Rank #1: What makes us tick and winter photography tips with Levi Sim
A few quick announcements to consider. I’ll be offering portfolio reviews as we start the new year. All the info will be found on my website and it’ll all be up and running by January 2019. So if you’re interested in that just stay tuned and the details will be available most likely in the next episode.
Don’t forget my workshops either. I’m also going to give you an extra incentive for either joining my email list or the Brent Bergherm Photo Workshops group on facebook. I’ll be releasing a code for the holidays that will be good for $100 off any international workshop. I’ve got a great workshop planned for the Total Solar Eclipse in Chile this July and another in Croatia at the tail end of August. Head on over to my website brentbergherm.com for all the details, and as you have any questions, please don’t hesitate to ask.
Levi’s Instagram: https://www.instagram.com/photolevi/
His Bio at PhotoFocus: https://photofocus.com/author/levicsim/
His personal website: https://levisim.com
Thanks so much for being here, let’s now get to the conversation with Levi Sim…
Interview with Levi Sim
Today I’m joined by Levi Sim. Levi, welcome to the show…
Tell us a bit about yourself. And you as a photographer.
… and when are you going to return Sharky James’ camera?
Main Points of interest about winter photography.
- Dealing with condensation
- Type of bag?
- Anything about hunting that can be translated into photography?
- Clothes, like gloves, boots,
- Winter camping? Do you do it at all?
- Lens hood to protect against elements?
- Camera settings?
- Exposure challenges?
- Favorite locations or types of subjects?
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Use this link to get a free gift at checkout, plus it helps support my podcasting efforts. Thanks!
Dec 09 2018
Rank #2: Palouse with Brian Pex
The Palouse region is simply amazing, and very popular. In this episode Brian Pex joins me to talk about the beautiful rolling hills, using a polarizer to emphasize the landscape and capturing the vibrant canola fields. Oh, and don’t forget the strip farming and crop dusters! ðŸ™‚
Thanks, Brian, for sharing your experience and photos with us!
Jul 02 2018
Rank #3: The Nifty Fifty and Creative Techniques
Exposure Averaging Video: https://youtu.be/zcEV6hqe16M
Segmentation Series Video: https://youtu.be/DhlHh4O0LxI
Soft-proofing Analysis Video: https://youtu.be/wKuHGHH5Tqw
Online Print Course: https://brentbergherm.com/course-info/
List of available workshops: https://brentbergherm.com/workshops/Summary
I talk about the process covered in my recent YouTube videos. They are Exposure Averaging, Segmentation, a series I started several years ago, and expectations about color and a calibrated system for our printing process.Topic:
This is the 50thepisode. Wow, what a milestone. Just a brief history about the show in case you’re a newer listener and you are interested in these things. This show actually started as part of the Improve Photography Network. In April 2018 the founder of Improve Photography gave the other contributing podcasters the various shows. The main show is now Master Photography Podcast and is owned by five of us. Each “side show” as it were, was given to the primary host. This show was my baby from its inception and was originally co-hosted with my friend Brian McGuckin. With the changes that happened I assumed full control of this show and he decided to one day resurrect Thoughts on Photography. So, I relaunched this show with the first episode publishing on May 4, 2018. So that’s where the count “50” is coming from. If I were to count the shows I did with Brian we’d be at over 60 or something like that. But this is a count from when I rebooted the show. In this timeframe I think I’ve only relied on one Latitude Replay where I republished a show with Brian.
I put a question out in the facebook group on what I should do, if anything, for episode 50. One suggestion was to give an account of what I’ve learned/gotten/achieved in this timeframe. The biggest thing really, is the friendships, relationships and connections I’ve been able to make. I’m sure you can probably tell, but I can talk about photography until I’m blue in the face, and that’s just getting started. I can’t do that with most of my friends, if I did they probably wouldn’t be my friends anymore. To actually have people who are just as interested in this field as I am and to hang out with them and talk shop with is just amazing. I’m loving every minute of it.
I’ve also gotten to talk with a lot of great photographers. I think of the episode where I talked with Ashley Tinker about photographing Provence, Dan Bailey came on twice to talk Fujifilm gear with me, Brian Pex talked with me about photographing the Palouse which is just a couple hours north of me, but he’s from Boston so it was good to get on outsider’s perspective there.
Quite possibly the most moving and sobering episode was with Randy Narkir when we talked about the March of the Living which is an educational program bringing individuals from around the world to Poland and Isreal to study the history of the Holocaust and to examine the roots of prejudice, intolerance and hatred.
