Outdoor Photography - August 2011

SCENIC aes TRAVEL aye ealUetch __ Spoilers = eae Printers Fore ella Quali Wildlife Art” Discover Gap, Glow & STE fer Go Mobile With Handheld SupportsFlush Frames Wall Clusters & Splits ina Variety of Colors Designer Groupings of MetalPrints MetalPrints™ is a new art medium for printing photographs by infusing dyes directly into specially coated aluminum sheets. This creates an image with a magical luminescence, vibrant colors, and incredible detail. The surface is easy to clean, waterproof and scratch resistant. Choose from High Gloss, Satin, Sheer-Matte, or Sheer-Glossy surfaces. Available in a wide variety of sizes up to 40x60 with contemporary mounting and framing options. Learn more at www.bayphoto.com/metalprints.ALP WS Quality. Service. Innovation. b h WE WE'RE HERE FOR YOU! Dayp oteAugust 2011 Scenic FEATURES PORTFOLIO 50 SHADES OF WILDLIFE ‘South Atrican photographer Heinrich van den Berg strips his Cramatic willte images of color to create dimension and add emotion. They're stunning, graph, refined and evocative, 5y Willam Sawatich Photography By Heinrich van den Berg 74 ASSIGNMENTS Displaying some of the best from our coniine Assignments Galleries " we. Vol. 27 No. 7 Sports HOW-TO 46 WHY CHOOSE BLACK-AND-WHITE Creating a monochrome image lets you focus on form, texture, shape and composition Text And Photography By Jason Bradley 56 THE MAKING OF COMPELLING BLACK-AND-WHITE IMAGES. Beyond just removing color, sos how structure, tons form, texture and contrat all play key roles Text Arc Photography By Rob Sheppard tationships, 60 THE RAREST LIGHT Look for the gap ans the glow, anc you'l find ight that transforms a ‘scene into something extraorcinary Text And Photography 8) Glenn Randall 66 ADVANCED CLONING Retouching techniques give photographers more contral than er. Try @ combination of tools for removing acting elements trom almost any scene, ind Photography By Kevin McNeal More On Next PagePI Outdoor, I wlogra 1D) er notographer EQUIPMENT] 22 FIRST LOOK: SONY ALPHA SLT-A35 The next in Sony's growing ling of translucent-mircor DSLRs gives you true continuous AF and — tulHO video “ By Michae! J. MeNamara 78 PRINTERS FOR BLACK-AND-WHITE For making gallery-qualty paints, you need to have the right tool 86 GADGET BAG: STEADY SHOOTING \Versatle stabilzation solutions that bridge the gap between stils and video By Davi Wits 84 TRANSMIT IMAGE FILES. , ‘An Eye-Fi card and your tablet are an ideal field combination COLUMNS DEPARTMENTS 34 Tech Tips: 12 In This Issue The Technical Side 14 Cover Shot oF Baw 16 Showcase By George ti ” “ee 24 In Focus 40 Photo Adventure: 44 Favorite Places: Padang Wind River Range, 8 Bil Hatcher Wyoming 90 Travel & Worksho 42 Natural Connections: ove ot = The Timeless Moment 96 OP Marketplace OF be Light 122 ast Frame 6 Dovid Munch On The Web outdoorphotographer.com orite Places: Photographers from al over the world favorito nature photography locations. You can, tool P Blog: Featuring posts from photographers Michal Cian, Carnforth, Michael Fiya, Jay Goodrich, Jmy Markman ut New Products: Exciting new products feetured in lan Plant, Kevin Schafer, Rob Sheppard and lan Shiv. (OP's In Focus section appear earler on the website, In addition, OP Forums: Connect with fellow readers and discuss your you'll see the latest news releases from many diferent photo passion for nalure photography and outdoor adventures in sompanies right away, ‘our Outdoor Photographer Forums, 6 Outdoor Photographer ouldoohetogtahercomPack your gear. Go fast and light... . “ §6 When | go for a trail run, like to go fast and light, and have my camera with me. The Photo ‘Sport Series AW is designed for athletes who like to capture the meres flowepro lowepro.com/photosport Original”Create and Sell Your eBook Get distribution to the world's biggest eBook retailers and keep 100% of your net sales! 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(Your first 10 images are FREE) * Offers unique, professional, and eye-catching eBook cover design starting at just $99 www.bookbaby.com/bw e 877-961-6878amazon noo kobo Ré Lee “i eader iPadCELEBRATING 55 YEARS IOF INNOVATION me CRN Meta eneea ua ME ‘oy outdoorphotographer.com Editorial Esior Christopher Robinson Sener Eaters Maggie Douce, Ws Pits, Mike Stenevlet ‘anaaig Edtor Kim Castobery Desocate Edtx Dave Wilke (apy Ears Tom O'Leary, J Ana Flores Ear At Lage Rab Sheppard Fed Ester George D. Lapp [Bizabeth Carmel, Bil Hatcher, Dewitt Jones ‘Bob Krist, Fran Lanting, George O. Lepp ‘David Musnh, Wilir Nail in Clark, Mark Eebard Haris Lowis Kemper, James Lawrence aka Middleton, Jon Slankewcz ary! Benson, Jim Brandenburg, Cart CHton, Dane J. Cox Bruce Dae, James Kay, Robert Glenn Ketchum ‘David Muench, Mare Muench, Michael Nichole ‘dn Shaw, David Stovckli, At Wolo rector Kurt Sith at brestaratesrg Bone Kim Lee w.outdoorphotographer.com ‘rire Decor Wee Pits |Web At Dieter Mike Decker vo Peucten Patiela Thompson ‘es Prsrarmer Andy Nagal Web Peduiton Assocs vate Rove Photo Media Group Photourchy Group Ed Declor Christopher Robinson ao nap Yan un Ca, eral aarti in 1221 Wie nar Aon, C402 1176, 0) 20-400 fl rues asouau tw 9 sh ‘tle eaten op © 207 Hor Pekin Go Nom mye en a ‘crite ccc may ol ema date toe ‘rnp econ a oscar wan rade cab aon ten aed oes CDT ERS ada tat srs eet oes we snes sm [uw uaa etd pono os cts ts Wo tg eal ptt fee: senate cel wr een, ut eens tet angst Oa agraer ia lato ast clare ad eqns prt on ley mao, sly ss wd le arse ‘toy a yess aad a sz oan matt ass i a et ‘adr Popp to ayo etl aed pe eb espe ct rc Vasa iGunacs mate sup tate red wwe HRD mat ge a ea rn P hse rand ene cone melee yD rast so ero AE Wen ae ‘one tap hb an a Se SSR ts eo ey ey ma ‘a gn jt ula eke amc ashy ar yar et Ofc tn BAEK SES outer rt be cat ea. Tce WO fo Us. $0 pas $00 psa rn nas 9.0 ‘Ste hte e760 ja 8G ae tne Obra, 2121 sk MS Yam sarees. cho25-1 epee at vet Pec Wo wes esa Wed er re: re, (edo Petograper js Yeah VPs Cassin Cet 201 Wr A Capt igen Rtn dec twa pres ce To Subscribe Or For Subscription Questions: ‘ynuw.outdoorphotographer.com or (800) 283-4410 ‘or email OTPeusteervcdstutilmentcom BO © @&seal Bring majesty ai a bring Your Creativity to Life Mukhe Bring Your Creativity to Life with ry Black iser IMAGING reer Slack Civer 1.888.321.4665 IMAGINGYour chances of finding digital filters better than Heliopan? ETT aT eto EAA 99.9% reflection ree east) Cir s Po astra era Dooce et Saeed arareed Each side's top coating repels dust and moisture. 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Create the look you want with High Dynamic Range processing in Photomatix will ypically hove scene, you know thal even tl HF you .grophed « high-co blown out highl lat shadows. The Take three or more phoios a! varying exposure levels and load them info Photomatix soft dow details and you may futher adju you get the look you want, from raturcHooking to paintety, sureol Make every image capture your vision with Photomatix. on to this problem is High Dynami your liking, The resulting image Available for Windows and Mac OS X www.hdrsoft.comnA issue F/8 and be there! I! means be in the right place at the right time. In “The Raves! Light”..we take a look a a few types of light that dransform landscapes from beauiful scenes to Srame-worthy photographs. A lucky photograph will appen upon the right conditions from time to dime, but knowing what to look for and why it works will greaily increase your odds of getting prized images. y sister and T once made a bet ‘bout the song “Kodachrome” bby Paul Simon. At the time, Twas shooting almost excl sively black-and-white. [knew the characteristic curve of TRI-X as well as T knew the alphabet, and I could process 20 4x5 sheets ata time without a hitch, T was in love with black-and-white imagery. On the other hand, my sister fet black-and-white photographs looked old-fashioned, dull and boring. So it ‘was predictable that she bet the line in the song vwas “everything looks worse in black and white” while I stuck to my claim that it was “everything looks better in black and white.” Asusual, the wager was $1. To this day, I have my half ofthe bill safely tucked away because, as Paul Simon fans already know, tearing it in half was our only resolution. “Kodachrome” was released on the 1973 album, There Goes Riymin’ Simon, and in that recording, the lyric is “everything looks 12 Outdoor Photographer cutdeorphatograsercom worse in black and white,” while later record: ings on other albums have it as “everything Jooks better in black and white.” In a way, this bet and its outcome perfectly sum up my fee!- ings on color versus black-and-white. This is the annual Black & White Special Issue of OP, and we have several excellent how-to articles on the topic, as well as aremark~ able portfolio showcasing the dramatic willie ‘work of South African photographer Heinrich van den Berg. Getting back to Paul Simon's inconsistent ly that alot of people have the notion that if a photograph isn’t particularly good in if you just change it to black-and~ white, suddenly it will become art—that somehow everything looks better in black-and-white. Well, sometimes that’s true, and sometimes it’s not. In“Why Choose Blaek-And-White,” Jason Bradley spells out why some images work so well as monochromes while others simply don’t, He shows how to evaluate a scene to determine if it’s going to be a good candidate. Rob Sheppard expands on the topic in “The Making Of Compelling Black-And-White Images.” Sheppard takes several examples and shows why and how he converted them from color to monochrome. “Take a look at “Shades Of Wildlife” in this issue, which features Heinrich van den Berg’s stunning wildlife photography. Based in South Africa, van den Berg did a lot of work for Animal Planet and its famous TV show, Meerkat ‘Manor. 1 don’t see a lot of top-level black- and-white wildlife work, but van den Berg's is exceptional PIR and be there! It means be in the right place at the right time. In “The Rarest Light” by Glenn Randall, we take a look at afew types of light that transform landscapes from beaut ful scenes to frame-worthy photographs. A lucky photograph will happen upon the right conditions from time to time, but knowing what to Took for and why it works will greatly increase your odds of getting prized images, Randall Shows you what to look for and why to look forit. Color or black-and-white—when the light is special, the photographs will be, 100. Christopher Robinson, EditorMPIX ROARS! ¥ a BLACK & WHITE tae area OP a LIND This panchromatic, resin-coated paper provides excellent tone reproduction from your digital fs. The emulsion on Mpix True Black and White paper is siver-based. That translates fo the same neutral ene eet ee iene iene esa ecg acs TRY MPIX FOR YOURSELF Nx POA Sena Ta Tel od Pe ease eg eeeee ea eee eeJ Jee BST ai es ig or, Photographer: Heinrich van den Berg Location: Namib Desert, Namibi non EOS 3, Canon EF 17-35mm ff2.8L, Fujichrome Velvia 50, Gitzo carbon-fiber tripod with Manfrotto. ballhead, polariz Situation: In 2004, Heinrich van den Berg was on a monthlong road trip through Namibia when he took a detour to visit the granite formation known as the Spitzkoppe. Located in the Namib Desert, the “Matterhorn of Nami a dramatic group of bald outcrops that ie some 700 million years old, Although he hacin’t originally planned to visit the Spitzkoppe, van den Bi found it offered some surprising and dra matic desolate landscape is dominated by this peak, and everywher thereare rocks laying around, asif a land ‘ape architect had carefully planned and decorated the peak. The shapes of the k came out particularly well when the 3 got low, and on this afternoon there were interesting clouds that further enhanced the scene. In fact, th ‘were some of the only ones va saw on that whole four-we Intrigued by the plac nded up stayin, describes how he got this ima the first day, I tried to photograph the vet ea peak, but the images just didn’t work So on the next day, I experimented with Ce rity fi say ea eae zooming in and played around with , res arene ye abstract forms, On the third day, 1 ag Eales tak ase lea hace tae suemped wo phowgrph the wake By paaeie erie greta re easier dor oe eae the third day, T could eliminate all the Seer ee st ed o lis u = clutter in my head, and T simplified the ot id scene down tothe critical elements, which are in this photo a a aMPIX ROCKS! 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Estimat $579, Contact: Ginevat ble Street Price: Starts at CLASSIC CARRIER > Whether you shoot with a DSLR, Micro Four Thirds or rangefinder camera, the Think Tank Photo Retrospective § can handle your gear The shoulder bag holds a standard-szed DSLR with one to three lenses cor a complete Micro Four Thirds or rangefinder camera syster yet functional, the bag features remiovable dividers for creating a ‘customized layout, Sound Silencers for eliminating noise that coud scare off wife when ag, and plenty of zipper pockets for accessories. An expandable front pocket fits a pro-sized DSLR body or accessories. It's availa black and pinestane. Estimated Street Price: $129. Contac Think Tank Photo, (866) 558-4465, www. thinktankphoto.com. Yeon ra New Perspective Control for DSLR & Medium Format Cameras ecently, studio &architectural photographers wishing Call today for more information on our new PC-TS lenses: Se crea Reno a ee en ee en style view camera. Schneider's PC-TS lenses provide the 90mm PC-TS lens for DSLR cameras and the A\ se of DSLR & medium 5.6 120mm Aspheric lens, designed for the medium CR eae nt ee es anes Sra ence high-resolution optics and a precise, ze laterally up to 1 outdowphotographercom August 2011 31MONOSTAT OF SWITZERLAND {& Reaching Higher Limits ‘The revolutionary "Swivel Toe Stabilizer" allows: + Steady shots up to a60 degree angle to the horizontal + Stabilization in the vertical and horizontal axes. + Picture shooting on slippery surfaces, such as marble or ice, ‘and from moving vehicles. ee Tae Pe eur te ced Ceca TG) ‘maximum heights and retract to be highly transportable. Distributed by ACCURATE SALES, INC, 718-302-7083 + info@monostat. us www.monostat.us 32 Ovidoor Photographer MEMORY READER ¥ Updating its fash card reader to support faster cards and the higher-soeed USB. 3,0 interface, Lexar has designed the Professional USB 3.0 Dual-Slot Reader to help make your digital workflow more efficent. Like its predecessor, the new model handles CompactFlash and Secure Digital memory cards. What's new is that i's compatible with SDXC, which provides for larger capaclies and the higher-speed Interace of SD UHS+ If your computer supports USB 3.0, transfer times are noticeably faster. The reader can transfer images from SD and CF cards simultaneously, and it allows for easy fle transfer from one card to another. It has the same pop-up design as its predecessor, letting you close it when not in use. Estimated Street Price: $49, Contact: Lexar, (800) 789-9418, wavwulexar.com, HUNAN: Display your nature and travel photography in a book that's worthy of your ‘bookshelf or someone else’s using Blurb’s ProLine. Among the offerings are two heavy, professional-grade papers from art media manulacturer Mohawk Fine Papers, linen hardcovers in Oatmeal and Charcoal, plus a choice of fve heavy: ‘weight end sheets in charcoal gray, dove gray, warm gray, black and white. Each Of the options is offered & la carte to give you plenty of combinations from which to choose. The papers consist of two finishes: Pearl Photo and Uncoated. Pear! Photo has a luster semigloss surface that emulates real photographic papers, Uncoated is Mohawk’s Superfine Ultra white with an Eggshell fnish, Estimated Street Price: $63 (hardcover, dust jacket, with ProLine Linen and 81-120 pages). Contact: Blurb, www.blur.comiproline. | YyCanon LARGE-FORMAT MEDIA & pperforman with its imagePROG ge-format printers. Canon Premium Glossy Paper 2 and Premium Semi-Glossy Paper 2 doliver enhanced color range and high durabilty, The heavyweight a heavy woig softer finish and less reflection. FLASHPOINT LED & ‘The Flashpoint 500 LED (FPVL500) is, a dimmable light pane door Suitable for video a ing, the includes a removable yoke power cord that measures inches in fength. The 5mm roun o: $219. Contact dorarma EE COE eter defining black & white photography rm ‘Achromatie™ Ultra Black & White Digital Cameras * Bear Images sell all of the finest photo equipment ne tee ees eens eee rete Pree eee ee centre eee) Boers eee ee es neers ete ercar mt Bear Images Photographic, Inc. 417 Lambert Ave. Palo Alto, CA. 94306 650-321-2327 NOrane Con Ttttes tener MaRS Tern enesrn)tech [ijes The colored image of the koi and sparkling highlights was captured with a Canon EOS 50 Mark land Canon EF 24-105mm LIS USM lens. Exposure was '% sec. at (/19 to render the highlights on the water as stars. The image was converted to black-and-white using Nik Software Silver Efex Pro 2. Shoot Monochrome Or Convert Later? The Technical Side Of B&W Shoot Monochrome Or Convert Later? Filters For Digital B&W © Best Choices For IR Conver! IR: Fake Or Real? ¢ Printing Digital B&W ions [ By George D. Lepp With Kathryn Vincent Lepp | ‘Then I make my final decisions about the image when I've converted the RAW file and I'm with a full set of opti- mization tools in Photoshop, including black-and-white as ‘an option, Photoshop does a good job of black-and-white conversion and is improving all the time, Several plug-in soft- ‘ware programs facilitate the conversion to black-and-white in Photoshop. My favorite is Nik Software's Silver Efex Pro 2 (www.niksoftware.com), which offers a number of darkroom-like tools to allow the photographer to fine-tune the final black-and-white im When you work this w: every image you take isa