
Camera settings: Nikon D4, 28-300mm f/3.5~3\5.6, ISO 1000, f/6.3 at 1/750th
of a seconds.
Post Processing:
Lightroom 4—applied Portrait preset
during import, set white and black points and increased contrast, clarity and
vibrance.
October 23, 2012
Nicole—Part 4
In today’s photo, there are two big
changes from last weeks post: (1)
I reoriented Nicole’s position so that I shot down the surf line thus picking
up the little color that was in the sky (note that most of the color is to Nicole's left yet I did not want to move more to her right because that would have made more of the beach area show with its many distracting elements); and, (2) Nicole’s pose had more
attitude and more connection with the camera. To me, the second change is the really big one because I do not think you can have a successful portrait of anyone without them engaging your camera. Compare the two photos. To me, last weeks was just a snapshot of what Nicole looks like; today's photo makes you think about who she is and what she is thinking when she stares down the camera.
I wanted to balance the flash with
the ambient light, so I increased the ISO to 800 and reduced the shutter speed
to 1/20 of a second. Because of
the slow shutter speed, I had to sit in the water and brace my camera on my
knees. I had Doug position
the flash above and to Nicole’s left.
In addition, we aimed the flash above Nicole’s head so that the light
would be very soft on Nicole and not be on the water.
This is more what I wanted but
still not up to Joe’s photo.
Enjoy.
Camera settings: Nikon D4, 24-70mm f/2.8, ISO 800, f/9.5 at 1/20th
of a seconds with an Elinchrom Quadra flash with a large octa softbox above and
to the left of camera.
Post Processing:
Lightroom 4—applied Portrait preset
during import, set white and black points and adjusted the luminance and
saturation of the colors in the sky.
Photoshop CS5—applied nik
Color Efex Pro glamour glow filter to Nicole and dodged and burned various
parts of the photo.
October 19, 2012
Nicole—Part 3
As I said in Nicole—Part 1, our
original purpose of this shoot was to rip-off Joe McNally’s photograph of a
woman playing a saxophone on a beach at sunset. I forgot to say that I think this is a great photo,
especially when in comes to mixing ambient and flash exposures.
We started our shoot just as Joe
did—having Nicole in the water with the ocean and sky in the background. Unfortunately, I did not recognize that
our backdrop was not the same. We
did not have the sun setting behind Nicole and we did not have the rich colors
in the sky behind. Yet, we still
set-up the shot as it was.
Overall, the light on Nicole is
nice, but the photo as a whole does not work. Nicole is properly exposed but the background is under-exposed by about an f-stop. There is no pop to the photo.
There is no compelling composition to make you study the photo. And, finally, it lacks gesture.
I show today’s photo to show where
we started so that you can better see how the session evolved.
Enjoy.
Camera settings: Nikon D4, 85mm f/1.4, ISO 200, f/6.7 at 1/60th
of a seconds with an Elincrhom Quadra flash on a pole above and to the camera’s
left.
Post Processing:
Lightroom 4—applied Portrait preset
during import, set white and black points and then applied various Lightroom
presets to the original picture.
October 16, 2012
Nicole—Part 2
Last week I met with some of my
professional photographer friends over dinner to discuss and review each
other’s work. We meet five or six
times a year. Usually the
discussions revolve around each other’s work, but last week, it was more about
an article that Dale had read about how technology is taking the art out of
photography. The article was
published in a French magazine (and in French), so there was no way that yours
truly would have known about it or been able to read it.
The group was all over the map
regarding whether they agreed or disagreed with the premise of the
article. Sometimes they even disagreed
with themselves—which I always find amusing because I do that with myself, quite
often!
The whole discussion got me
thinking about how I view images.
To me, images that come from a camera fall into three main camps: snapshot, pictures and photographs. To me, a snapshot is the result of
raising the camera and pushing the shutter without any conscious thought or intent
for the image; a picture results when the photographer looks at the subject and
tries to capture it in a way that helps the viewer see what the photographer is
seeing by using composition and focus to help direct the viewer; and finally, a
photograph, to me, results when the photographer instills the image either an
emotional or an intellectual aspects into the image—it moves the viewer beyond
the idea that the image is a “nice photo.” A photograph makes the viewer do something other than just
“look at the image.”
Now, what does all of this have to
do with Nicole? Well, last week’s
photo of Nicole is a picture. I
think it is sharp, its composition directs the attention to her, but it does
not ask anything of the viewer. It
is a good historical representation of what I was seeing—provided I tilted my
head!