I even had Ted Meister on from ThinkTank Photo, maker of some fine camera bags and then there’s David duChemin who took over a year to schedule. But it was worth the effort!
Fellow teacher Mary Malinconico has been on a few times to talk about workshop expectations and we also discussed the book by Ibarionex Perello called Making Photographs. Oh, and I had Ibarionex on too! And I can’t forget Chris Marquardt, host of Tips from the Top Floor, the longest running photography podcast. There was also Timothy Allen, photographer for the BBC series called The Human Planet.
OK, I think that’s enough, I just have to bring back a few of these top episodes and replay a bit of them for you here.
The first one comes from Ibarionex. If you haven’t listened to this episode please do so. He’s got some amazing insights. I asked him what advice he would give someone who wants to try street photography but is feeling intimidated. Let’s listen to his response:
And now let’s listen to Chris Marquardt talking about a time when he just had to stop and soak in the experience before he could start making any photographs.
In this next section David duChemin is talking about principles learned in the book Art and Fear, every creative needs to hear this.
And here’s David again talking about the importance of the print. I couldn’t have said it better myself. It’s so true!
And here’s Timothy Allen on the hazards of the job in Africa.
There’s plenty more I could draw out but I’d better leave it at this. Many thanks to all the special guests I’ve had on the show and I look forward to the next 50 episodes and the next guests I’ll have on. Some of which will be repeats I’m sure, though there’s so many great photographers out there. If you have ideas of who you want to hear on the show please do let me know.
In the last episode I asked for feedback and it didn’t take but a couple of hours for Paul from Minnesota to reach out and share some thoughts. This is another incredible perk of being a podcaster. I mentioned earlier the connections I’m afforded, hearing from listeners is absolutely a huge part of that and I’m grateful. Paul writes that he knows the basics but still struggles to put it all together to “make photographs.” He then described some of his pain points which I’ll not get into, but I know I can certainly resonate with him on that. Getting to know you and knowing who my listeners are helps me create a better show. Either writing a direct email like Paul did or being involved in the facebook group is wonderful and I appreciate any interaction I have like that.
Let’s get on now to the main topics I wanted to discuss. These are three of my recent videos I posted to YouTube. The first is called Exposure Averaging with windblown foreground elements.https://youtu.be/zcEV6hqe16M
I was in the Denver area for several days and on the Tuesday we left town I got up early and went out to shoot sunrise at Roxborough State Park. We were staying at an Airbnb in Littleton so the drive was actually not that long. I walked around a bunch and finally found a composition I liked. The sun was just barely up and it was striking the rocks nicely. I had some evergreen trees in the foreground but my goal was to emphasize the clouds in the sky, I really wanted them to go all blurry and smooth. I could have achieved this by attaching my 10 stop ND filter and getting a several minute exposure. But this can build up a lot of digital noise. I shoot the 5d4 by Canon so it wouldn’t have been too bad, but still, I didn’t want to run that route on this shot. Besides, I’d have to blend at least two exposures together anyway so I could get a solid shot of the foreground tree that I’d framed up. The trees in the mid ground were fine with me if they were blurry, but that one if the foreground needed to stay solid. So the wind was blowing and I had a bit of movement in that tree.
Explain the rest of the process herehttps://youtu.be/DhlHh4O0LxI
The next video shows the process of putting together a series of images I’m working on called Segmentation. It’s a long running series that I do every time I am moved by a particular subject. Usually that subject is a tree or shrub of some sort. The main point of this project is to capture the subject in pieces and then assemble it together in Photoshop later. I’ll zoom in to isolate a part of the subject and then work around the subject so that I can have some overlap between frames. Usually in post-production I’ll crop the sections to be square. And the pieces rarely overlap perfectly. I’m often on a tripod when I do this, but with lens distortions and other perspective changes the items just don’t line up perfectly. And that’s OK. That’s part of the fun of a project like this. I’ll then take each square and put a white stroke on it so that each segment is clearly separated from the others.
The fun of this project is that when you’re viewing it the eye has to fill in the rest of the details. And it has fun doing so, at least for some. I shared this out in the facebook group and I had two fellas comment how they will try this next time they’re out there. I’m anxious to see their results. But I remember one time I shared one a while ago and someone replied something along the lines of “why don’t you just shoot it in one shot?” They kind of missed the point I guess.