potential black-and-white image of excellent quality, with full range of tones, But when. turing images that you intend, to finish in black-and-white, keep in mind that color will no longer carry the photograph, so composition and tonal range fare even more important. Filters For Digital BW T want to convert some of my digital captures into black-and-white images. When T used black-and- white film in earlier years, Ladded filters to the lens fo gain contrast or change the tones of certain colors. I regularly used yellow, orange and red filters. What filters should Fuse when capturing digital images for black-and-white? J. Crider Via the Internet +MORE On The Web (OP clams af ile an awe one at won auteorptegapkrcomleslunns, Fr tp, nove a ce ram OP sed Sable of works rere phoneSIGMA LENS for DIGITAL NEW RELEASE 8-16™™ F4,5-5.6 DC HSMEs In the digital age, I no longer use colored filters for blacl and-white capture, but I continue to use polarizing and neutral-density filters to achieve certain exposure and compositional effects. A polarizing fi ter adds contrast and darkens skies in the color image, which will carry over into the black-and-white conversion. T ‘most often use neutral-density filters at capture to lengthen exposure and change the properties of water. Those colored filters we used with black-and-white film aren’t usable with color digital capture, and if you've read. the preceding question, you know that even if you're anticipating black-and- white rendition, it’s best to eapture in color. Now we apply the filters to the image after conversion to black-and- white in Photoshop using adjustment layers and color channels. Remember x’ Evolution Series ackgact ono hoa volute ey laptop 5799 Tamrac’s new Evolution Series backpacks provide an unprecedented level of versatility. With their unique harness system, the Evolution Series backpacks can be carried three ways Wihile Tamrac’ Triple Access System™ provides three ways to access your gear. In addition to a DSLR with a lens attached, the Evolution 8 also carries a laptop, tripod, and other accessories and personal items, Fromthceoss 1-800-662-0717 For a FREE 80 page Color Catalog, call toll-free 36 Outdoor Photographer eutdeorphatoraphercem that a color filter on black-and-white lightens the same color in the image and darkens opposite colors. Thus, a red filter darkens blue skies, empha- sizing white clouds, but lightens the tones of red rocks, ‘A digital image is composed of the colors red, green and blue (RGB). Even after you convert a color image to black- and-Wwhite, those color channels are still accessible to you. Increasing the per centage of the image composed of any of the colors gives the effect of a filter of the same color. ‘The latest versions of Photoshop offer a Black and White Adjustment Layer that facilitates the use of channels to optimize black-and-white conversions, allowing the photographer to easily ‘change the percentage of six colors (red, yellow, green, cyan, blue and magenta) that make up the image, so you can take individual areas of color in your image (rocks, foliage, sky, water) and darken or lighten them. And in Photoshop, you can further select the area of the image to be affected by the color filter (as in just the blue in the sky, not the blue in the water), an option never possible with film and filters So leave those old colored filters behind. Because you now have the power o apply effects selectively in post-conversion processing, you can concentrate ‘on capturing the best quality image from the outset—and carry a little less gear. Best Choices For IR Conversions Iowan to get into digital infrared Photography. What camera should I choose for my conversion to IR? K. Neilson Via the Internet When making an IR conversion, most photographers choose an available camera they're not using anymore. Let's say you were using a Canon EOS SD before upgrading to the EOS SD Mark IL. The SD sits in a cabinet as a backup. But if you converted the SD to infrared, you'd have a very usefull 12-megapixel IR camera! Te been shooting digital infrared for quite awhile, and as T've upgraded my DSLRs over time, I've converted a Canon D30, a D6O and a 1Ds. A IDs Mark I is my current IR machine; it’s an excellent camera, but it’s big and heavy, so it often gets left behind whenOren ee OT me eat ER Mela aan Ro OPAUG11 when buying online. RCIA CUM OMAR MIR MtoT CTI etalk ALO MRAM etm Cel realiaye) Reem el Seog T Om ta nrolrory any subject's looks dramatically. Highly intuitive and easy to use, Portrait Professional creates magazine rete cette eel an toe DOWNLOAD YOUR FREE TRIAL NOW! www.PORTRAITPROFESSIONAL.COM Wl PortraitProfessional107, Shreatn rest The NEW SLIK Mee Race poate) Baars ce ates See Eee RC eR 38 Outdoor Photographer outsoorptetographercem tos I'm already hauling a 1D Mark IV, 3 7D and a SD Mark Il. Frankly, I'd like toconvert Kathy's 5D, which is smaller and lighter than the IDs, but so far 1 haven't been able to convince her to give it up. If I was to start from scratch with an IR conversion, I would choose the Canon EOS SD Mark Il because of the 21-megapixel, full-frame sensor and smaller size. Nikon users might want to consider the D700 for the same rea~ sons—full-frame sensor, 12-megapixel resolution and smaller size than the D3X and D3S. My company of choice to do the IR conversion is LifePixel at www lifepixel.com. Expect to pay from about $250 for the conversion. The price use to be around $350 to $450, so the time is now to move into a whole dif ferent light IR: Fake Or Real? A photographer can duplt cate the look of infrared in Photoshop. Why should Invest in converting a camera when I can take any image and make it look like infrared in minutes? J. Johnson Los Angeles, California Simulated infrared images can look somewhat like the real thing, but usually they fall short When a digital camera is converted to IR, the cutoff filter that keeps infrared light from hitting the sensor is removed, allowing the invisible IR spectrum to record. So far, afver-capture process ing of color digital captures to achieve the IR effect isn’t as ellective as the real thing because you're trying to re- create information (the IR light) that ‘was never recorded at capture, The best you can do is to alter your color file to resemble the visual effect of IR. ‘To simulate IR in Photoshop, the pho- {ographer uses the Black and White Adjust- ment Layer or the Channel mixer. The best examples of simulated IR are with scenes dominated by green foliage, which is rendered white in IR because it’s rel: atively easy to change a dark tone to a light one \d-white conversion, ‘There are a number of Photoshop Actions available that will make the changes auto- matically. One is available from Fred Miranda at www.fredmiranda.com/DV. Printing Digital B&W Which digital primers are best to get the highest-quality black- and-white prints with great tonal gradations? J. Kincade Via the Internet First, understand that a typical small inkjet printer with only one black ink won’t give you the tonal range you need to bring off an excellent black-and-white print, So if you're really into black-and-white renditions, you'll need to invest, or get access 10, a professional-tevel printer that offers a better range of gray to black options. I's all about the inks. When digital photo printers first became available, they offered four ink colors (red, green, blue and black). Later, a medium black was added, but today we have three blacks and a variety of other color tones that, combined, olfer extraordinary detail and range in both color and black-and- white images. Some printers offer both ‘a matte and regular black ink, The matte is effective on matte-surface paper, and the regular is designed for gloss papers. ‘The printer that I regularly use is the Canon iPF6300, which has a total of 12 inks, including the four blacks, of which only three are used at any time, depending on the print medium. The wailable in smaller Canon ePROGRAF printers, nother consideration when choos- ing a printer for either black-and-white ‘or color printing is the archival properties of the inks. Most ofthe large-format printers use pigment inks that will last 100 years or more with proper display and storage, Dye-based inks don’t have this kind of archival property because the dyes contain various chemicals that aren’t completely stable while pigments are tally inert compounds, Considé ing that black-and-white, silver-based prints have always been regarded as the Jongest-lasting prints available, a serious photographer using the digital process should use pigment inks and archival papers to match these possibilities. oF For information about upcoming sem inars and digital-imaging workshops, ‘sit www.georgelepp.com. If you have ‘any tips or questions, address them to OUTDOOR PHOTOGRAPHER, Dep. TE, George Lepp, 12121 Wilshire Blvd. Suite 1200, Los Angeles, CA 90025- 1176 or online at www.georgelepp.com.HoodLoupen 3.0 for giare free LCD viewing ‘Chocking your histograms composition and focus outdoors i easy with Hoodman’s HoodLoupe 3.0. Precise 2X German Glass Opes delver £28 dlopter adjustment. HoodLoupe 3.0 is encased in user friencly rubber ‘nd fs 3 Inch or smaller LCD screens. Confortable neck lanyard and ear act storage case included. PATENT US 7,388,229 B2 and 7,094,877 a * Fetrames._ - € 3 ‘sd your lenses HoodEYEtm Digital Camera Eyecup _| Frame relief for Photographers who wear glasses HoodVEm inks eye to camera for improved vewtinder optics. Easily | Hoodman Thanlum PhotoFrames are glasses bult for photographers. Each fons moves Ind- Upgrade your eameraeyeplee In seconds. ive medels all Canon | ependenty so that you ean move les up for shooting eye an lave lans down for racking land Nikon Digital SLR cameras (exuding D5000), Patented set ‘8. Ttanlum memory wire technelogy makes Photoframes strong and durable. Comfortable locking mount system keeps HoodEVEm securely I place. wrap around ea peers ensure Photoframe ride secutly wth photographers through ection ‘Sequences. PhotoFromes come wit clear sass templates installs to guise your Optometrst's PaTanT May ates ms ors for easy ting of your Rx lenses.relakelce adventure | By Bill Hatcher | Packrafting A dramatic whitewater adventure in an unlikely type of boat Roman Dial running Class IM rapids below Rafters Basin. Bill Hatcher took this image during a five-day packraft trip down the ‘Franklin River from Donaghys Hil to Sir Jol Falls, Tasmania, yen adventurer and packraft legend Roman Bf Dial asked if 1 wanted to join him and Mf vis son Cody on a packraft descent of WY Tasmania’s iconic Franklin River, I said to W count me in. T knew the Franklin, located in South West Tasmania, could offer amazing photo potential, but was I being brash? The river has a fearsome reputa- tion for rapids, unpredictable floods and deadly strainers. If that wasn’t enough, there are no bailouts as it descends into rocky gorges through Franklin-Gordon Wild Rivers National Park, 0 ance yo i, isa nl comment he trip would involve descending 100 kilometers of whitewater with many portages, starting with a short three kilometer hike. [ consider myself to be an experienced boater ‘who can handle Class III conditions just fine, but if I decided to kayak the Franklin in a hardshell, 1 would have been way out of my league. With a packraft, however, I knew I had fighting chance to run one of the best multiday wildemess rivers in the Southern Hemisphere. An opportunity to make 40 Ovidoor Photographer outdoopbotogaphe.com some great photos is what any photographer wants, and T knew the packralt would be my ticket on the Franklin, My first time in a packraft was back in 1997 while photographing Dial and ewo others as they completed an 800- mile mountain bike traverse of the Alaska Range for National Geographic. In the course of that trip, used the boat ot few times for crossing rivers and descending sluggish waters like the Clark River in western Alaska, That was the style of packrafting back then, but today that has changed. Back then [never would have thought that the humble little four-pound boat might one day morph into a sports crait that would inspire ultradistance adventurers, whitewater boaters and even photographers, Fifteen years later, that’s just what has happened. Look at the accomplishments of adventurers like ultradistance hiker Andy Skurka’s 4,500-mile traverse in Alaska, Alastair Humphrey’s self-supported crossing of Iceland and countless ‘young river rats who use packrafts to descend whitewater creeks. It seems the packraft has become an invaluable tool for today’s wildemess adventurers and the photographers: whochase them. The reason is that the mod= fem packraft is a very capable whitewater craft, yet is much easier to handle and far more stable than a kayak. IU so stable that even an inexperienced boater can tackle Class I and IIT whitewater Of course, before dropping down your local whitewater run, it's recommended you learn about river safety and the boat with an experienced river runner. Arriving in Tasmania, we discussed the river and pored over maps with another experienced boater and photographer, ‘Matt Newton. Today, most people who descend the Franklin join commercial trips in 12-foot paddle rafts or in kayaks. We couldn't find anyone who had packrafted the river recently without other raft support, We did discover that the Franklin hasa long and remarkable history of packrafting and photography. This was nearly lost, along with the river, not long ago. The Franklin River became a World Heritage site in 1982, just a year before the final decision to build a dam hung in the balance, Due to the efforts of thousands of people, in what remains to this day Australia’s biggest environmental protest, the Franklin dam project was cut by the federal government. What you usually don't read in the various secounts of saving the Franklin is the role the little packraft played, In 1976, Bob Brown and his friend Paul Smith wanted to ee and photograph firsthand what was to be lost if a dam was built on the Franklin, Their three-week expedition would be the first inflatable packraft descent of the Franklin. Fol- lowing that trip, Brown was so moved by what he saw that he dropped his med- ical practice to spearhead the effort t save the river. After that pioneeri in °76, Brown encouraged others to descend the Franklin in the same packrafting style; hundreds and perhaps thousands di, including many photographers and filmmakers, The resulting images by Photographers such as Peter Dombrovskis galvanized public opinion to save the river. Twenty years later, the Franklin is still a wild river, and Brown is now Senator Bob Brown, leader of Australia’s Green Party, a party that has consider- able power in Australia, Senator Brown was last down the Franklin in 2006; it was his ninth trip down the riv ‘We packed for a seven-day trip. All of our gear was minimized, but we each had a dry suit, PFD, helmet, whitewater rescte equipment and other standard gear a whitewater kayaker would take on a remote river. The total weight of my pack, including the packraft and paddle, came to about 45 pounds. Originally, I had intended to bring a couple of cameras, Juding an SLR and my Canon PowerShot GI with its waterproof housing, But when I learned that Dial was bringing wo Olympus waterproof point- and-shoots for video (check out Dial’s collection of over 70 packrafting videos con YouTube!), I left my Canon in Hobart. T brought my current compact expedi tion camera kit: a Nikon D300S with a Nikkor 16-85mm VR lens and a Nikkor 35mm f/1.8 G lens. I knew the Franklin wasn’t a wide river, so there was no need for a bigger telephoto lens, I brought a couple of filters—my polarizer/warming filter and my five-stop ND—a small car bon-fiber Gitzo tripod, two extra batter- jes, memory cards and a few microfiber Jens cloths, I also left my flash in Hobart ‘The camera kit was kept dry and snug in a Pelican 1200 case, When I was running rapids, which was most of the time, Thad the Pelican box strapped to the floor of the raft just in front of where T was seated. I used Ensolite™ foam under it to prevent the hard box from puncturing the floor ofthe boat should [hit rock, which 1 did numerous times. The camera system worked perfectly, allowi quickly access the Pelican to shoot from the boat or free the box so I could jump to shore as the others ran rapids. ‘The Franklin was every bit of the challenge I thought it might be. There were rarely moments of quiet on the river except in camp where I had the leisure to absorb the beauty of the river For most of the five es on the river kept our rapt attention, involving paddlin; countless rapids and negotiating the ‘numerous portages and log jams. Tadmit there were more than a few moments of gut-churning fear as I contemplated dropping into another log-choked rapid, But it was worth it, and I'm planning to return op You can visit Bill Hatcher's website at wwwbilthaichercom, me to +) MORE On The Web (P enums are ava a eee ene wm cuoorolgrapercom/calms, Fi ps, ares an aoe fam OP ue seo wot anes au pcgaphos! —— aaa eee er ern eee eee eet en ing layer to pxotect the Sean eee PULL cutoorotasaohercom August 2011 41Of 42, Outdoor Photographer cutdcorhetgraercom natural [@eysigraauelasy Ice Light The Timeless Moment How can subjects that change from moment to moment speak of eternity? | By David Muench | Grey Glacier and Lago Grey, Tores del Paine National Park, Patagonia, Chile. cre, halla world away, P'm working away at one of my favorite notions: the timeless moment, and how to preserve it photograph- ically. The question that often stirs my imagination is this: How does the ephemeral event, the short-lived phe- nomenon, speak to the notion of timelessness? How do we create a truly special moment forthe viewer, that split- second, finger-pressing-shutter instant that leads to a picture that will evoke— somewhere in the psyche, the heart andthe soul—a sense of the infinite? At Lago Grey in Patagonia, a richness of opportunities to capture the timeless moment awaits. Patagonia is a magical place at the bottom of South America that photographers and nature trekkers love for the visual power of its primal land- ape. Breathtaking sharp peaks, arid steppes and vast glacier fields descending from the southern Andes offer infinite possibilities for the adventurous. Lago Grey lies within Torres del Paine National Park, at the bottom of the South- ern Patagonia Ive Field—the world’s third-largest continental ice sheet after Antarctica and Greenland. Grey Glacier flows into the north end of the lake in three immense tongues that lap at the water's edge, Crude, rough-hewn, sculpted chunks of tilted ice regularly ealve off to become otherworldly-blue icebergs. tthe other, southwestern end of the lake lies a small island, Thanks to a spit of gravel threading out across the water from the shore, you can walk out to and then around the island. That spt is where the timeless marvel of the translucent blue ice ships plays out. They begin life as jagged spikes several miles north at the (op of the lake. Like phalanxes of soldiers ing into the water, the spikes calve off from Grey Glacier. The al, vibrant blues of the floating ice are indescribable, Driven by frequent and notoriously ferocious winds, often 30 mph or more, the icebergs sail inex- orably down the narrow lake, straight toward the little island. Many stack up along the gravel spit, making a Sargasso Sea of frozen ships. The real story here is the constantly changing mood. I's exciting and dynamic. ‘This day, I'm working with one particular iceberg. The constant melting and freezing cycles have formed a U-shaped arch perhaps 20 feet high out of the shimmering blue ice. It’s low enough in the water that I can do my favorite th with arches. 