In today’s images, I simply applied
various Lightroom presets to virtual copies of last week’s picture. By simply pushing a button, I think the
picture was transformed into something that takes the viewer out of his/her
comfort zone and asked them to think about what they are seeing. Is enough to make the picture into a
photograph? And, by merely,
pressing a single button have I validated the author’s premise?
You decide.
Enjoy.
Camera settings: Nikon D4, 85mm f/1.4, ISO 200, f/2.8 at 1/2000th
of a seconds.
Post Processing:
Lightroom 4—applied Portrait preset
during import, set white and black points and then applied various Lightroom
presets to the original picture.
October 12, 2012
Nicole—Part 1
In August, the Three Amigos (Steve,
Doug and I) ventured to beaches on Galveston Island to photograph Nicole who is
a real trooper. The idea that
Steve and I originally had for the shoot was to rip-off a photograph that Joe McNally
did of a female saxophone player in the surf at sunset. You can see the video here.
Today’s photo was taken before the
sun began to set. Here, I wanted
Nicole to look like she was walking along the beach. I purposely angled my camera to make Nicole look more
dynamic and to add tension to the photograph (I believe that when the viewer
sees something that does not compute—the horizon-line at angle—the viewer has a
little tension). My instructions
to Nicole was to look directly at me with attitude. She pulled it off—in spades!
Enjoy.
Camera settings: Nikon D4, 85mm f/1.4, ISO 200, f/2.8 at 1/2000th
of a seconds.
Post Processing:
Lightroom 4—applied Portrait preset during
import, set white and black points.
October 10, 2012
My Vacation—Part 11
My final photo of my Maine vacation
and also lighthouses of Maine is the Nubble Lighthouse in York. This is one of the most photographed
lighthouses in the world. So,
naturally, I had to try my hand at it.
The lighthouse is no an island
about 200 yards from the mainland.
The photograph was taken at sunset (which was behind and to my left as you can see from the light hitting the island). I waited until the light turned golden and then I played around with my white balance until I got the color that I wanted. I tried various f-stops until I got everything in focus that I wanted in focus.
Although the light on the island was stunning, the sky behind the lighthouse had very little color in it. I purposely underexposed the shot by about ½ of an f-stop to help saturate the colors.
Although the light on the island was stunning, the sky behind the lighthouse had very little color in it. I purposely underexposed the shot by about ½ of an f-stop to help saturate the colors.
Overall, I was happy with the
results, but I wished that the clouds would have had more color. Maybe next time!
Enjoy.
Camera settings: Nikon D4, 28-300mm f/3.5~5.6 with at 28mm, ISO 800, f/16
at 1/45th of a seconds on a tripod and used my self-timer to trigger
the camera (did not have my cable release with me—it was back in my hotel room).
Post Processing:
Lightroom 4—applied Landscape preset
during import and adjusted various colors luminance and saturation.
October 7, 2012
My Vacation—Part 10
This is the lighthouse at Bass
Harbor that is just outside Acadia National Park. The photo was taken about 45 minutes before sunset. I had some nice golden light on the
lighthouse but the sky had little color from the sunset.
Again, I took three photos to
combine into an HDR image.
I liked the golden light on the
lighthouse versus the cool blue colors in the sky.
Enjoy.
Camera settings: Nikon D4, 28-300mm f/3.5~5.6 with at 28mm, ISO 100, f/16
at 1/90th, 45th and 20th of a seconds on a
tripod.
Post Processing:
Lightroom 4—applied Landscape preset
during import and exported three exposures to nik HDR2 where I combined the
photos into an HDR exposure.
October 3, 2012
My Vacation—Part 9
I thought I would finish-off my
vacation photos with three lighthouses.
The first photo is of the lighthouse at Cape Elizabeth which is just
outside of Portland. I walked
around the lighthouse for several minutes before I selected this location to
take the photo.
There was a lot of contrast in the
scene so I decided that an HDR image would be needed. Playing around with my cameras spot metering, I decided that
I would be able to shoot three shots and get the dynamic range of the image. I wanted the photo to look very
realistic so I was very light on the HDR controls.
Enjoy.
Camera settings: Nikon D4, 28-300mm f/3.5~5.6 with at 28mm, ISO 200, f/16
at 1/350th,180th and 90th of a seconds on a
tripod.
Post Processing:
Lightroom 4—applied Landscape preset
during import and exported three exposures to nik HDR2 where I combined the
photos into an HDR exposure.
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