And finally, my third video has to do with soft proofing in photoshop. I titled it “Recalibrating your expectation for print color accuracy.”
As far as the show notes are concerned I’ll leave you with a video link. But I’ll continue describing it here in the episode. https://youtu.be/wKuHGHH5Tqw
Sep 01 2019
Rank #4: March of the Living
Todayâ€™s discussion takes us to Poland and Israel with photographer Randy Narkir. Itâ€™s a sobering discussion about the March of the Living. When reading from their website, itâ€™s “an annual educational program, bringing individuals from around the world to Poland and Israel to study the history of the Holocaust and to examine the roots of prejudice, intolerance and hatred.” Some of the discussion could be disturbing to some listeners.
Randy Narkir Interview Questions
- Randy, tell us a little bit about your background. Personally and then, of course, as a photographer
- You recently took a trip to Poland. Tell us about why you went, who you went with and certainly where you went.
- Youâ€™ve been posting some photos to your personal facebook feed. In particular Iâ€™m thinking about the following. Please tell us the stories behind these photos.
- Plac Zgody in Krakow.
- Disinfection room in Majdanek Concentration Camp
- Block 27 Auschwitz with the book on names
- Auschwitz Reflection
- Birkenau guard
- March to Kotel and the celebration of Latrun (looks like this is in Israel?)
- Flag over Treblinka
Randy can be found here on Facebook.Auschwitz Treblinka Latrun
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May 28 2018
Rank #5: Understanding Color and Listener Wisdom
Today we are talking about color. I wrote a blog post over on my main site about this whole idea of color. Head on over there to read it but, of course, we’ll talk about it here. It’s about the basics of color, a bit of how the eye works and I try to put that into perspective with how it relates to photography.
Link to blog post: https://brentbergherm.com/what-is-color/Listener submitted images.
We also have some listener submitted images that we’ll also talk about. Today I chose images from Gary Aidekman, Chris Bartell and Benjamin Stuben Farrar.
Gary’s Image is of a red truck with a bunch of various growth around it, be it grasses, bushes, trees and the like. It’s an older pickup truck with a wooden box on the back. The beauty of this image is in the contrasts we find here. The truck is decaying, a bit of rust is seen around the edges of the truck body panels, some dents are visible. The glass is rather clean so it’s not too old and decrepit. The box is showing some age and across the top we see some damage from hauling various objects. However, the contrasts I’m talking about are both the contrasts of color, but also the contrasts of the new fresh growth and the decaying truck. There’s also a contrast of textures, the truck body panels are quite smooth as compared to the grasses, bushes, trees and the wooden box on the back of the truck.
The cab is painted red. And what does red have to do with this image? Or better yet, how does it influence our interpretation of the image?
Certainly, it pops out from the greenery that surrounds it. In this case, I think it enhances the feeling that this object simply doesn’t belong here. Or, at least it’s not “natural” in a manner of speaking. When I think over the key words that usually get associated with red, either positive or negative, I’m actually coming up a bit dry. I don’t see any of them strongly applying here. It does ad a slight dynamic sense to the image in that the colors do complement each other quite well. It’s almost Christmas like in nature, we just need a little snow!
It may suggest danger to some people, but not really. The truck is resting there and it will continue to do so, and has done so for a long time which is evident by the grasses growing around it. I do get a subtle sense of power in this image. But again, it’s subtle. The power of the truck to drive here, park here and be left here by its owner. The potential power to break down the grasses and such in front of it to move on out and get things underway. While it’s decaying, it’s not that far gone. It does look like it still has some life in it, and that could suggest as subtle sense of vitality as well.
Compositionally, I would like to see one of two things done to this image. Either zoom in slightly tighter to get rid of a few patches of sky that are showing up, allowing us to more fully concentrate on the truck in its environment, or zoom out a bit and allow us to see more of the environment which surrounds this truck. Zooming in will magnify the power of the truck, zooming out will diminish it. I’d also suggest a vignette to darken the greenery in the foreground. Just slightly. Nothing too drastic so that it still feels natural. Doing so will keep the eye interested in the truck only. There’s lots of detail in those areas and green, as we learned from the previous discussion, is naturally brighter than red, and so by changing the relationship between these two primary colors in the scene we’ll rebalance it to give more attention to the subject. Of course, it all depends on the intent you have for this image.