've photographed arches for decades across the country, but espe- cially in Red Rock Country. They were the subjects of my books Windstone and Plateau Light. T'm shooting with a Panasonic Lumix DMC-FZS0 digital camera, Its built-in telephoto lens gives me a 35-420mm range. Sine is drawn to natural arches as a framing motif, [ zoom in on Grey Glacier, several miles north, he U-shaped blue ice window to she enfold the glacier top to bottom. The semitransparent, backlit blue iceberg is about 300 yards from me. Using between 300mm and 400mm of focal length, the glacial tongue mostly fills the ice “frame: ‘The two elements seem right on top of cach other, although the glacier is six miles away! ‘The winds whip the lake waters into whitecaps. Suddenly, one whole piece of the iceberg splits off, falls over with aa huge splash, and drops into the water like a sinking ship. Then the whole thing collapses right before my eyes! Later, my thoughts come back to the U-shaped iceberg and the timelessness of such moments, The iceberg wasn’t even at the spit the night before, Many of them parked overnight, so big they didn’t melt for awhile. Once the sun came up, the whole flotilla began melt ing, shifting, disintegrating right before my eyes. They look so strong, solid massive. But the winds push at them all the time. They're moving, tipping doing all kinds of dynamic things. The moods change with the angle and light. Sometimes fog hangs over the mountains or glaciers in the distance, making wings of clouds that roll with the wind down the lee side, Pure magic, constantly changing. Photographing in such a shiftin Tandscape would have been a monstrous technical job with my 4x5 camera, But even with the spontaneous freedom of handheld equipment, I always urge photographers to bring tripods. Lake Grey’s beauty is the changing ice, As long as there has been water, there has been this cycle of water tw clouds to snow to ice to water, It evolves moment to moment, and therein lies its timelessness. It’s like the universe; it’s like us. oP Over ihe course of some five decade David Muench’s work has been cele- braied in more than 50 exhibit-format books such as Plateau Light and Eternal Desert, as well as in permanent exhibits and installations. See more of Muench’s images at www.muenchphotography.com. + MORE On The Web (Pumas are aval a aoe ene wun cutoorpotgrapercom/catms. Fa to, rowers a aoe ton OP muse ste of wottfarms a pctrapaos mad A PRO! Digital D117 a aod ND16 Tum a.cloudy-day into. something beautiful ear? 0 fiter with a filer factor of 16, meaning ; ao eerie eee pean eee, Oe ee eeerean: : th thi nea pene o Pe utoorpotasachorcam August 2011 48[FAVORITE PLACES] Wind River Range WYOMING Location ‘Accessible only by foot or by horse, Dad's Lake is located inthe Bridger Wiiderness within Wyoming's Bridger-Teton National Forest. The trailhead Is located at the Big Sandy Campground, which is also a southem access point to the Wind River Range. The camp- {ground can be reached by car ‘rom Rock Springs, Wyoming Via US. 191 North to Highway 28, Turn east on Highway 28 and proceed to Farson/Big Sandy (County Road 23), and {90 north until you reach the Big Sandy Campground. Situ- ated betwoan the Shoshone National Foret and the Bridger “WYOMING ena Paes Teton National Forest, the Wind River Range is an incredibly ‘beaut granite mountain range With many 19,000-foot moun tains, sparking blue fakes and deep canyons, it provides ini= rite opportunities for landscape photographers. The magical sunrises and sunsets in the Winds are an added plus. Weather Winterike conditions dominate the Bridger Wiklemess for most of the year. On average, high- country tras are snow-covered fom October until early to mic July. Tals are very wet in July, 0 be prepared. Stream runoff peaks in June, while high water levels continue into July, and ‘many of the latger streams in the Bridger Wildemess aren't bridged. The best weather is between August and Septom- ber. Summertime highs fall ‘between 65° and 85°F and lows fare usually around 90° 0 40° F Photo Experience Traveling nthe Winds most by backpack or packers. For backpacking | rng my Canon £08 DSLR wih a Sigma 17- 35mm 28-40 we zoom and agra 70000 4-56 {APO DG macro zoom. This car era and ers combination se atv ightegh, and wth 0 lenses provides focal langths frommaco wice-angieandtee- phot to captre te Wind wide ower, wife o huge swecping lancecapes ike Dad's Lake, To kop the camera steady whe Using the telephoto or for iow shutter speeds necessary inlow fant, use a Manfrotto 484RC2 ri-oaheas ard Canon Remote Switch RS-B0NG, My Gitzo GT 0541 Mountaineer tipoc has carbor-fioer legs fora lighor payload on the hike. To acust forthe best reflection on Dad's Lake, as wol as to achive bet ter coor saturation, | us Tien cove policy ters Becase Explore exciting nature imagery in the Your Fai tener cae cites Petree ca 44 Outdoor Photographer outsoorptatographercem Str ofthe unpredictable weather in ‘the Winds, "ve made arin cover out of a waterproo, large-sized slaeping bag stuff sack. | cut a hole at the bottom of the sack big enough for the end of the lens to pass through and use rubber bands to secure the stu sack to the end of the lens. This setup allows access to my controls and keeps my camera, ans and balhead cry while shooting images in a thunderstorm. Best Times My favorite time to visit the Winds is in the late summer when i's warm and not too buggy; mosquitoes can be a ‘major intation inthe early eum- mer. Best times for photogra: phy are in the morning and evening duting or after thun- derstorms. The rich-colored, low-angle ight of the sun, with reflective lakes inthe foreground and the Wind River Range in the background, is absolutely astounding. One last thing— ‘the ishing inthe Winds is excel lent, so don't forget your fy rod! Contact: The Bridger-Teton National Forest, wwyu.is.fed usiearbint or ipod, and there never has beon a batter time to carry one into the ted Carbon-tber constnicten provides mote durabilty thar ‘ver before vila azo weehing less. Surdio legs also moar support for bigger payloads and more accessories, and while catbon-fber tripod legs may be more rigid for beter stably they also offer Text for better po and moro effective vibration reduction. “The technology has ven matured to the faint whero you can find a quality tinod at pretty much any price range kyDAVIDHONL create depth photojournalist David Honl ikkor 28mm 28 Nikon 0: ith to He Camera: Lighting Tra To fer Ful n his necessity for quick, portable and effectiv urnalist David Hon! while on | regular travel f the world’s m and Kazakhstan are all on Hon hoe mount flash units. kes to our original Speed Grids, every produ ith a lifetime guarantee p get you started with our ry order from our website a free Speed Strap (2 59.9 Use it to attach any of our modifier ‘as well as many others, to your flash Trove" ecard tween the di a single Nikon $8 ghting, all Hon! Photo light modifiers are st challenging pl schedule and continue to be the inspiration for his lights Mount Nemrut, Turkey speedlight signed and field tested Sn, tag, Tut dan Afghanis ative modifiers for ght and int ;th the most durable materials and [HONLPHOTO] Buy direct at www.HonIPhoto.com is madeCreating a monochrome image lets you focus on form, texture, shape eee eedCee oT) Cea ad Se) Seay Ce cies Dee nn) to candy, attracted to images that pop with Dee Ree La mena ‘can show up in our speech. We use the word Ree ee eae Cree cates nemo manos Denne eC esa Perens ue ean ements Cee Reet ea ae TL Dee ae ccm cmd een ee eee eos een eae eee) Ce ee mig Dee ad Rr ee eee Meee ees De ene a) Gene eee eer ere ten rcs ‘There’ something about them that just draws me Dee et eee ieee cna need Ce ee ce pee ee eee ey Us to look at our subjects more deeply, expand: Deed nessaOPENING SPREAD: Black-and-white adds a timeless, fine-art appeal to an iavage. la this photogranh ofthe Santa Graz Island, Caiforia, shoreline the rich tonality and stripped-down palette workin tandem with a long exposure to produce a phota of otherworldly beauty. OPENING SPREAD, INSET: A bridge inthe Ekhorn Slough National Estuarine Research Reserve along the Geotal Coast of Galifornia is made all the more surreal in black-and-white. ABOVE: A leatherback turtle hatchling ‘returns tothe sea, Las Baulas National Marine Park, Costa Rica. OPPOSITE PAGE, TOP: Qnlaokers ‘peor out atthe stormy Pacific, Garrapata State Par, California, OPPOSITE PAGE, BOTTOM: ‘Black-and-white transforms a portrait ofa molting elephant seal inta an incredible study in texture, Ata Nuevo State Park, Cliornia 48 Outdoor Photographer outsoorptatographercem RAW Files, And ‘The New Golden Age Of Black-And-White In the spirit of full disclosure, I'm not opposed to color. In fuet, I love my big-ser photography. But there are some subjects that are best revealed when we ‘ransform them into monochrome images. For many, the days of Ansel Adams fare remembered and revered as a time of high-art photography, and black-and- white imagery recalls a lost eta of the craft. The tools have changed, but the same sense of craft endures. Instead of the wet darkroom with all the chemicals and mechanical tools, we have a digital version that makes black-and- white photography more accessible while maintaining the need to be a craftsman. T use Adobe Photoshop Lightroom and Adobe Camera Raw for my black- ‘and-white conversions, and I’m often sur- prised how quickly Ican produce dramatic results. I can produce black-and-white photos with deep tones and rich contrast ina matter of moments. Having that ability frees me to focus most of my efforts (on finding a meaningful image. What's also truly revolutionary about creating black-and-white today is that wwe do it using RAW files. If your first you remember ing forced to decide What film to put in your camera long before you hit the n color television and color such painful decisions at the point of capture. RAW converters allow us to decide after our shoot if we want the neutral or high-contrast look. Further more, we ean create many, many black- and-white versions of the same fi We ean ereate warm- and cool-toned versions or emulate films like Agta Scala, Iford HPS or straight-up Kodak Panatomic-X. And with all the versions wwe can ereate while in our RAW con- verter environment, experimentation never alters the integrity ofthe original image You always can reset whenever you ‘want, Itnever has been easier to exper iment with al the different possibilities, The Joy Of Discovery I find the most compelling argument for shooting black-and-white today is the way it allows photographers—and viewers of photos!—to explore some of the most basic elements of composition,texture and form. A color photographer often will rely on contrasting colors to create separation between elements within a frame. With black-and-white, we don’t have that luxury. Instead, we consider contrasting light, simplistic negative spaces, textures, lines and shapes. Such rigorous concentration helps to expand ‘our understanding of what we're shooting and what we're seeing, ‘Take, for example, an image of an elephant seal I photographed on Cali- fornia’s Central Coast. Normally, I would find this animat’s molting skin not only unattractive, but a feature I certainly wouldn't want to highlight in an animal that can be aesthetically challenged to begin with. Seen in black-and-white, however, I'm drawn (0 the incredible texture. And the molt’ texture, coupled with the scarring on the animal's pro- boscis, ereates an engaging set of pattems that keeps the viewer's eye moving throughout the frame. In a eolor shot, I might consider the molt and scars flaws, but without chromatic distractions, the image is transformed. In an image of the southern end of Santa Cruz Island in California's Chan- nel Islands National Park that T took from a dive boat as the sun was coming up, the horizon’s brilliant yellow (Conv on page 98) +i MORE On The Web Fro nt apart utu the HowTo extn of OP one the sare ta rary of os fe tongues On masa your log". Go fo wewutdoor Datograper contour! The Zone System For Ti ‘any black-and-white photographers use the Zone System made famous by Ansel ‘Adams. The system enables us to cortral the process and produce prints that show precisely what we envisioned when the inftlal exposure was made. ‘The Zone System divides the tones in a black-and-white print into 11 major tones ‘from the blackest black (Zone 0) through middle gray (Zone V) to paper-base white {one X). if you expose according toa reflected Ight-meter reading, whatever you take the reacing from willbe plaoed on Zone V. You can move the metered subject up or down the tonal scale by giving more or less exposure than the meter reading suggests; the Zones are a stop apart from one anther. When used with fim, the Zane System alsa provides test procedures to determine the effective speed for the fim in use, and to determine the degrees: Cf development required to procuce diferent degrees of contrast that move the higher Zones up or down the scale as the photographer's visualization ofthe photographed soane requires, Digital imaging actually provides much more control over images, via controls in the ‘camera, and especialy in postprocessing. Image playback and histograms give the digital ‘worker something the fim shooter never had: instant feedback. Bear in mind, however, that the playback image and the histogram re based on camera-processed JPEG images, not the RAW data—even if you're shooting RAW. cutdoorpetograchorcam August 2011 49rites as =) eo Set ee aSs) Dee nOlm aD) alee South African photographer Heinrich van den Berg strips eee eens CME eke meek eau AEC a oa Mace Mee nema eke Re leon ye Ze ee eee a ee Pe Se Sec nae eens eet nt enh nang ee ee eae ern are eee nee eat Cee nO een ec Seen eet an sna as eo a eee nee far beyond typical wildlife photography —and, typical black-and-white photography. as well. “T believe that if black-and-white photog- Ce te ela ces Sa eee eT Freee a eee et en if by subtracting color, the viewer is forced Pec ere ment Peers oes el acon i oe peace tay ae een Cea ern rte ee Roe tas et ec a eae ee ee ea eer eee et ei Pr rene ness, a refined fee! not unlike studio photogra Reece eee een selection and lighting, while some of it comes sea eRe er ee eee digital images into black-and-white, Most of it, however, isa simple reflection of his personal Sen eer es Se eee es in an area and spends photographing the same Dee eTsubject.” van den Berg says, “the more is able to peel away the clichéd way cf seeing. It's very important to go throug the process of first capturing the clichéd images before you can move on to a more creative level. But it’s important to spend enough time to be able (0 move to that next level, With the first images ‘on a shoot, the images are busy or too simple. It's only after spens ing some time with the subject that the s become graphically slick. n wildlife photo; “The most iconic have been simple, | use a varie! ses, and Tove doing wildlife photography with wide-angle lenses to pull the viewer into the scene. T use Quantum Qflashes for my flash work. They're compact, durable and strong enough to give a bit of a studio SHADES C WILDLIFE : a es See he AU ee “ie light effect, even in the harsh African light. By using a variety of lens create different pers adding some flash Ii jon to ck-and-white, He doesn’t shoot film, much less black-and-white film, as he hated his early experiences with it. He shoots with a digital SLR and co digital image files into black-and-wl not to hide pedestrian color work, but that color photos can’t quite provide I believe that in the process of pho- * van den Berg says, “one needs to capture as much information th the camera as possible, in the most practical way. I would have loved to shoot in black-and-white, format cameras, but by shooting in black and-white, I'll be erasing digital color information on the shoot that I could probably use in the postprox Ittook van den Berg a very long time {0 feel comfortable showing his black- and. white photographs. The leaming cu for digital conversion was steeper than he expected, He tried many different “quick ut these were often even poor attempts. In the end, the solution to creating black-and- white images he was proud of was sim= pile: practice, practice, practice. “The process of learning how to convert images to black-and-white was not only a steep technical learning curve.” he continues, “but also a psychological learning curve. I needed to find out what kind of black-and-white images really worked for me. I started out doing sepiaOPENING SPREAD: The lon isthe only socal cat species. This cub is receiving special attention as its ‘mother assures the survival ofthe pride, BELOW: African wild dogs live ‘nclose-knt packs with sophisticated social structures. After a kil they're nique among predators in that they feed the weak and young frst. BIGHT: Leopards ik al eats, spend most of their time at rest to conserve energy. BOTTOM RIGHT: A Mite crocodile ‘emerges from an egg. Having no ‘sex chromosomes, incubation temperature determines the outcome.achieve that ackltional dmension, fivich van dan Barg converts fles from RGB to LAB mode, then to CMYK. At each stage, he ‘copies each channel o its vin individu bayer botox rough them to {determine which layers have the most al as black-and-white mages. "In LAB, | mostly use the L ‘channel,” he says, “so now you have ‘eight layers to compare. Decide wihich one works best, or what Ccomisination works best, Delete the layers that don’t work, and play around with the rest by changing Opacity to tring out the strengths of each layer ‘Change the Curves to make the black, black and the white, white, and to Create al the shades of gry” ‘The other approach van den Berg relies on regularly for black-and- white conversions is Nik Software's Silver Efex Pro 2, which he calls a brillant, intuitive program. Here I'm often more aggressive with my conversion” he says ofthe software, ‘acing some vignetting and contrast. ‘Then | compare the resuts ftom the (Channels method and the Siver Efex Pro ‘method, and decide which one works ‘best. ten copy the results ofthe two ‘methods over each other in cflereit layers and use elements of both.” or black-and-white with a tint of color, but that doesn’t really suit my style. If T want to do black-and-white, it has to be black-and-white—I don’t want to add a tint of color to make the images look older, or add grain to make them look like film. I want to be ruthless and strip the images of all color and in the process add another dimension to them.” ‘RIGHT: Thanks to incredibly successful camouflage, the Peringoey's adder can {ally conceal itself by ‘borrowing int lose sand. The snake maves swiftly in ‘the dunes to get toa spot where it an lien wat for prey, BELOW: Huge numbers ‘of springhok used to ‘migrate through the Karoo. ike mach ofthe witdife ‘there, fences have made profound changes to the ‘populations and their patterns of movement. Van den Berg’s deliberate method- ology (see the sidebar “Heinrich van den Berg’s B&W Workilow”) carries ‘over into his approach to printing as well. While itapplies to inkjets and any other type of digital output, in his case, it’s most often applied to book printing. He self-publishes his work, but he doesn't do it from the basement studio, He works hands-on with high-quality printers and makes press checks for every page in a book. “I believe the responsibility of the photographer doesn’t stop after pressing the shutter,” van den Berg says. “To pre= sent the colors and tones of an image to an audience in the way that the photographer saw it is important. With slidesit was easy: the photographer justhanded the slides to the postproduetion ari vould match the scan tothe slide, I, there's no master to match to, 80 the postproduction artist has: no idea what the colors or tones should be; saw the original subject. And most of the time, he doesn’t know what color the subject—like an elephant, for instance —was on that day. The color of an elephant can be anything from blue- gray to brown, depending on the light or the color of the mud in the area. So he invariably changes the image to the wrong color. It’s critical that the photographer is involved in the color correction after the image was taken, (Cont'd on page 110) IN! eeuls Subscribe to the Re Cg wwwiilep.com CONSERVATION iad Pee cea) Protea etsy eer ny utoorpotasachorcam Aulio Porter and Emst Haas were ‘wo of my heroes in nature photography, both superb prac- titioners of color photography vith nature, I got my start in photography working with black-and- white, however. [hated processing film because it was so horing, but I loved making prints in the darkroom. Like many photographers, Ansel Adams was also ‘one of my heroes, and I read his books multiple times until I felt 1 understood the potential of black-and-white work Yet, because color was so critical to my photography at the time, T began to do less black-and-white, A few years ago, [returned to black-and-white work in the computer with some plug-ins from Nik Software (Color Efex Pro, to start) and the excellent black-and- white section of Photoshop Lightroom. What rekindled my love for black- and-white photography, though, was Nik Software's introduction of Silver [Efex Pro 2. Ths tool allows me to exper iment quickly to gain the most from black-and-white images. Text And Photography By Rob Sheppard MPELLING BLACK-AND-WHITE IMAGES Black-and-white, toa degree, abstracts any image, The world doesn’t exist in black-and-white so by definition, black- and/-white isan abstract artform, Because of this, you can’t rely on color to carry the photograph or to emphasize certain ‘elements in a scone Good black-and-white photography starts with an image that has a structare to it that works well with black-and- white. I's often disappointing to si ply try to change any photograph to black-and-white if you haven't found its structure. Structure ina photograph holds ic together just like the underlying struc ture of a house holds it together. Struc- ture can come from contrast that helps set elements apart. Or look for defining elements in a photograph that have different levels of brightness. And look for adjacent colors that are quite different so they show contrast when converted into black-and-white This will make more sense with some specific examples, all of which have a strong structure to support the black- and-white photo. Lake Superior Shoreline When I was in northem Minnesota last year, the weather wasn't cooperative; we had a lot of rain, One morning, T got up for sunrise and found the sky mostly cov cred with clouds, but with a small area open around the sunrise, Though there was very little color in the sky, I was determined to get pictures along this wonderful Lake Superior shoreline. One thing I noticed was the way thatthe sky and the water siruetured the composition. The light was too weak to make this really work in color, but I believed that there was potential for black-and-white When I converted this image to black-and-white in Silver Efex Pro 2, 1 saw some interesting things going on. However, the sky and the water didn’t balance ceach other. I increased the whites to bring out the Fich texture in the water, which ave more structure to the image, and I used the equivalent of a digital graduated ilter to darken the sky and balance the sky and water bette. This pave a nice feel to the black-and-white composition. [56 Outdoor Photographer eutderbetegaphecamBeyond just removing color, see how structure, tonal relationships, form, texture and contrast all play key rolesCalifornia poppies are dramatic in color, there's no question about that, Still, I liked the basie structure ofthis photo, Noti hhow the structure is based on the flowers themselves—they're lighter and brighter than the grass. For me, this looked like it could be an interesting black-and-white. When I first made the conversion to black-and-white in Silver Efex Pro 2, I didn’t like any of the presets on the left side of the interface. What made this picture appealing to me were the flowers and the way they went from foreground to background in the photograph. So I went to the color filter section of the program. ‘When I shocblack-and-white with film, I had a complete set of eolor filters to use. Color il- ters change colors to different tones of black, white and gray Forexample, a red filter makes red brighter and blue darker ‘The problem with using color filkers and black-and-white film is that you're locked into one filter to change the scene for the image you expose. Nov in the computer, you can try different filters to find ‘out which color gives the best translation of color to black and-white, Silver Efex Pro 2 features a slider that mimics the effeets of having an infinite number of filters. Simply click on the slider and move it back and forth until you see the tonality you like, For me, this picture came alive when the flowers be Rob Sheppard is the former editor and current editor-at- large of Outdoor Photographer. See his video tutorials, learn about his books and find his workshop schedule at became dark, SILVER EFEX PRO" 2 ‘58 Outdoor Photographer outdoorphatographercom ame bright and the grass ‘or wwurrabsheppandphoro.com. whites and blacks, respectively in the picture much better than any ather program. Woites and blacks are important parts of any black-and-white Image, so this is a welcome addition ‘And Soft Contrast allows you to adjust contrast without it looking too harsh, ‘Some new finishing adjustments to the program let you darken individual edges with Burn Edges—classic darkroom work. You also can darken all of the edges at once in Vignette, add some cool borders in Image Border change the overall color tone of the image in Toning. My preference isto use this program ‘coming out of Lightroom, though you cen use it in any Photoshop product, as, wellas Aperture, You can download a fully functional tial version of Silver Efex Pro 2 for tree at eww niksoftware.com, ‘andInge Cop Cen Hacer Perfect Layers is the fast and easy way to create layered files in Lightroom and Aperture. With Perfect Layers you can create and edit multi-layered Photoshop files directly within Lightroom or Aperture or use it to combine images from within other applications. Use it to change skies, composite multiple images together and retouch portraits using the built-in blend modes and masking brush Try Perfect Layers today and experience how easily you can add layers functionality to your Lightroom or Aperture workdlow. on Sera reText And Photegraphy By Glenn Randall or 18 years now, I've been specializing in wilderness landscape photography. Dur ing that time, 've been priv- ileged to photograph many beautiful scenes, bat on only a dozen occasions have I witnessed the rarest light of all In my experience, truly extraordinary light occurs in two ways. In the first, the sun finds a narrow gap between dense clouds and the horizon precisely at the moment of sunrise or sunset, For just a minute, maybe only seconds, a beam of saturated light blasts through the gap and ignites the subject swith the most colorful natural ight you' Il ever see. In the second situation, the sun, while still below the horizon, paints a broad bank of clouds with richly colored light. These clouds, which can be inside the frame or out, now become the dominant light source. While glowin clouds are beautiful, of cours, it's the light those clouds bounce onto the landscape below that's truly remarkable. Like a giant softbox in the sky, the colorful clouds illuminate the landscape with a warm, soft, yet still directional light. ‘The photograph seems to be suffused with an ethereal glow: Light And The Atmosphere To understand how these two situa tions produce such unusual light, it helps to know a little bit about atmospheric optics, he science of how sunlight acts with our atmosphere. ‘The sun emits light at all wavelengths, which means all cofors, When sunlight strikes our atmosphere, however, it begins to interact with air molecules in a process called Rayleigh scattering. Blue light scatters much more strongly than red light, which is why the sky is blue on a clear day. The amount of scattering is dependent on the distance the light travels through the atmosphere. At noon, the path length through the troposphere (the dense layer next tothe Earth) is relatively short, roughly 11 miles or so, Enough blue light scatters outof the beam to make the sky blue but the remaining light is still a mixture of wavelengths that we perceive as white. At sunrise and sunset, however, sunlight takes a much longer path through the troposphere because the light is traveling obliquely through the atmosphere, along a tangent to Earth’s surface, rather than along a path perpendicular to Earth’s surface. For example, if you're photographingRarest‘OPENING SPREAD, TOP AND BOTTOM: ‘Sunrise aspen, Rocky Mountain National Park, Colorado; A weathered janiger and the Green River Overlook glow pink at dawn, Canyonlands National Park Utah. ABOVE: Windom Peak, Sunlight Spire and Sunlight Peak from South Sunlight Lake at sunrise, ‘Weminuche Wilderness, Colorado, ABOVE, ‘RIGHT: Storm light over the Cimarrons, Uncompatgre National Forest, Colorado, 62 Outdoor Photographer outsoorphetographercem an od ban in Kansas at sunrise, the path length through the troposphere is roughly 235 miles. At sunrise or sunset on a clear day, most of the blue light scatters out of the beam. The reddish light passes straight through, giving you warm light on your subject. Now let's say you're photographing wind-sculpted snow on the summit of 14,259-foot Longs Peak in Colorado, which rises abruptly above the plains 9,000 feet below. The path length through the atmosphere will be even longer because the sun has to enter the atmosphere, skim Barth’s surface somewhere near that Kansas barn, then continue through the atmosphere to the summit of Longs Peak, total of roughly 360 miles ‘The exact numbers aren't important, but the principle is: Tall mountains that tower over nearby plains can get amaz~ ing light, particularly if the sun finds narrow gap between dense clonds and the horizon, Gap Light ‘The most vivid red light 've ever seen has occurred in exactly that situation, but “gap” photos aren’t confined to the ‘mountains. To understand gap photos, inheres a thc category of rare Foht that’s particulary interesting in black-and-white Fred Picker, founder of Zone VI ‘Studios and a noted large-format black-and-white shooter, dubbed it “squall ight.” Here's how Picker ‘desorbed squall ight nis newsletter in 1985: “A black bright presence that arrives in arush 10 ‘announce heavy rain or high wind or ‘cold front coming through, Squall light, though rare, scerns more frequent on summer evenings but it ‘can apes, where |e, at any time cf the yea its effect Is starting, Dark Ccbjects seem bright, somehow ‘concentrated, as thaugh charged! with energy. Palo objects radiate light. The effect is unearth, Unsetting, exciting, sureal” Picker doesn't atiempt to analyze the atmospheric optics of what he Ccbserved, 20 | cant offer a scienttic explanetion. His description intigued me, however, 801 ‘searched back through my fles for color images that seemed to ft his descriotion. I selected two, wich | call “Storm Light over the Cimarrons" and ‘Stormy Surrise Over Windom and Sunlight Peaks,” then converted them to black-and-white Using Lightrooms Develop Module The contrast between the spotit region and dark surroundings ntensies the apparent brighiness of the spotit subject. That contrast also ‘ereates a challenge for in-camera meters used in ‘evavative or mattix meter mode, ifthe spotit region is sal, your meter may ignore it and, recommend an exposure that renders tho shadowed regions as a midtone, Tha, in tum, can Both images exhibit what call the “spotight _overexpose the spt region. I'you have time, effec,” where the sun fds a momentary gap ‘spol-meter the spatlt region and apen up bout in heeiy stoem cious and shines a beam of ‘one stop; f you fe! prossured, bracket your rect gun on @ portion of the subject; leaving the exposures, then check the histogram to make eure rest of the scone shrouded in dense shadow. the darkest frame has excalnt highight det general, lets first consider what happens during a cloudless sunrise. When the sky is clear, the colorful light coming directly from the rising sun is diluted by the bright. white light from the sky around the sun, I’s like pouring white paint into red paint—the result is usually a pastel color that’s pleasing, but not extraordinary. If the sun finds a gap between dense clouds and the horizon, however, the clouds block that bright, white light from the sky around the sun, and the resultis some of the most spectacular light you'll ever see. Ifthe sun is in the frame, it also can be some of the most contrasty light you'll ever see, which poses an exposure challenge. Often, a three-stop, hard-edged sad neutral-density filter wll do the tick, If you don't have one handy, bracket widely, You'll then have the option of a virtual split ND by combining two frames, one exposed lor sky and one exposed for land, using a gradient frames, [See Glenn Randall's article “The Rembrandt Solution” in the September 2009 issue of OP or on the OP website for full details on this procedure.] You also can use an HDR software package such as Photomatix (www.bdrsoft.com) or HDR Efex Pro (www.niksoftware.com) to hold good detail throughout the frame Glow Light Now let's take a look at the atmospheric optics of “glow” photos, where a large bank of clouds lights up with such strong and colorful light that the clouds themselves become the dominant light source, First, consider what happens on ‘a completely clear morning. When the sun is below the horizon, the blue sky is, ‘actually the dominant light source. Pho- tographs taken under this lighting usually have inadequate contrast and a somber, cool cast, Photographs taken precisely at the moment of sunrise have a warm tone, with moderate contrast, but within a few minutes the contrast has strengthened dramatically, often too much so, and the light is basically white. Glow photos, on the other hand, are warm in tone with soft, but not flat contrast. The part of our visual system that sees depth and dimension is color-blind, It works strictly on luminance values, or differences in brightness. In eff it’s a black-and-white system, which is why shadows are your friends, giving your images dimension and depth, and why both frontlit photos and those taken before sunrise and after sunset on clear days (when the lighting is all shadow) utdoarpetograchercom August 2011 63Léta Ke eee eee PO oe oP) rea mente lingo entoetnag ene Peer tet Teme RTE elacd eterna ele roa c aan ot eet rn a rm euy erie ry eee bei ing pestis iar hi ance bec Rad ay, ete Cea eae i a : aay ae = erento Pea mon eestor a) an) foeena) TOL) ‘THK PHOTO PRODUCTS, INC. See ene ns www.thkphoto.com 64. Outdoor Pho shor eutoorpetoarptercom I ‘THE Rarest Lic iT can appear flat. Glow photos hit the perfect halance—enough contrast in the land to reveal form, but not so much contrast that your sensor has trouble straddling sities between highlights and shadows. Exposure for the land portion of glow photos is easy, since the lighting is soft The sky can be very bright, however. particularly if the glowing clouds are in the frame, One solution is to spot-meter the sky, then place the brightest part of the sky as high in the tonal scale as you ean without clipping blights he hig! Where To Find Gap ‘And Glow Light Glow photos can occur almost any where. 