The second image is from Chris Bartell. She has been with me on a workshop last year in Charleston at the Create Photography Retreat. She’s a talented photographer and is definitely showing some good work here as well. This image is of a Japanese Maple at the Japanese Gardens in Portland, OR. These are some beautiful gardens. If you get a chance to shoot there, especially in the fall, I highly recommend it. Go on a weekday if you can to avoid the crowds. The image is filled with lots of reds and oranges in the leaves, with some vibrant greenery in the grasses and mosses in the foreground. This is one of the exciting things about nature photography, we almost always have some greenery in the image (not so in the next image, but anyway). Chris has used a small aperture, a big number, and a wide-angle lens to really extend that depth of field. Almost everything is in focus. It feels that there’s a subtle vignette being applied, but it could be a natural vignette from the lens. Though when a lens is stopped down this far the vignetting is usually eliminated.
This particular tree is quite possibly the most popular tree in the entire garden, at least for photographers. I’ve seen many images like it before and this is a really good example of what can be done here at this tree.
So how does the color red influence our interpretation of this scene?
To me, it also has a lot to do with the branches. Those branches start out in the thick trunk and they squiggle out to the outlying areas of the image. They provide a connection and a visual highway for the eye to travel through, many visual highways. To me, I’m made more alert by this image. The color is commanding my attention as it’s very visible. The inclusion of yellow hues also helps a lot with keeping things alive. Given that this is fall colors, the notion of transition and the coming winter is also suggested to me. And I am thankful for being able to see the colors as they are here because I know they will be gone soon. So, in this image, I get a sense of decay and transition quite strongly. But as I’m well aware, the cycle will continue, and this will deliver its beauty once again next year. So the promise it provides is also strong for me.
Compositionally, I don’t think there’s much I’d change in this image. If I were there and no others were trying to get this shot, I know I’d try and get some unique compositions. I might try my segmentation series on this subject. Or otherwise isolate individual branches of segments of the tree. There’s not a lot of wiggle room as the keepers of the garden disallow photographers to walk around and set up various angles. One thing that is wonderful is the lone leaf on the rock in the lower left corner. I can see myself placing more leaves there to make a more prominent feature of that rock. And then put them back so my idea is hopefully unique.
Benjamin’s image is another leaf. But this one has fallen to the ground. The icy ground. This provides some great contrasts once again in the image. We have the little crystals of the ice droplets that have formed and the soft smooth leaf. There’s only reds, oranges and blue hues available in this image. Along with some whites and blacks too, of course. The depth-of-field is very shallow which can really work for this type of shot, though I might have applied it slightly differently. The leaf almost fills the frame from edge to edge and is placed in the upper third of the image.
So how does red influence our interpretation of this scene?
The leaf is made to feel very important. It is the central object not only because the red advances so much as compared to the softer blues, but also it’s the subject that is in focus. It’s punchy and the eye is drawn so much you can’t go anywhere else.
As for the composition, I think I would do one major change. That is to lift the camera up just a little. This will change the plane of focus slightly and allow for more background to show. I’d still keep the leaf towards the top of the frame but I’d change the focus to be the ridge of the leaf edge. Right now the eye gets trapped in the central part of the frame and can’t escape. If the leaf’s ridge were in focus the eye would have a line to follow, a very interesting line at that. It could travel back and forth and then it could take a few side tracked tangents based on the receding veins. Doing this would also bring different ice globules into focus and that would provide a circle for the eye to travel around, from the edge of the leaf to the in focus ice globs, back to the leaf.Controlling Red in Camera
What if your reds, or other colors, are off in camera? There’s a few things we can do to correct for this. I really only have in-depth experience with Canon cameras, but all cameras will have a characteristic about it that may need correction from time to time.
So often we want to make color corrections using the white balance. And that can help, but what if your colors are consistently off? In Lightroom or Adobe Camera Raw, head to the last tab in the develop module called Calibration. The first thing to select is the Process Version. Usually, I’d say go with the most recent version. That’s going to be the most updated process Adobe knows to do to your photos. However, the sliders there will give you the opportunity to shift the hues around from one influence to the next. And things are limited to the Reds, Greens and Blues only. You also have a shadows tint slider which can help too, but that’s limited to greens and magentas.
I say focus your attention on the primaries and shift those sliders around until you have something that works across a multitude of files.