've even seen a perceptible mauve glow in the depths of Colorado’s aptly named Black Canyon of the Gunnison, All that’s required is a sufficiently large bank of clouds that light up brightly enough {0 overpower the light from the blue sky and shaclowed blue-g fore becoming the dominant light source. To take full xy clouds, there uation, you need a subject to receive the light. In the mountains, look for peaks that will unobstructed sun rise or sunset light, either because the peaks rise above the plains, as described earlier, or because the peaks rise at the head of valleys that face the rising or setting sun. A foreground can only fe moment-of-sunrise light if th horizon is at the same elevation or lower The Photographer's Ephemeris (photo cephemeris.com) can help you find both kinds of locations by showing you the angle of sunrise and sunset at different times of year, as well as the elevations (Cont'd on page 98) ‘BELOW: Mont Sueftels at sunset, Mount Sneffels Wilderness, Colorado. ar 4 = eecd Ome BAe Ue aS ARAL Re te eel NAPP Will Show You How pone ana POU a Cay — Pore Seige a cron eee Perm eet ee - et eer) ——— pec ae uum DE de een eer tes ord tn gad CALL US AT 600.738.8513 OR VISIT US are IER OS acs UIT ae apenemerraTy CCE, Ley Genre cc naa TasRetouching techniques give photographers more control than ever. Try a combination of tools for removing distracting elements from almost any scene. Text And Photography By Kevin McNeal 6. Outdoor Phot apher outoorhotegraphercomach year, the number of visitors to our national parks grows, looking t0 see and photograph their favorite icons That means more human elements put in place to accommodate the increase —more buildings, signs, roadways and people are the consequences. This ultimately affects the natural setting of park's beauty, so as nature photographers, how are we able to photograph these iconic spots without the inclusion of people and the heavy impact they leave behind? i can be achieved in postprocessing, and with the recent advances made in Photoshop, the task of removing elements from an image has become simple, yet effective in its results. In Photoshop, there’s no one tool that can do it all in image cleanup; rather it’s the combination of several tools when applied correctly that do the best job. The key to removing elements is moderation, brushing in increments that get credible results. ‘The main process involved in image cleanup is cloning and healing with a variety of tools. Depending on what’s being removed or edited, the size of your brush and its hardness are cru- 1. In most cases, you want the hardness of the brush to be soft when healing and harder when cloning. The brush size also must be in proper relation to the selection being removed. Steps In this example, the sapphire thermal pool ‘was surrounded by a boardwalk and fence, 1 ‘want viewers (0 feel like they could place themselves within the image and imagine they're the only ones present, so I chose to remove the boardwalk that surrounded the pool. Before I work on an image, I previsualize ‘what I want the final image to look like, so I always follow a few important rules when begin my editing, The first step is to create a new layer from the background layer; £0 to the Layer menu and choose Layer > New > Layer Via Copy. Next, label this layer something that makes sense to you, such as “Clone ‘Outer Edge.” for use when returning to reedit layers. Never edit on the background layer, as this is destructive to the image and degrades the final quality. By duplicating the back- ‘ground layer, you create a buffer to protect the background layer. Always start with the most pressing prob- Jem and work your way from there. The size ‘and nature of the boardwalk was the first thing T wanted to clone out. In this case, when sub- stantial clements are going to be removed, like 4 whole boardwalk, it’s vital to inerease the canvas size in order to make editing space for the cloning. Go to Image > Canvas Size and ‘open this dialog box. You'll be presented with 1 few options; the ones to be concerned with are Wielth, Height and the Relative box. Make sure the Relative box is checked and insert new numbers into Width and Height, allowing the new changes in the Canvas Size box to reflect the size needed for removing the boardwalk. In my case, I added five inches to the left-hand side. You can determine where ‘you'd like the changes to occur by clicking ‘on the arrow box just below the Width and Height options, Click on the arrow in the ditec- Jn Photoshop, the combination of several tools whea applied correctly wil do the most effective job. In this image taken at Yellowstone National Park, McNeal was unable to. change his perspective to 4 achieve the image he bad in ‘mind, so be chose to remove distracting elements in post to ‘emphasize the contrast, color ‘and local tercain. utdorpetograchercom August 2011 67Increasing the canvas size provides more editing space. tion you want the changes to happen. Now you're ready to start cloning. To get reatistic results, I needed to clone the outer edges ofthe thermal pool (on the right side of the image and then replace the boardwalk with these cloned edges. The problem is that once Tcloned the outer edges of the thermal pool, 1 hhad to find a way to change the angle so the edges would be mirrored. This meant I had to flip the area that was cloned horizontally so I could connect the full inclusion of the geyser. I chose to clone the right-side edges using the Marquee tool (M) in the Tools menu. Once you've selected the Marquee tool, make a selection of where you'd like to clone. Try to make the selection larger than the boardwalk. Once you're happy with the selection, feather the selection: Select > Modify > Feather Feathering eases the transition so there's a smoother gradient between the selected portion and the rest of the image, It makes the changes less obvious. Remem- ber to do editing on a separate lay then the background layer. Once you've jumped this selection to a new layer and Tabeled it, you'te ready to start repla ing the boardwalk. Hold the Command button (Mac) or Control button (Windows) and drag the selected layer over the boardwalk. Now that the layer is on top of the boardwalk, flip the layer horizontally. There are a few ways fo do this, but the eas- (68 Outdoor Photographer outdoombotogapbe.com ‘Fliging the canvas horizontally with Edit > Free Transform removes the bosrwalk. é a, ‘toning removes telltale repeating patterns frm the sky.iest and most flexible way is to go to Edit > Free Transform. This brings up a selection bar with anchors located at the corners and the side. This tool allows ‘you to transform the image by changing its shape and size. To get the image flipped horizontally, grab the right- or left-side anchor in the middle and pull it over, overlapping the opposite middle anchor so that you're left with the selection flipped. At this stage, I fine- tune the anchors so the edges of the thermal pool line up. We've cloned out the boardwalk at this point, bat we've mirrored the outer edges ‘of the thermal pool, thus repeating pattems in the image—an obvious sign of a clone edit. The next step is to clone in new pattems and textures to avoid the repeating patterns along the pool's ed “Thwee primary tools can be used for cloning. Which ones you should choose depends ‘on the properties of the areas that need the cloning, The firstis the Healing Brush (4) in the Tools menu, (Make sure All Layers is chosen in the Options bar and that you're working on a blank new layer properly labeled as something to do with the process of healing.) ‘The key to the Healing Brush is to use several clone sources when sam: pling. The more areas you sample, the better. To sample or clone an area, hold the Option (Mac) or Alt (Windows) key and click on a source point the size and hardness of the brush depends on what's being cloned. (You can quickly change the size of the brush by clicking on the left and right Bracket keys on the keyboard; the left key makes it go smaller and the tight, larger.) For healing to be effective, alignment and angle are important, Another consideration is (0 avoid areas of high contrast or uneven areas of luminance, Sampling of these arcas can cause bleeding and obvious signs of editing. If you must do cloning in these areas, be Sure t0 adjust color and tonality afterward so that the sampled areas match their new surroundings, ‘Once you're finished with the healing, zoom in to the image at 100% to et a better look at your editing; make ‘sure o pan around the image for smooth transitions between the edits by holding the Space bar down and dragging around the image. Lastly, zoom out and take another look for the consistency of the ‘mage between edits. In areas where healing must be done on high-contrast edg« The Heal too! gives you All Layers and clone sources options. Hve/Saturation matches colors and tonalites. utdoorpetograchercom August 2011 69ee) — ese Ete _Jonma iam a a —— simply follow the edge by repositioning the content so that everything lines up. ‘The Patch tool can be a great tool to start off with, as it can get a lot done in short period of ime, leaving only small edits to be done later. With the Patch tool, the areas to watch for are repeat: ing patterns within the clone, so after using the Patch tool, grab a smaller brush and clone in other areas of detail to remove duplicate patterns. I used the Patch tool (0 remove large uniform sec- tions in dirt that were repeating from paris of the image to avoid obvious repetition of patterns found within the landscape, Next, [used the Content Aware Scale tool, which is new in CSS. Its results are mixed, but when it works, it does a great job. Again, this tool is most effective when dealing with larger areas that have tobe removed, The Content Aware Scale tool analyzes surrot Pesenaa Pere er id Ei bel revo CALL 1.800.CALUMET (225.2538) Or visit us at calumetphoto.com * Some restrictions apply on free shipping offer. areas outside of the selection, and based on that, fills in the selection with what ‘was surrounding the selection. The key to this tool is that if it doesn’t get you the results you're looking for the first time, try again, but make smaller selections until you get results you're happy with, To get started, repeat the procedures (ocreate a new layer, naming itand choos ing All Layers. Use the Marquee or Lasso {ool L),and make a rough selection around= ) oni | oor ‘ometimes we come acroes a soane that's just too stunning not to photograph, wO/te 6 ‘even when that scene is plagued ly distracting elements that diminish the 0 aesthetics othe overall mage. often seems that the word of nature photography is civided on the issue of whether it's ight or swrong to remove elements a ‘rom an mage ditaly or othorwise. The answer may not be revealed in absolutes, Br et etenton elie redren teees tert ne ora ee © BMS, _] cmmsecine Of course, as an historical document, an mage should be as uthtl as 7 = possible, but not every mage i intended fo be a natural history tlustration. in many eases, were tying to capture something of Oo a beau fits aesthetic qualios and because the photograph is temotionally moving. n these cases, retouching distracting elements ° a Set sing Den Bes like a boardwalk is appropriate. In the fina anys, as mu othenvi y isnt inherent in any medium, and photography is no exception. Honesty s inherent in a person. n your photography, i you strive to create an honest representation of what you're seeing ‘and honestly convey the emotion of that moment, you're going to be con the right track. So the question that we should be asking is, how much fs too a much? iit subjective ar, then the answer es within the values ofthat phologranher and, utmatsly, photography is a unique BJT] woncsee tanec vision relative to each photographer. That vision is what makes a photographer special and diferent rom other photogrephers © [BB evens ce ‘Thus the answer is a personal choice that must be respected by all sugrine ‘other photographers and the audience alike. Si Bid ve cen 2 _ h as we wish it wer A summary ofthe Layers. ‘used to finalize the image. Learn Photography b RSUON WSR OLEACE Brooks.edu utoorpotogranhercom August 2011 71Capture the Lightning landscape! Uae Se aS ode Lt Week ee ed Seren lgte com Real iret ei ereyeye a Dolores, Colorado USA RO a an are acy Cea peiont Sua INKJET PRINTABLE NOTE CARDS Print inkjet photo note cards for under $1.00 each . For Most Inkjet Printers - Free Tempiates « Video Tutorials - Variety of Sizes, Log in for a special offer www.redriverpaper.com/notecards 72 Outdoor Photo 1 eutoorphetographorcom ample room around the area you want removed. Once you've made your selection, go to Edit > Fill, This brings up the cleanup tools, this one is most effective when used in combination with other tools Once this is done, I do my final checks zoomed in 10 the image to look for dust spots using the Spot Healing brush, which excels with small blemishes and dust bun- nies. The tool is quick and reliable as long a you follow the 1 new la fully to make sure the samples are clean and blend in without any noticeable changes T found several dust bun- n Tater to edit any mis- ing brush may have made due to high-cc e At this point, P've done e\ terms of image cleanup (0 remove any distractions, checked for mistakes in edit and checked a “before” and “after” s, Talso zoomed in and ‘out ofthe image to check for consistency and seamless edits, T want to make sure that whe nothing, ms out of place. Sp double-check and make sure th pattems, softs sistencies in luminance and color. As my last step, [take some time away from the image and then return to take a fresh look for any mistakes. or. See more of landscape photographer Kevin MeNeal's work at wwwskevin alphorograplt om and read his +] MORE On The Web The OP Bog is a pce er ou eaters oejoy aly updates, ges dssssons a hots ran ete group ot etagraphercombiog tose mareDo you need a bigger reason: ee fia sar | Teer eer comer see Notinket, but rue photographic Panoramix“on Kodak Endura Professional Paper. 20% 120Panaami™ prt prints on Kodak Endura professional Your choice of “Lab Comrected?” or “No Correction” ‘Chess skshoe wh Slboas paper. 30x120 size, shown here, ASPECT RATIO [) 1:4 ASPECT RATIO [eREtereErreneh ta only 99 oe fo D0 using a Nikkor 351nm 1/20 5 Sx15 299 5420-309, buimauruen ago Bo ° oxie 349) 6x2 sao | iar ee aise 8x24 9.99 8x32 11.99 tripod tiggeted with cabled shutter 10x30 14.89 10x40 1789 release. Adjustments, merging 12x36 1895 12x48 22.95 and enlargement weve cone with Panoramix” sizes up to 48 inches are shipped fat and have a veriety of mounting options available. 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Aithough software makes it easy to Ce ern er acd ‘when you get back home (o your computer, it still takes some planning and a good eye to sce in black-and-white in the field. The art of previsualization isn’t dead, and DSLRs with high-resolution LCD baeks make it easier and faster to learn and become proficient. Some people say that converting to black- and-white gives people a chance to make @ Ce ne orcs Monochrome isn’t some kind of magic art dust that you can sprinkle over the photograph, Dee cera tay Dee eee) Se a eed form and tonality may have been lost in weak emer et black-and-white saved the weak image: it's Cee Se Se a Ree eae eer photograph will magically become a strong black-and-white. Those key elements—form, Oe cen Tera ae Re scot De a ese een este Se eee ec roan ee eee Pe ae Perea oa See eaele 16 Outdoor Photographer eutdoorhatorape.com a) Cea ae ent ertenye Pore oa Tee Cee ae aay eed Pepe em eon Ser ey era Roe eee) Leta prereset ere eet een Sree ree etry Pree e Cr Titres prea eee ees eae ee ee ere Lee arene) Cet ecard ed Ce ey ee ces et ee err rain and crab ee. Because he had been atthe pare [opel carrey eenaoriey sapere) ee eas ee Ser cr a ees through the clos fora bref moment, iting the Sere eget my ee ne ora eee beans ese err rete rt Ce eee ar petro eta erent ee es ero ren 5) emanate) eee ne eae ere me a ey ee eee ne Cert cree erences Senta eee ne eeg Se ny a] ee peter wear epaeerensenr neinnrin erie) {echnical tl were more heb than being able to ene tt tater ace 4) Pear) ee eet no ena Eevee Ree aia ae eer eee nay ee ted pera are ee ee) Se ore a d etek cee) rmoming ofthe tp. Tha plan was to go to Mesa Arch ee edt ee eee eee a Cen ee ee eee pee eneCle alesis cred 8 at every focal length Golan aed +16.2MP + 3-inch Super-Density LCD Monitor + Full 1080p HD Movies 97000PRINTERS neat 2 WHITE 4 Cour For making gallery-quality prints, you need to have the right tool cing a big, beautiful black- and-white print on the wall makes an impact that a computer screen simply can’t duplicate. Images look great ‘on the glowing phosphors of a monitor, but matted, mounted, framed prints that show a compelling scene, as well as a measure of craft, remain the ultimate expression of a special photograph, While it seems counterintuitive, printer manufacturers struggled more with monochrome than they did with color photography. Part of the problem lay in the fact that black-and-white prints aren't really black-and-white. They're gray and black-and-white and, really, mostly gray. Shades of gray aren'teasy for black ink. The solution, of course, was to print black-and-white photos in color, which, by the way, is also how we print black- nd-white photographs in the magazine. But using color inks to make gray pho- {ographs tends to give rise to annoying color shifts. Also, metamerism comes into play—the tendency of eolors to shift under different lighting conditions and from different angles of view. High-tech corporate research cam- puses around the world went into over- drive to develop a way of laying down ink that would have the same luster and Pro9500 Mark Ipure tonality of a silverhalide print. Each of the three main printer makers, Canon, Epson and HP, have come up ‘with solutions that are similar, but certainly not identical, including the use of inksets that incorporate special. photo colors, as well as a combination of cif- ferent black and gray inks and other ink- layering technology. The results have been dramatic improvements in monochrome image quality over the past few years. Issues of metamerism are now hardly noticeable in prints from most of the printers made for serious photo work, and the rendition of details is outstanding. B&W Image Files Well-made silver-halide prints have ‘a special quality to them that’s diffe to describe. You just know it when see it—smooth tonal gradations, rich, Individual ink tanks not only ‘are a money-saver, but they allow manufacturers to develop special formulations ‘that can be swapped out ‘from print to print For example, in Epson's UltraChrome K3 inks, Epson photo black and maite black are switchable. HP Designjet 130 pre Blacks and « luminous Took that some say is eaused by the actual silver ‘content. For an inkjet print to approxi- ‘mate that luminosity, the image fleneeds tobe in top shape. If you've ever worked in a traditional darkroom, you probably remember that you couldn't fully judge an image fresh from the washer. Two identical prints laid next to each other, fone wet and one dry, would look sig- nificantly different. As a print dried, it exhibited dry-down—the lighter areas got a bit mote gray and the black areas got a bit more gray. Overall, the glossy ‘wetimage dried to a flatter-looking pho- fograph, As he got close to a final version of.an image, Ansel Adams famously used @ microwave oven to dry a print so he could evaluate the dry-down and make appropriate adjustments, Despite the best efforts of color cal ‘bration, monitor and output calibration, and other bits of high-tech adyanee~ ‘ments, we're still dealing with the problem of dry-down to a degree. The shiny, glowing, backlit LCD monitors that ‘are common today give a photograph ‘magnificent luminosity. Even the most perfectly calibrated equipment and metic~ ulous workflow can’t mateh a print to ‘an image on a monitor. ‘The issue is transmission versus reflection. On the monitor, you're looking at ‘transmissive medium. The whole image is glowing. On a print, you're looking ata reflective medium. Instead of coming through the image, light is boune- ing off of it. A reflected white simply won’t ever look as good as a transmissive white, so no matter what you do, a print will always look at least slightly less luminous than the same image will (on a computer sereen, and thestworWill never look completely identical ‘To got your print as close as possi- Ble to the image on the imonitor, you can do a few things, First, make sure that all of your equipment is properly Epson Stylus Pro 4900 cutdoorphtagrachorcam August 2011 79Dedicated Desktop Printers For B&W Mode! Max. Print Size (sheets) 139, 1319 in 12 in, 17922, 1724 in. 24.6163. in 24.6163. in ‘canon PMA Pre9000 Mark Canon PIYA Progsa0 Mark Epson Sts Pro 3680 Epson Stylus Pro 4880, Epson siyis Pro 4900 HP Dessoniet 190 HP Designjet 130 calibrated. This is much less of an issue than it was even five years ago, but you probably can still make improvements, Datacolor (www.datacolor.com) and X-Rite Photo (www.xritephoto.com) are examples of companies that make hardware and software solutions to bring your monitor and printer in line with one another. Both the Datacolor Spyder3Studio SR and X-Rite il Photo Pro will calibrate your camera, monitor and printer. This kind of calibration across the image chain will make your time at the computer much more efficient. ‘Second, as you're making test prints, have a plan and be a meticulous note- taker. This is an old lesson from the wet darkroom. Photographers who kept 2 detailed print log were able to get a photograph dialed in quiekly without burn- ing through a lotof expensive photo paper and without blasting their negative with alot of damaging light from the enlarger head. In the digital age, you don’t have to worry about damage to the negative, but photo paper is still expensive s0 use it sparingly, That said, you should always use the same paper throughout the pro- ceess of making a print, Avoid the temp- tation of trying to get the image dialed in with cheaper paper and then switch to the real thing. You'll just get frustrated and spend at least as much money. Longevity Digital technology has confused the issue of image longevity for many Pigment- Or Dye-Based oye Pigment Pigment Ink Technology Cromatitet00 wos Utractrome KS. Pigment | UtraCtrome «3 Pigment | UtraChrome HOR Oye PotoRet N bye PotoREt photographers who didn’t fully understand the process or why one type of print was considered to be archival while another was not, Some clarifi- cation is relevant to a discussion of black-and-white printers because the process for creating a digital black- and-white print is thought to have more in common with color science and technology than traditional black- and-white wet-darkroom printing. Traditionally, black-and-white photographs were considered to be archival while color images were not. The reason: A traditional silver-halide print is inert. Assuming that one used photo paper with no acids or other materials that react with light or the atmosphere, the image itself was composed of, essentially, tamished metallic silver that woud not react with either the paper or the air, Black-and-white prints made in a wet darkroom that were properly fixed and rinsed could last indefinitely. All of this assumes that anything else with which the print comes into contact is also archival. Mat boards need to be acid: free, and the print itself can’t be in direct contact with anything that may contain moisture of damaging chemicals. Foran excellent resource on archival preser- vation, see The Life of a Photograph by Sam Abell. Traditionally made color materials— prints, negatives and slides—generally aren't considered to be archival because their processes leave a number of reac- 80 Outdoor Photographer outdoorhatogrepecom Dye-based inksets like the Canon ChromaLife100 have become much longer lasting as chemistry has improved. tive chemicals such as dye-couplers and acids. Most traditionally made color images will fade or color-shift over a relatively short time when exposed to light. OF course, there are exceptions, suchas dye-transfer prints, Kodachrome transparencies and some others, but generally, color images were never expected to last and weren't considered to be archival Another part of the archivability problem is in the paper. The manufacture of paper uses all sorts of nasty corrosive chemicals. Most papers are loaded with acids and over time they break down the paper. But all papers aren’t ereated equal—some are completely acid-free. Have you ever pulled an old paperback novel from your shelf and noticed the yellowing along the edges of the page? This is because of the chemicals in the paper reacting with the ait. On the other hand, if you have an old, particularly ‘well-made photo book on your shelf and you pull it out, the edges may still be a perfect pure white because that paper was made to acid-free standards. ‘The life of a digital print depends on the same factors as a traditional wet- Advanced pigment inksets like these Epson UliraChrome HDR and Canon LUCIA inks have ‘migrated from high-end commercial printers to desktop models.THE WORLD’S BEST PHOTOGRAPHY, LIGHTING & PHOTOSHOP TRAINING. Wor gu . "| p epi wa0 10,738,8513 Tw RA ogOP TECH USA EXPERIENCE the DIFFERENCE! Dl ars oo Sito Sis Straps * Pouches * Acessories Protecting your gear for more almost 30 years! LOP/TECH USA » 304 Andrea Dr » Belgrade, MT-59714 + 600-251-7615 + www-optechusa.com UES 13595) Pee ee at fl, view online now zinio;com/outdoorphotographer, 82, Outdoor Photographer eutdoorphotogapnercem PRINTERS FoR B&W. darkroom print, but all digital prints ‘made with inkjet printers have more in common with color processes, so even black-and-white digital prints have some significant challenges for longevity Inkjet prints rely on several complex chemical reactions beginning with the inks themselves. We've mentioned that to make a fine black-and-white print you should be printing in full color. Don't be fooled into thinking that if you use only the black inks for your print you'll be making.a stable image along the lines of a traditional wetdarkroom silver- halide print. The black and gray inks in an inkjet printer have the same funda- ‘mental chemical issues as the color inks in the same printer There are two types of ink technologies used in inkjet printers: dye-based and pigment-based. Of the two, pigment based are the more stable and more archival because their pigments are mostly inert—they won't react with the air or fade with exposure to light, Dye-based systems contain more corrosive chemicals, making their images inherently less stable than pigment-based systems. Does all of this mean you should avoid dye-based printers? Absolutely not! Dye-based systems are capable of producing beautiful ndewhite images. All other things being equal, they won't last as long. as a pigment print, but even dye-based prints have improved dramatically in their longevity. Go to Wilhelm Imaging Research where longevity testing shows some ¢ prints lasting over 100 years (wilhelm- research.com). Also, in the digital world, some question the because, unlike a I, the actual image file doesn’t fade or break down, You can make a perfect new print if you notice degradation, Pigment Inksets For the purposes ofthis arti looking at a portion of the total un of inkjet printers that are most g« to OP readers. These are printers for photographers who want a dedicated photo printer for producing outstanding images. We're limiting the scope to desktop printers ‘As mentioned, all of the printer manufacturers have developed methods for improving the way color inks ean makeblack-and-white images. Canon's LUCIA inksets and Epson's UltraChrome K3 inksets are excellent examples of pigment-based ink technologies that build ‘on the basie cyan, magenta, yellow and black with photo colors like light cyan, light magenta, matte black, photo black, light black, light light black, gray, red, ‘green and blue. The upshot of this cor- ‘nucopia of color is, ironically, a black- and-white print that has deep, pute blacks and the sorts of smooth transitions from tone to tone that we see in silver-halide prints ‘The Canon LUCIA system is available in the PIXMA Pro9500 Mark II, ‘There are 10 pigment-based inks in individual ink tanks, The inkset employs standard color inks as well as photo black, matte black and gray inks. These latter three inks, in particular, are said to help deliver a higher-contrast image with lesser metamerism and excellent neutrality—all qualities one needs to make top-level black-and-white prints. Epson was the pioneer of pigment- based inkjet printers. Its current UltraChrome K3 inks feature eight individual tanks, and the system is available in the Stylus Pro 4880 and Stylus Pro 3880. Photo black, matte black, light black and light light black are used in conjunction with the pigment-based col- ‘rs to create prints that have smooth tonality, strong contrast and rich blacks. Epson’s newest pigment-based ink technology is called UltraChrome HDR, It’s available in the Stylus Pro 4900, and it features a combination of new colors and Epson AccuPhoto HDR screening technology. UltraChrome HDR was developed for professional and commercial printers who need absolute consistency as well as perfect- looking images, Dye-Based Inksets ‘On the dye-based side of the busi- ress, Canon has its Chroma ife 100 technology. The PIXMA Pro9000 Mark IL uses this system of eight individual ink tanks, and when used with the appropriate Canon paper, it renders prints with (Cont'd on page 110) —, 21 MORE On The Web Fn mor ifornston one bos pits and test engmert reviews ard Boers (aides inte Gear secon ofthe OP webste Vit ivovdoorphotographecon/aear —— (at) lex Print More. Spend Less. Perfect media for your Black and White prints sionsrune A ee — Epson Exhibition Ganson Baryta Fiber Photographique EPSON New! Epson Stylus Photo R3000 13" printer Epson Canon HP Wacom Hahnemuhle Ilford Moab Innova Premier Art Canson Museo Harman Over 25 years of Saving You Money www.atlex.com (800) 327-2822 utdoorpotograchercom August 2011 83ceasionally, @ solution comes along that’s the perfect fix for a problem T thought I'd always just have to deal with. Eye-Fi recently created a tool that not only solves one of my problems, but gives any nature photographer a pretty cool option sferring and processing images T do a lot of underwater photography, which is equipmentintensive and puts sensitive DSLR electronics and precision optics directly into an ocean environment that instantly will destroy them if some: thing goes wrong. One grain of sand in the wrong part of the camera housing’s ‘O-rings, and the housing will flood. So, needless to say, Ttake great care in inspect ing and maintaining the housing and its O-rings, and I keep them completely free of contaminants, That’s actually easy enough to do when I prep the gear at home the night before a dive, but it’s not nearly so easy to do on a rocking boat with blowing salt spray and sand, bits of kelp and other flotsam all over the place. ‘The simple solution is to never open the housing on the boat, but that’s not Thad been aware of Eye-Fi cards, but at the CES show in January 2011 Eye-Fi introduced a new feature that jade me sit up and take notice. Using the Eye-Fi app that you install on your smariphone or tablet, you now can tans: mit files directly from the memory card in the camera to a mobile device through Eye-Fi Direct Mode, This solves my prob- em because I don’t mind bringing my ‘Pad onto a boat in a waterproof ease (I don’t bring a laptop for all of the same reasons that I don’t like opening a hous ing on a boat). Using Direct Mode, Ian transfer the images, and the camera is ready for the next dive. Eye-Fi didn't develop the Direct Mode just for underwater photography. It's an ideal solution for any nature photogra: pher who wants to be able to evaluate and even process images in the field Camera bag manufacturers have been building laptop sleeves into their bags for several years, and while I've carried a laptop on a photography hike, I only did it once and I didn’t enjoy it. Bring- my iPad, on the other hand, not only Pro’ 8GB +Wi-Fi Image Files An Eye-Fi card and your tablet make an ideal field combination By Christopher Robinson isn’t a problem, but it’s actually helpful for other functions like maps, Using Eye-Fi Direct Mode, I can transfer images to the iPad, do a quick edit and, using fone of my favorite apps, Pixelmator, do some sophisticated manipulation—all without having a bulky cable connec- tion kit or a laptop. The system works by essentially making the Eye-Fi SD card into a Wi-Fi hot spot. You have fo set up the eard and the app beforehand, but the process is str forward. Out in remote locations where there are no Wi-Fi networks, the system ‘works without any issues. As other review- ers have noted, things can get confusit when you try [0 work in the presence of other Wisk works, That’s because the only wants to make its own hot spot as a last resort, IF it detects another Wi-Fi network in the area, it wants to use that fone instead. There are workarounds for this, but [ haven't