Technically speaking, if you were to calibrate your camera it would only be applicable to the lighting scenario and lens choice that’s currently mounted to your camera. You’d have to recalibrate for each different scenario. However, going about it in an easier fashion makes a lot more sense, especially if you notice that things are consistently off base. You can come in here and make the changes. Then you can make a preset that has those changes and upon import you can apply those changes automatically. Doing so may be just what you need to get those reds knocked into shape. Also, it’s been my experience that reds are the toughest for cameras to accurately render, but again, my experience is largely limited to Canon cameras and the troubled cameras are the older Rebel models, the current models have been excellent.
Take a look in that calibration panel and see if something works in the right direction for you!
Additionally, you can take a look in the HSL area and modify the hues there as well. The calibration panel is designed more for wholistic changes that are applied across the board.Listener Wisdom
I’ve announced that my print course is finished. And I’m so glad it’s largely done! However, I figured I should address something here. That is I’m going to actually rename the course. Not even a week out and I’m already making changes. I know, kind of strange. However, this comes about from you guys, and a few others.
By calling it a fine art printing course I made some feel this course wasn’t for them, where after talking to them I was like “yes, this is totally for you!” So I’m retitling the course to “Master Photo Printing” with Brent Bergherm. Nothing else has changed about the course.
You still get 8+ hours of in-depth training in a format that is easy to digest and pickup where you left off. My online delivery system tracks your progress and you’ll easily be able to watch the videos that pertain to your interests and you’ll be able to go back over an over again.
Also, for a few more days, I’m able to give away a backpack bag if you enroll soon. See the website for details, but I’ve got an UltraLight 36L by ThinkTank Photo that will go to one lucky person who signs up before Wednesday, April 10, 2019.
If you’ve been shooting a couple years and you want to take your photography to a different level with some color management, post-processing and creative sharpening techniques then this course is for you. I will do the bonus materials by Summer 2019 which will include walkthroughs on popular print lab websites and an analysis of their prints. So you don’t need your own printer to get something out of this course.Summer plans
My summer plans have been effectively put into a blender. I had to cancel my workshops to Chile and Croatia due to low enrollment which is too bad. And I thought that would mean I’m able to go to Cuba then with the school I work at. We’re doing a mission trip there in early July. And that may will work out, but otherwise, the only thing I have solid for my summer is to head to Boise in late July and deliver a mini printing workshop and lecture there to a group there. If you have a group of photographers that want to learn one-on-one printing this summer let me know and we probably can work something out.I also have my shoot-n-print workshop happening in mid-June this year in Walla Walla. The valley is gorgeous and we’ll have so much fun shooting in the early morning and evenings, and spending the heat of the day demystifying the print process and coming away with some awesome prints of your photography.
Use this link for excellent gear at the Peak Design website. It helps support my podcasting efforts. Thanks!
Use this link to get a free gift at checkout, plus it helps support my podcasting efforts. Thanks!
Apr 07 2019
Rank #6: First thoughts on the a6400 and iPad Pro
Time to talk about two pieces of gear. The iPad Pro and a mobile workflow opportunity that it provides, and the Sony a6400.Let’s talk about the 6400 first.
I took it with me to my conference in April 2019 to San Francisco. I was there for a web design conference, but I landed at about noon on Sunday and went straight for Cataract falls in the Marin Headlands area.
- Took only this camera
- Was concerned about leaving the Canon kit behind.
- This is a very capable camera, but I’m just so used to my Canon and three lenses.
- Took a small bag that went into my computer bag.
- Took two batteries and my normal ThinkTank photo pixel pocket secure with my cards.
- It charges via USB plugged straight into the camera.
- Sony E mount, crop sensor
- ISO to 32,000, extendable to 102,400
- Electronic Front Curtain Shutter to 1/4000thsec.
- Silent shutter, is completely silent
- Tons of video options, all the way up to 4K and full HD at 60fps
- I’ve yet to do any video with this camera.
- 425 Phase Detect AF sensors
- 425 Contrast Detection Areas
- Viewfinder resolution almost 2.4MP
- Monitor resolution 921,600 dot
- Tilting screen (up and down, flips up but not flippy screen. Rather annoying that it is hard to operate with an arca swiss plate attached)
- USB 2 micro b for charging L
- Weight: 14.22 oz, 403g (with battery and memory card)
All in all, not a bad camera for less than $900. Quite respectable in fact.There’s a few things I couldn’t get used to, or couldn’t yet figure out.
- Screen resolution is too low.