delved into them, because (0 me, the Direct Mode is only useful when I’m out someplace far from Wi-Fi networks, like on a boat or on a trail in a national park. or. Contact: Eye-Fi, wwweeye.i Tho Eye-F SD card can work as its own Wi-Fi hotspot to transmit images directly from the card in your DSLR to your tablet. {84 Outdoor Phot jpher_eutscorpotogapteccemTurn your used photo equipment into cash! | WePayTep Dollar for rare pieces & collections Pancreas Meuse) oa Solgar Catered Easy online quotes Cleric UE keel} We want to buy your used or unused photo equipment! —|_Tefindoutthe value ofyour Cen meatcants ‘Adorama spent millions of dollars in 2010 buying 35mm, Cra Pe eee eC en eee cat ‘800-223-2500 Our customers happily traded or cashed in their equipment. ort te: We were able to satisfy them by simply paying above market value. se ng ET ICC Rca uiry ‘Adorama pays top dollar for individual items, rare pieces, Bremen sua Pe oe TCT elu) Please include your phone SEC Reale sce i saleh ately Cs ern Ea id ar ahRey iba pea leet beh Be aa Pe aR a DEE u nse ae } New York NY 10011 Be" Malad day Msianpoblia Cy Pe eaere en avail Latta se era Scat Ce) coer eaten erent Pca’ eo Mes ae = ue em Z Td TF ee cia y( De Ry Creer UEC UE Ae Se THE PHOTOGRAPHY PEOPLE ayVersatile stabilization solutions that bridge the gap between stills and video nether shooting for the ultimate sharpness in stils oF looking to capture video that's ‘as smooth as possible, there never has. been a better time for photographers to be looking at tools for image stabilization. The explosion in video-capable still cameras has created {an incredible demand for stabilization gear that works for both still mages and motion pictures, and now that high-definition video is another option for photographers who are using video-capable DSLRs, tripod manufacturers and video companies are offering still photographers many of the same possibilities that high-end video-support systems have given video professionals, ‘These stabilization kits and rigs provide filmmaking tools at the same time that they act as extremely portable balancing systems for DSLRs. They're efficient, compact, lightweight alternatives to tripods, too, and many are modular, as well, offering options and features that give them a leg up over traditional tripods with a variety of accessories that can turn your DSLR into a versatile filmmaking machine. Stabilizing Solutions Available in Ganon, Nikon, Olympus, Pentax and Sony mounts, the BushHawk 320D keeps your camera steady with a tifle-ike shoulder support, particularly helpful with large telephoto lenses. The included shutter-release ccord triggers the camera so you can hold the system comfortably in both hands through the double-handed grip. ‘The BushHawk 3200 kit also offers a window pod for shooting from cars, a sling strap and a black nylon bag. List Price: $299 (Deluxe Kit); $399 (Professional Kit with quick-release system), ‘The Camtrol Prime utilizes a cage-free design, making it an Ideal choice for cameras and camcorders with swiveling LCD screens. The ergonomic “true-feel arip handle is built for low shooting and versatile handholding, leaving the other hand free for camera operation. There are BushHawk 3200 A also locking ball joints, QPRL quad pod retractable logs and a vertical stabilizer bar for positioning the camera on 86 Outdoor Photographer eutsoorptetographercemCamtrol Prime Ikan SUPER FLY the ground or framing from above or ‘even around comers. The Camtrol folds down to 10 inches in length, ‘and a receiver post for a remote and accessories keeps wires out of the ‘way, including the optional Gamtroller remote for controlling camera functions in LANC-enabled camcorders ‘and DSLRs. List Price: $399 (Camirol Prime); $99 (Camtraller Ginevate offers a wide range of DSLR-steadying rigs, from the basic DSLR Camera Grip all the way up to the DSLR Deluxe Package that includes everything you'l likely need to make a full film production. The Simplis Solo is offered as a more barebones “run ‘n gun” setup, with 1a Simplis Quick Release plate, a swiveling 14-20" hand orip that IDC Quick-Release U-Boat attaches to the camera via the tripod mount, a shoulder stock and three lengths of shoulder stock rods. ‘The unique Cyclops DSLR Viewfinder fits to the Simplis, too, for magnifying the LCD screen to check focus and to block sunlight from washing out the screen. List Price: $399 (Simplis Solo); $689 (Simplis and Cyclops. DSLR Viewsinden. IDC’s Quick Release U-Boat provides an accessory cage for HD DSLRs and smaller camcorders Under 5x6 inches in height and width, ‘The baseplate can be mounted to standard "-16 or 1-20 tripods, and when secured to a tripod, the add-on, adjustable-length shoulder brace also doubles as a panhandle for panning and titing. The system is compatible with the IDC SYSTEM ZERO Follow-Focus unit that’s compatible with lenses from Canon and others. For the Ganon EOS 7D and 5D Mark Il, OC also offers the Direct Mount U-Boat Video Rig that isn't quick release. List Price: $399 (Quick Release U-Boat); $349 (Direct Mount U-Boat). Compatible with smaller video- capable DSLRs and weighing only 1.25 pounds, the ikan SUPER FLY Super Kit is part of ikan's Elements series, which means it can be customized with moviemaking tools like the F3 Friction Follow Focus unit, for extremely precise and much more comfortable focusing. Available in 18 oF 24 inches, the Gunstock Kit also can be added for steadying the ULTIMATE BIRDING defines these premium roof prism birding binoculars. The ulmate ‘choice for bircing enthusiasts OP 8x42DH Mark I OP 10x42DH Mark II we 3) 8x42DH /10x42DH % pancon q na [ae] www.bhphotovideo.com (800) 947-9980 foe adstonalnermaten vt www.thkphoto.com utoorpotograchercam August 2011 87A Redrock Micro DSLR Field Cinema Deluxe Bundle V2 camera against the crook of your arm, The SUPER FLY features two cheese plates and two six-inch 15mm rods for adding other mounts, grips, handles and accessories like flashes, large monitors and even microphones if recording sound. The system is designed for smaller video-capable DSLRs, and a SUPER FLY Spacer Kit adds space for larger models like the Canon EOS-1D Mark IV or camera, bodies that have a battery grip attached for longer shooting times. List Price: Begins at $449. Avallable separately, the Novoflex MMR uFLY and MMR BLUEBIRD can be combined into a full stabilization kit that’s balanced on a variable friction ball-joint attachment with a quick-release platform. The three-sided support arm of the MMI UFLY allows you to hold the camera below or above, with long, Arca-compatible camera plates {and longer ones available) for sliding the camera into the best position for framing and for balance. The MMR BLUEBIRD adds more options, with a chest support and neck strap for more comfort and stability during long video takes and twin handgrips that ‘work in tandem with the adjustable friction MagicBall joint for aligning the camera and accessories horizontally, vertically or anything in between, Estimated Street Price: $1,040 (MMR UFLYy; $1,399 (MMR BLUEBIRD). ‘The Universal Bundles for DSLR cameras from Redrock Micro provide flexible kits that can be Configured into muitiple rigs, Currently available are seven different bundles, ‘88 Outdoor Photographer outdoorphatographercem and the series culminates in the Complete Universal Bundle that includes every piece of gear needed for converting the kit into every HD. DSLR rig configuration that Redrock Micro offers presently, List Price: Begins at $1,276. ‘The Zacuto DSLR Z-Cage is light and extensively modular, The DSLR handles are ergonomically designed for gripping with your fingers, and the system is quick-release and tripod-mountable. The Z-Cage is compatible with any video-capable DSLR currently on the market with or without battery grip, and the camera plate includes multiple threads for expanding the form factor from DSLR rig to shoulder-mounted support with optional accessories, which Zacuto offers in spades, including the Z-Focus follow-focus unit, and the optional Switranix HOSLR V-Mount Battery Pack for six times the standard run time of Ganon OEM batteries and the Switronix FLEX DSLR Remote Trigger for the Canon EOS 7D and §D Mark Il. List Price: $827 (DSLR Z-Cage); $155 (Switronix FLEX DSLR Remote Trigger) or. A Ginevate Simplis Solo A Novoflex MMR BLUEBIRD acc BushHawk (877) 925-8842 uw bushhawk.com Camtrot (e88) 722-6876 wuw.camtral.com Ginevate (207) 944-7153 wuwcinevate.com IDC Photo Video (928) 442-3008 wawidephotography.com ikan Corp. (713) 272-8802 ‘wawikancorp.com Novotlex (HP Marketing Corp.) (@00) 735-4973 wawhpmarketingcorp.com Rodrock Micro (888) 214-3008 wwwredreckmicro.com Zacuto (888) 234-FLM 2) MORE On The Web Te Gat Hag cola is able a archi nthe Ger sao te OP ‘sts, \wiemoutsoorpheterapharcom. Yu fi lromsten ea revenson nw a ting os, Inc eamers less ners aré mare!Great Counses NOW ENJOY BRILLIANT COLLEGE COURSES IN YOUR HOME OR CAR! be Linacre =f Bue Se a ected co eit 2" Edition The Louyre eed In What Are the Chances? _In Museum Masterpieces: __In My Favorite Universe, Probability Made Clear, The Louvre, expert art_ world-famous astrophysicist “Edition, award- ard-winning Professor and director of the Hayden Ivy League Profes- ichael S rd helps you Planctarium Neil deG mas Childers explains understand the fundamental on an unforgettable journey Tyson takes you or how a man like Adolf Hitler concepts and fascinating through one of the world’s and intellectually could come to power in a applications of probability. greatest museums, This journey through the cosmos developed country with a By picking intriguing, useful, _12-lecture series explores and all its history, from highly educated population, and entertaining examples, some of the most beautiful before the Big Bang to the and how he could hurl the hhe makes probability come and renowned examples from most likely ways in which, centire world into a devastat- alive. the museum’s remarkable Earth, and perhaps the entire ing war that would consume collection of masterworks. universe, might end, millions of lives. Course No. 1474 ‘Course No. 7175 Course No.158 ‘Course No. 805 12 Lectures 12 Lectures 12 Lectures 12 Lectures (Gominutee/Lecturey Gominutes/Lesturey (Cowinutes/tecture Be Be 22 SPECIAL INTRODUCTORY OFFER! Order any one of these BEST-SELLING COURSES for only: $199-95 on DVD eae $134-95 onCD $190 +5 Shipping and Handling 48: le 9,000,000 NEEL} Aires) bn Priority Code: 58304 — Cini samie! th sys sue pions, www.THEGREATCOURSES.com/5PHTG 1-800-832-2412travef and Teton National Pa Il In The E: September 21-25/October 13-16, 2011 ‘Two of the most beautiful areas of the country are the focus of these dynamic ‘workshops. Condueted by professional photographer Bob Evans, they both offer many locations that are less known to the ‘general public. Evans has been conduct: ing these workshops for 16 years, with ‘over 30 years of photographic experience Both workshops include all lodging, le ture series, field lessons and daily critique sessions. The Teton workshop begins on September 21 and concludes on Septem- ber 25,2011. Itincludes atleast eight different shooting locations in Teton National Park and surrounding areas. Fall in the ‘Eastern Sierra has been one of the most popular workshops for six years. Evans ‘has been shooting in this area for 20 years, and has firsthand knowledge of all the ‘great locations. The workshop includes four nights’ lodging in Bishop, Calif. with daily lectures, critiques and field assistance, The event begins on October 13 and concludes on October 16, 2011 Class size is fimited to 10 participants For more information, contact (916) 223-5211, info@sceniclight.com, www.sceniclight.com, south ture December 2011 If you want to achieve the dream of ‘your life, get married, honeymoon or experience an adventure in a safe and protected environment, join the Dooleys 99 Outdoor Photographer outdoorhotographercom con a memorable photo safari! Kevin, a long-time wildlife photographer, along with his wife Tricia, who was bor and raised in South Avtica, wll guide you on your journey. Their knowledge of the ter- ‘ain will offer you an opportunity to capture your dreams and improve your photographic skills. The stunning accom- ‘modations will surround you in a spec tucular and cozy African environment in the middle of a summery December. For more information, contact: (877) 710-6322, info@kevinsphotography.net, swwwidubephotosafaris.com. Join Adirondack photographer Bur- dette Parks (www rouncllakestudios.com) and 7444 Gallery (wow.7444gallery.us) cowuner Todd Smith for a unique opportunity to explore the picturesque Adiron- ddack Park, with a local knowledge and fair few seldom see. This four-and-a-half day photography workshop will include (as conditions allow): a waterborne excursion, lowland hikes, summit vistas, a tec nology lab and a formal gallery opening. Parks will share his years of local shooting expertise and his private-location and portfolio knowledge. Gallery owner Smith will share his experience in marketing and presentation-branding knowledge through a formal gallery opening in the 7444 Gallery. Following three full days of shooting and exploring with Parks and Smith, participants will spend their digital lab skills, submit the best of their work for professional printing by Mark Hobson ndacklightnet), and will ent those works for public sale and display at the 7444 Gallery in a one-night exhibition, Limited to 12 photographers. For more information, contact: ‘Todd Smith, 7444 Gallery, (518) 282- 4743, info@ T444gallery.us, www. adirondaekaperture.com. alifornia October 12-16, Light Photography Workshops ‘announces Click!, their second anmual California Photo Festival. This five-day ‘annual celebration of Light On The Cen~ ‘ral will feature 16 top photography and igital-imaging experts, including five ‘Canon Explorers of Light. You're invited to take a look at their 100-plus events schedule, now posted on their website, Their instructors include Rick Sammon, ‘Hal Schmitt, Jennifer Wa, Tim Grey, Juan A. Pons, Rob Sheppard, plus 10 more larger-than-life instructors! Don’t miss their early-bird discount on the full-week pass that expires on August 30. Use code OP2011 to save! Their hands-on workshops, lectures and seminars will cover all genres and levels, including landscape, wildlife, studio, glamour, wed- ding, portraiture, small strobes, printing, retouching, video and imagi such as Adobe Lightroom 3 and Photo- shop CSS, Topaz, Nik and more. For more information, contact: (805) 528-7385, www.californiaphotofest.com,For more workshop listings go t Saas ONE ae EMT [AMERICAN BALD EAGLE FOUNDATION WORLD LARGEST. BADD Eactt GATHERING § \ IN HAINES, ALASKA, PHOTO WORKSHOPS: MATT SHETZER BILL MCROBERTS INGER WWW. BALDEAGLEFESTIVALORG Suan $0¥2° wm travaliages com TN OLS) ‘word's most inspirational locations. Usually not moce than & panpants per insvuctor In fur 15th year! ur Schedule: 4 30-Aug 4 Lake atk, AK Bears ‘ug 10-14 ~ Oregon Coast ‘Aug 17-24 « Olympic NP, WA Sep 01-15 - Chia ~The Best of Asia ‘Sep 23-27 ~ Grand Tetons HP, WY" ‘et 09-13 - Autumn In Vermont (oct 14:17 = White Mtns of New Hampshire (Oct 19-23 - Acadia Nat Park & Maine Coast ‘Oct 19-25 - N Caolna ister Nov 16-20 White Sands & Bosque, NM Dec 07-11 = Phatosnap Pring Jan 17-24 = Yellowston & Tetons In Winter Feb 08-12 - Southwest Florida Birds Feb 23-Mar 05 - Costa Rea Mor 19-73 = Death Valley Ri Ape» Northern Arizona May Monterey 8 CA Coast Sep 03-11 Denal & Kenai Ford NP, AK ‘Sponsored by: TinageAssembler, Heleon Software, HDR Seto mb etal HOR. um pores PHOTO, TRAVEL ana OUTDOOR enthusiasts who want 10 know about your products and services. witdeornhatagrapher com Barefest Contessa ao Seek your own vision, and create great photos, Have lot of fun ina smal group with loads of individual iatrton www. BCphotoadventures.com [WERE rte rest in september NC Waterfalls in October GALLERY PHOTOGRAPHIC WORKSHOPS formats; fed and dark / clase Small group instruction with oustanding and waterfalls af Yosemite National Par, 2012. SCHEDULE COMING SOON! cigars Big Idea, Small Space Ther Perea Sere oe ee ree and lick on Travel & Workshops Fale ela) Gee acnes Sorin www.charlesneediephoto.com 425-968-2884 Don Smith Photography Workshops re ae a ee Ue al sdoysomg Woes. wares Wolves A Bete Banter Hae Bast cate Tareas cenic Aperture st 2011 91 utdootetagrapheccom Aug& workshops September 10-11, 2011 Leam special techniques for making striking. and unusual close-up images in thishands-on weekend masterclass taught by award-winning Seattle-based fine-art macto photographer Charles Needle. Techniques covered include how to shoot: abstract flower reflections on iridescent and colored mirrored glass, flowers behind clear textured glass, flowers reflectin in water droplets, abstract Mylar ref tions, rainbow-colored plastic objects using a lightbox and polarizing paper, rainbow-colore flowers lit with multicolored LED flashlight, col glass objects and shes, and much, much more! Inaddition, you'll learn how to improve exposure, composition and lighting when working close-up. The weekend workshop also includes group assignments, lecture, instructor demos, supportive group image evaluations and lots of individualized classroom instruction sions will be held in an indoor photography studio at Glazer’s Camera Store in downtown Seattle, Wash, Special discounted hotel rates are available. All kill levels welcome. For more information, contact: Charles Needle Photography, (425) 968-2884, charles @charlesneedlephoto.com, ‘wwwcharlesneedlephoto.com. 10 September 30-October 4, 2011 ‘The next workshop in Scenic Aper- ture’s 2011 lineup is Fall Color Of The 92 Outdoor Photographer outdoorhotographecom San Juan Mountains, The