- Hand keeps turning off screen when I reach toward the camera, the sensor for the viewfinder senses the hand, turns off screen. Kind of annoying. I know I can switch it to be only the rear screen or the viewfinder. I don’t want that. I want a sensor that actually senses it’s on a tripod and that when something approaches it it should leave the screen on. Then, when I have it in one hand or both hands, and that sensor is tripped, it should then go back and forth between EVF and the screen.
- But I like it when I want to use the viewfinder.
- Viewfinder is too low resolution as well.
- The AF system is good, but I couldn’t intuitively figure out how to change it so I can manually select which AF spot I want. I had to rely on the ability to touch the screen to override the camera’s auto selection of AF points. But when using the viewfinder, I was out of luck. Probably just my inexperience, and my being used to the Canon system. But it should be more intuitive to make that selection. On my 5D4, it’s a quick flick of the joystick item.
In one sense it’s rather unfair to make a comparison because these are two totally different cameras. But that too is my point. I’ll be looking at image quality soon, so that ultimately tells the whole story, but for now, let’s look at the physical differences.
I use a Pro Media Gear L bracket with my 5D4, it makes this package a massive beast to behold. But I do like it and it has worked well for me. But I’m very much interested in a smaller kit. I want to travel more and take more pictures, and I do know that the girth of the camera does cause me to not get it out sometimes.
I bought the Sony with the 18-135 lens. Together they weigh 25.72 oz or 1.6 pounds. Not bad. The Canon with the 24-70 I shoot weighs in at about 48 oz. or 3 pounds. That’s nearly twice the weight. The Sony is rated with the battery, the Canon is not. Add the battery and my L bracket and I’m saving half the weight when going with the Sony.Image Quality:
I just completed working on several images in LR. Before I get too far into this I gotta say one thing, This is not a direct comparison of the same exact scenes between the Canon and the Sony. I did not take my Canon so I only had the Sony to shoot and think about on this trip.Thoughts:
- Golden Gate Bridge at night: Came out very well. I shot mostly in the 100, 200 and 400 ISO range and I let the shutter speed go on up to 10 seconds or so. I did a lot of experimenting so I’m just going off of the two that made it to my keepers file thus far.
- I’m really impressed with the flexibility of these files. I can push them up in LR easily about ½ stop more than my Canon with the same amount of noise build up. Past 400 though and it starts to fall apart in my opinion. And by “fall apart” I really mean that you can see the noise, it’s still very well controlled, but it’s certainly there. Pretty much on par with the Canon.
- This is impressive given that the Pixel area of the Sony is 15.13 µm²and the Canon is 28.73 µm²
- Woke up at about 4:30 a.m. Drove to the Marin Headlands area, specifically, to the Battery Spencer overlook.
- Arrived way before sunrise. Had the place to myself.
- Looked at a few options for framing. Decided to largely hang out a bit to the left of the battery area so I could have a slightly better angle on the bridge and the city behind it.
- Got plenty of shots with it pitch black. However, my favorite shot is the ones where just a bit of blue is starting to come through.
- Reds of the bridge are not feeling all that “original” or natural. Not sure if this is a lighting issue, a Sony issue or something else. I was able to manipulate the colors in post to get them pretty good, but to begin with they were awful. I’ve never had this problem with my Canon. Initially, however, I’ll chalk this up to just loads of experience with the Canon, and preconceived expectations.
- As the sun continued to rise it looked promising. I wanted to catch the harsh light on the bridge with the city behind. But the fog rolled in on the horizon. It remained mostly clear where I was, but over the main land area it got a bit thick.
- So I went over to the edge of the ridge and shot the sun coming through the clouds. It was quite good actually. Very pleased with how those came out.
- I was able to frame up Alcatraz with a large ship, and with the sun poking through the clouds and reflecting off the water, it was rather sweet.
- I then got back on the main road and headed down towards Point Bonita Lighthouse. There were signs posted saying it’s only open for a few hours on Sunday afternoon, but I had no idea they’d close a tunnel that is the only access to the area and you can’t even see it from the trail. I was a bit disappointed.
- I then drove to the Battery Alexander Parking lot and walked to the beach that leads to Bird Island. It was all right, but nothing too exciting. I just shot a few wet sand texture and pattern studies.
- One afternoon I walked downtown after the conference and I got on top of a parking garage and shot an old fashioned street car. I zoomed in and framed it up tight, the curvy lines, windows and the pattern of the road made for a striking composition. I really like the guy in the back window. You can see his face and that’s the only major human element in the shot.
- And then finally, I got the sailboat with the ridge behind it. I like the simplicity of this shot.
- Actually, before I shot the bridge and downtown I went to Cataract falls a bit further north. It was an excellent hike. But it was also the first time shooting with this camera in CA. I had shot it a bit before with two listeners who met me in Clarkston, WA, and we went to Hell’s canyon and did a bit in the Palouse area. Anyway, I got a few images that worked, but I was really spending too much time getting used to the camera, most of what I got wasn’t worth much. But it was still a valuable experience.
- Really the only true keeper is a B&W vertical panoramic with a log crossing over the top portion of the frame and the water flowing into a small pool area with rocks surrounding it. The files held up really well to how far I have to push them when doing a shot like this. B&W helps too, but still, it’s a good quality image.
- The 18-135 is a quality lens. I was almost surprised at how good it is. I could easily trust most of my shots to this lens. I tried it with severe backlighting, side lighting and some of my favorite types of subjects, and they were rendered quite well.
- I’m not done testing, and my opinion may change, but so far so good.
- I did not do quality tests at various focal lengths, I’m just speaking candidly from what I was able to see from these initial images.
- It’s hard to make the switch just now. I think the lower res screens and EVF bothered me too much. I need something like the EOS-R with a higher resolution viewfinder and flippy screen.
- The FujiFilm X-T3 has a much higher resolution EVF at 3.69mp, but the rear screen is only barely a few more pixels at 1.04mp. The canon EOS R has the same resolution EVF as the FujiFilm but it has a 2.1MP rear flippy screen. So if I’m looking for the best experience in shooting, and I did notice the lower res rear screen was annoying, then the Canon EOS R still has a bit of a nod.
- The Panasonic has a whopping 5.7MP EVF and the same 2.1MP rear screen as the EOS R.
- This is why I’m still officially waiting to declare which direction I’ll be going with my shooting. Canon has predicted a drop in camera sales and we’re seeing that now with the latest reports coming out in the last couple months. Is it any wonder? There’s lots of good equipment out there, but when you have a 5D4 already, not much is really pulling me one way or the other. Things are to incremental at this point to make me want to pull out the plastic an make it happen with a new body.
- I’ve yet to shoot video on the Sony. Though I just got the ThinkTank Photo PhotoCross 15 in the mail today. I’ll be doing a YouTube video on that soon and then I’ll be able to talk about this camera and it’s video capabilities.
- I’d love to be able to use my iPad Pro 2 as an exclusive platform for when out on a trip and I think I’m getting close to saying that is becoming more and more feasible for me.
- Download images to camera roll.
- Then import into LR mobile. Rather annoying.
- iOS 13 supposed to fix this issue, allowing us to import directly into 3rdparty apps such as LR mobile. I look forward to that.
- Then I have to wait for LR to upload the images to the cloud and then wait for LR on the computer to download them. If you thought importing images into LR was slow, just do this. However, it would be rather worth it for me if I can do this because I’d be able to leave the computer at home if I needed or wanted to.
- Still waiting for full PS on the iPad. Once that happens things are going to get very interesting.
- However, with the changes in pricing Adobe has started “testing” even I’m tempted to find another solution even though I get the creative cloud through work. And the price they give educational institutions… it’ll be hard for us to justify moving away from adobe anytime soon, but that doesn’t mean I can’t personally make a switch. Time will tell. The Jury is still out on that one.
Finally, some information you’ve been waiting for on Denver.
I’m going to do a one-day print workshop on July 28. I’m working with a local camera club for hosting it but the best part is that they said that I can easily invite my listeners to join in on the fun as well. We don’t need to keep it exclusive. Club members will get a small discount but otherwise it’ll be open to you folks as well.
I don’t have everything figured out just yet, but you can check out the FB group for an announcement and those of you who have contacted me personally, I’ll be reaching out to you once I have the details all worked out.
I have another workshop for you as well. It’s based here in Walla Walla. We’ll plan to get up to the Palouse as well, but it’s all about shooting, processing and printing. We’ll spend five days going through the whole process from start to finish. And you’ll return home with some great images and new skills. If you’re interested in pushing your image making to new heights this workshop is for you. It happens June 17-21 of this year. Check out all the details on the website, https://brentbergherm.com/workshops/ww-print
The Walla Walla workshop does include access to the online course as well. So you’ll get access to over 8 hours of learning and inspiration for taking your images off the screen and into the real world. We’ll talk about working with labs too, so you don’t need your own printer to make this a valuable experience.