San Juans in Southwest Colorado are famous for their rugged beauty and magnificent aspen groves. Each September, the aspens turn 4 spectacular low, making. this area one of the best for autumn pho- ography. The workshop is based in his- toric Durango, Colo. Scenic Aperture’s workshops provide unique and exciting opportunities to photo- 1's mast scenic areas while providing meaningful earning opportunities for photographers of every skill level Each workshop includes multiple sunrise and sunset photo shoots, with digital darkroom sessions in between. On-location and digital darkroom taining is customized for each participant's needs, from fundamentals to advanced techniques of landscape photography and digital postprocessing. These workshops are both exhausting and exhilarating. Scenic Aperture will push you to have fun, develop your creativity, and create beautiful images you can be proud of. For more information, contact: Frank Comisar, (402) 290-6867, feon nicaperture.com, www. seenicaperture.com, lescent yel sar@ September, October 2011 “It is only with the heart that cone can see rightly; what is essential is invisible to the eye. —Antoine de Saint-Exupéry Visit Locations tab to view the ultmate quide to Travel & ‘Workshops, plus photos. This directory wil help you pick your next warkshap from a listing that includes sare of the best programs in the weld! ‘This quote is the essence of workshops by Vern Clevenger, the premiere photographer of the Eastern Sierra, Cle- venger is looking forward to providing students with a rewarding photography workshop experience, always optimiz~ ing individual instruction and aiming toward “seeing rightly” Clevenger always, spends days scouting locations in advance ‘of each workshop, so you're assured of the most efficient field sessions, with quite a bit of fun thrown in, too. The first session is scheduled for Septem- ber 30, October I and 2, for images pri- marily in the mountains above Bishop. ‘The strongest fall colors always start south at higher elevations in the beginning of October in Rock Creek Canyon, and then the Bishop Creek area, The second workshop dates are October 14 to 16, You'll be shooting and making images in the mountains near and close to Mammoth, Later fall color is always around Mammoth, Convict, and the Sil- ver Lake area. For more information, contact: (760) 934-5100, vern@vernclevenger.com, www. vemelevenger agrapher.com and cick on theFor more workshon listin a1 Wu utdoornhotagrapher com and click an Travel & Workshops Q Ree eT PUR cc arse Caen Maem ae VISIONARY Rocky Mountain (efaevan ih (eee UL MOL Ub Chey Glacier-Waterton Lakes Deen Cog Cee ee MON aimee) Eley Ero School of Photography tov, Montana oo Want the RMSP experience in Alaska, Tuscany or Holland? Call today for details. (800) 394-7677 RMSP.cOM "FOOTSTEPS" PHOTOGRAPHY WORKSHOPS Two instructional tapes stl avalabe ‘Check website for ore information shotabydon gear et/ ww PhotoyaghyayDan 12011 "Footsteps" Photography Workshops { BOOK NOW (626) 444-8008. Bc.2730, Ga Reto ec cunmecu) MACRO BOOT CAMP Mike Moats Sponsored by Tamron wwwtinylandscapes.com sdoysomg oo Beary esses vtdooetagraphoccom August 2011 93EraRos RO eeu ee ce 94 Outdoor Photographer outdoorphtegraphetcom autumn photography workshop cater anh 2011 www.AdirondackAperture.com Natures Image Photo Field Workshops “Tp epoca, Dt Soper seaman Bilan Unda Lane (804) 883-7740 Tanephotoworkshops.com 15395 Mountain Re, Montpelier, VA 23192 We'd love to have you join us! CO Fall Colt Northen Lights - and much more! www.advenphoto.com Ener aie a0 past ‘o 2 fim EEE OTS 2: eee re nd Cee eee ee ta ero or Prem coo res cae Visit outdoorphotographer erento ‘Summ WorksHors ant Heme! Wour, WY 22-25 MACKAY, ID Stay connected with the latest in outdoor and digit photography with the Outdoor Photographer eNewsletter Log on and sign up today!For more workshop listings, go to www.outdoorphotographer.com and click on Travel & Workshops. International THUS et YO isd ities ceestt ar ere ee ST ilevine@wemerpublishing.com Gy Uda a Gls) Esra ieee Wild India LLC speciatizes in India's wildlife and wild places: Buteh Lama, aperenel peer estate ral private tour. Butch knows India’s ‘wildlife like few others. Let his skills complement yous, Serer te beak cel Faneale@ny Fe res smarting ;, ser rhe. YS eae ae 2idiaw , february 201% SCOYSYIONNg || utdoorpetagraphoccom August 2011 95[Your source for products and services] —- The Acratech _ GP Ballhead Weighs less than Nib (45kg). Easily holds up fo 25Ibs (11kg). Functions as a Ballhead and @ Gimbal Head as well as Panoramic head, PHOTOGRAPHER'S STARTER PACK* $47.95 ear q sels 0 yeor Warranty. 25% OFF Nola ae) a TURN YOUR PASSION INTO PROFIT! * Conbine your ota wt ou super ‘aly mated gating car frames to creat a xt roc + Showcase your pat of ere oto, + Gol 1% ot for tet ame customers res nunca www.acratech.net (909) 392-7522 photographersedse.com 801 254 PHOTO, TRAVEL ang Steady Your Shot with the \ Bus! The new BushHawk 320D with oe wee double grip allows the use of both hands for ‘support of your DSLR and large lenses. - use a lightweight BushHawk shoulder We stock for dynamic wildlife situations when tripods or mY ‘monopods are impractical.” /, aN Frans Lanting Professional Photographer eee tn Re ae eae bayphotowww.outdoorphotographer.com SPECIALTY PHOTOGRAPHIC REPAIR SERVICES Expert Service On All Photographic Equipment Servicing all major brands, including NIKON + MINOLTA + PENTAX CANON « OLYMPUS + FUI I Large Photographic! | Ee Se alge BWG-J3K ‘Mack Widow Ji Gk with EMER wing axtra Light Gimbal Supports Med T " IMBRP $3498 as chown See our complete lineup at: ‘www jobu-design.com ‘Toll Free 1-888-321-JOBU Made in Canada ear See CALLING ALL CAMERA CLUBS 1- im IN KEARM | inkfarm.< the ink & rn m.CO) 2 ETT eC) Members GET MORE DETAILS AT: wernerpublishing.com/camera-clubs| Photo ber patra 088, tote seisintcowae | hnrearnage < Pr) z ° Rd rr =| a ry Fd 0 ra 3| Fd 4 r) rr) z a = Cc) =| < fe Q Fy Ein ae ae Oe Lene ey OKIDATA IBM APOLLO SAVIN PANASONICNew eyes for industry Lighter Faster Smaller Sharper Re ae eS) Tamron specialty! Tamron 18-270mm IVE PZD (model SCS ut Pe eur Pee eT) eee innovative ultrasonic autooc De ee Pees a lens tha’ considerably ight, Dee Ne Inu ey CAUCE Wa kd ee) 98 Outdoor Photographer outdeoetgrapecon Wuy CHoose B&W (Con from page 49) low dominates the original. Itexudes: and is all about—warmth, A bluck-and white version offers an entirely different experience. The black-and-white story is all about the island and its arresting shape. My eye is drawn to the slopes and peaks of the island’s topography, and I focus upon the silhouette instead of the glow from the sunrise. I's eom- pletely different experience, and in many ways, a stronger one See Differently With even these few examples, it’s easy to understand how black-and-white can reveal different things to a photographer and viewer. As nature photogra- pers, we can develop and use our ability to see in black-and-white to our adva expanding our aptitude for seeing the potential of what’s in front of the lens. Color is the most obvious element ‘of composition, but shape, line ancl texture can separate a nice picture from something that’s truly special. Thinking in black-and-white will train your eye to spot the full potential of a landscape or a wildlife portrait 1 shoot with the hope that my work helps foster new appreciation for the outdoors and the natural world. One of the things L love about outdoor photography is the potential to reveal things that people normally don’t get to see. And a scene’s richest potential may lie beyond the obvious. So I believe it’s my job— cour job, really —to keep looking at nature in new and different ways that expose the depth and richness of both the image and of nature itself. Sometimes black- and-white is just the ticket! op 2S, Jason Bradley is a nature and under- ‘water photographer based in Monterey California. His passion for photography extends to all kinds of subjects, but he’s happiest and most in his element focusing on coastal habitats and ecosys: ems. You can see more of his work at bradleyphotographie.com, THe Rarest LIGHT (Conta from page 64) of obstacles that can block sunrise or sunset light, When To Find Gap And Glow Light Finding both gap and glow photos is a matter of luck, but there are ways to improve your odds. The firs is to arrive carly and stay late. The best glows often peak 15 to 30 minutes before su after sunset, then fade. I try to arrive at my shooting location 45 minutes to an hour before sunrise so [ have time to dress warmly and set up. There’s very litte time between the beginning of civil twilight, when it b ight enough to see without a headlamp, and the ‘moment of peak light, so it’s important to scout the location the day before, when you have ample time to find the perfect foreground and dial in the best possible composition, A second way to improve your odds is persistence. Both kinds of photos depend on the presence of clouds, of course. Its cone of the paradoxes of landscape pho- ography that widespread clouds inerease the risk of getting skunked and inerease the chances of geuting a very good photo, if you get one at all. Its awfully tempt- ing to poke your head out of your tent or bedroom window, see clouds blotting out the stars and go back to sleep. Don’t suc- cumb, Sooner or later, you'll miss. great shot, Whenever I get tempted to hit the snooze button (which is almost every time I shoot) I remind myself of the first rule for chasing great light—the potential reward is alway’ greatest when the odds against you are the longest. or ~ You can see more of Glenn Randall's work, sign up for his monthly newslet ter, read his blog and learn about upcoming workshops at www: glennrandall.com. — +) MORE On The Web Vet OP one we fs ehance fo wn eng es nt ger when ou arr aon ot Go 19 mirovtoorpotcgrapherconvzorests {0 ere ard gn up re OP elt fo stay florea au coresHUN TODAY ON YOUR NEL be UsedCameraBuyer.com pays top-collar for used camera gear. Our process is simple. Just go to UsedCameraBuyer.com, get a free stant quote and print your pre-paid shipping label. We nd you a check when we receive your gear. No haggling. No disappointments. Just top-dollar for your used camera gear. 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Most products aro io in Camnoutegs pater Forest Green, Realree AP Snow, Reales Maxé HD, and Digtl Camo al to blend in wth cferent wionments as wol as sokd cdors (lack, bhi gyeen, pink or pure, Lens Covers LensCoat protective covers slide on and off ike sleeve, leaving no residue. Some covers feature ar, flexible UV-PVC windows aver important trols and displays, allowing you to use the equipment with the cover on, Ttton =: PROTECT YOUR CAMERA BODY sacl tr area Competes tages pa. 27512 BodyGuard Series see mis LensPouch, ‘ashes abe op ang ay rap cp 1 pase bales ova LED Ds Body Bag Series rmakode tints kr ates Ned 35g Wen 4 ae BB ratio Soiictoarnsae in reat |= Water-resistant stek customizes reopere slr ty ‘Gimbal Pouch retnah naehararee ah Fata aoa nen ona fr easy stage ag, px ats Br | Rew UUL 800-947-9953 212-444-6653 Fax Pape a et ceed Coe: |g ST oy Friday 9-1 EST/2 0ST part)SHADES OF WILDLIFE. (Cont'd from ge $8) ‘Van den Berg's photography, though, isn’t simply a technical endeavor. It requires of the artist a unique way of secing—a different approach than is required with color. This, too, was something he worked on diligently for years, “Shades of Nature was the first black- and-white project I've done,” he says, “mostly because it took me this long to ‘mature enough to appreciate the difference between “fake” black-and-white photography and the real thing, There are many photographers today who believe that converting a mediocre image ee ce to black-and-white will miraculously ‘make it more arty and more beautiful. It takes time to understand that black- and-white isn’t a quick fix, but a total different kind of thinking and seeing. Fake black-and-white photographs, as faras van den Berg is concerned, happen most often when the decision to convert to black-and-white is made long after exposure. “The way I started out doing black-and-white was fake.” van den Berg explains. “I just converted my color images to grayscale and ackded con- ‘rast and all kinds of bells and whistles tomake it look arty. When [Took at those images today, I can’t believe that I did them like that, For me, there has to be some kind of truth or anchor in reality in the black-and-white conversion process. If you make the image 100 con- ‘tasty, or add too much sepia or vignetting, then it foses its grip on reality, and the ‘viewer peroeives it as contrived. There are some really ood andl beautiful examples of images that are done in this unre- alistie manner, but that’s not my style.” 110 Outdoor Photographer auloaphetogrphercom ‘Van den Berg’s style comes back to graphically simple and interesting compositions, combined with lighting that adds a level of polish that works won- derfully with his subjects. “When photographing for black-and- white.” he says, “one has to imagine ‘what the scene would look like in black- andewhite. Ittakes some time to get that right. Images with sidelighting work very ‘well in black-and-white, and often images with a lot of contrast that wouldn't work in color at all. The normal frontlt images most of the time don’t work?” Nowhere is van den Berg's affection for deliberately lit, stylized wildlife images more evident than in his image of a family of meerkats. (See Showease in this issue of Outdoor Photographer.) “Animal Planet on the Discovery Channel has a series titled Meerkat Manor he explains, “and Iwas assigned todo the still photographs. The meerkats were obviously used to filming, so 1 could get very close. T placed three flashes arourid them. They were obliv= ious to people, and at one stage, one of them climbed onto my head to use me as a lookout point. They often use small trees as lookout points, and it saw me asa tree. It had a tick on it, and the tick climbed onto my nose and bit me, giving me terrible tick-bite fever a week later. While I had the fever, I didn’tthink the meerkats were that cute anymore.” ‘Adds van den Berg, “'ve always loved black-and-white, but I didn’t understand it. Ie took me all of this time to arrive at the place in my photography where I ‘could start working with it. And I'm just starting to leam about its rules” "oP You can see more of Heinrich van den Berg's photographs and order his books omhis website, www: hphpublishing.com. —— +) MORE On The Web “Te Loss secon a he OP west ere to restenave ace of aris on wing Lntscane Dologaaters and rae inagary ae We 3 (Ps fp 100 lone Lozatons. Vist woreuteoar shotograpercenecatons ose moe — PRINTERS FoR B&W (Cont'd from page 83) z00d longevity. Canon claims that the ‘combination of ts ink formulation, Canon FINE print head and Canon media produces prints that rival the quality of silver-halide images Hewlett-Packard PhotoREt IV technology uses six individual ink tanks to create a print. The HP Designjet 130 and Designjet 130r both use the PhotoREt IV system, as well as HP Color Layer- ing Technology to produce vivid prints with good contrast and smooth tonality. Size Matters, But Don’t Get Too Carried Away One aspect of print technology that ‘we haven't addressed has been the issue of printer resolution and droplet size. Early on, printer makers made a big deal about their resolution, and many photographers were confused. A printer would come out with “2880 dpi!” on the label, and we'd start changing our image settings in Photoshop to match that number. It was all very confusing and gave rise to the ppi vs. dpi debate. ‘When printers list a dpi number, that’s the physical number of individual dots they can lay down on the paper in a square inch, Those dots don’t directly equate to the number of pixels per inch that your image file is comprised of. ‘The printer dots get laid down in various pattems of color to ereate your image's pixels. In other words, let's say thata pixel in your photograph is assigned the value of GRAY 127. To make that up, the printer might lay down a dot pattern of MATTE. BLACK-CYAN- YELLOW-MAGENTA-PHOTO BLACK-MATTE BLACK-MAGENTA- CYAN-YELLOW-MATTE BLACK. In this hypothetical example, the printer laid down 10 printer dots to make up cone of your image's pixels, Having a higher printer resolution theoretically tives the printer the ability to more pre~ cisely create each possible color combination and, therefore, better fidelity and smoother tonality. Just like in a wet darkroom, there’s a real art to making a fine black-and- ‘white inkjet print I's a craft that’s honed with experience, patience, and no small amount of ink and paper. The rewards are beautiful images that hang on the ‘wall where you can enjoy them and share with friends and family orVISIT ADORAMA.COM FOR: ADGRAMA Se More Than a Camera Store The friendliest and most trusted discount imaging Beceem nd BS he sa a UP eres Cen ete rt adorama.com 800.223.2500 RAMA cel Pecans Papier sy ates poeta Da eL ae AOL info@adorama.com Watch. Learn. 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I was just lucky enough to catch the exact instant when one goat lined up behind the other.” PPanascnic Lux DMC-FZ50, Leica DC-35-420mm 1/2.8200m Gsmrm equivalence) 122 Outdoor Photographer outioophotographeccomnets OL AW r eesBig shot. Little camera. Street performers can be dazzling, in person, But to go from just another travel pic to a POC ESCIE aie Siren Ma knee eu eS ckile cames tT ~ elec rea Mees ed meena mh nner tient isan een rae hace er ace cn TCs a ance eee EE nonce cet Mts ae aaa eR aes Ls Ce es

Outdoor Photography - August 2011

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