And quickly, a quick shout out to all those who have purchased the online course. It’s been out almost a month now and I’m thrilled to see the progress many folks are making. I get the stats of video downloads and such and I’m loving the opportunity to help so many folks who have decided to take the plunge. I’m about to announce my first group session that’s associated with the course, so those of you enrolled, watch for that in your email. I’m talking to David, Bill, Steven, Hank, Dino, Gary, Jeremy, Brian, Steve and the others. Thank you so much. I really appreciate it.
So if you’re ready to take that next step head on over to the website and sign up today!
In the next few episodes I’ll be talking with the host of the longest running photography podcast, Chris Marquardt. I’m also bringing on Mary Malinconico to talk about selecting workshops and participating in other photo outings. Jeff and I recently talked a bit about workshops and how to select them on the Master Photography Podcast, but with Mary we’ll go quite a bit deeper.
I’ve also got three people interested in talking with me about the book Making Photographs by Ibarionex Perello. So that episode will be exciting and it’ll happen in early July.
Thank you so much for listening. I hope you have a fantastic day, whatever you’re doing and until next time, happy shooting!
May 05 2019
Rank #7: Fine Art Printing Masterclass is Ready
View all the details of the course here:https://brentbergherm.com/course-info/
This course is a very deep dive into all the things needed to know to get excellent prints out of your photographs. I’ve taken my 20+ years of photography experience and packaged it into this 8+ hour course that’s filled with details and explanations as to WHY I do what I do.
Apr 02 2019
Rank #8: All about Bit Depth
In this interview Greg Benz and I nerd out on the meaning of Bit Depth and how it’s useful to all of us as travel and landscape photographers.
The Main Article here.
Main Points of interest:
- 2:10, What is Bit Depth?
- 4:20, Starting the definition of the “steps” between values smaller. How “granular” it is.
- 5:40, Box of crayons analogy with relation to bits.
- 6:00, 8 bits really the minimum for photographers. Banding can be an issue.
- 6:40, Banding defined
- 7:00, High ISO, Texture, things that hide banding
- 8:05, Digital noise is good J
- 8:35, Dithering and Noise difference
- 10:10, Advice against having your working file in 8 bits
- 11:25, Brent describes dithering
- 12:25, What bits the cameras actually give us.
- 14:35, Description on camera vs. eye interpretation of light. Log vs. Linear
- 16:40, How higher bit-depth in the raw stage helps us in camera, especially with the shadows.
- 19:00, characteristics of pushing the limits of the sensor
- 21:10, discussion on other terminologies, monitor manufacturers etc.
- 23:25, adding Gamut to the discussion, sRGB, Adobe RGB, ProPhoto RGB
- 26:30, some specific thoughts on ProPhoto RGB
- 29:30, printing with the ProPhoto RGB gamut
- 33:50, banding with luminosity masking, a fake issue
- 38:00, Photoshop is really only 15 bit?! What?!
- 40:40, How does this knowledge help us when shooting and processing?
- 48:35, Introducing Dynamic Range to the discussion.
- 52:38, Learning to shoot the right way, to maximize all these items.
- 55:10, Exposure Blending Master Course
Use this link to get a free gift at checkout, plus it helps support my podcasting efforts. Thanks!
Sep 23 2018
Rank #9: Photographing the Redwoods
The redwoods area that we’ll be looking at today is in CA, but just barely. It’s right on the border with Oregon and a great place to use as your base, if you’re not camping, is Crescent City. It’s about 12 miles south of the OR border. There’s plenty of hotel options. The weather is generally mild, if you’re used to OR coast weather then you know what to expect. In short, it’s somewhat mild in the summer topping out at about 80 degrees and generally windy.
As I look at my “All Stays” app on my iPhone there’s plenty of campgrounds to consider staying at if you like that kind of thing. I like camping, but the time I went to the area I took two of my boys and elected to stay in a hotel. Airbnb would also be a good option.
The places I want to focus on are:
Jedediah Smith State Park | Stout Grove
When we pulled in to the area we came through this state park which is cooperatively managed by the CA parks system and the National Park System. It’s about 10,000 acres in size and it contains 7% of all the world’s old growth redwoods. Also, the Smith River runs through it. It’s the longest free flowing river in CA. The park is a magnificent place to shoot. One place I went to was Stout Grove. Check out their website here.
Battery Point Lighthouse
The Battery Point Lighthouse is kind of cool. It’s right along the coast at Crescent City. And there’s a breakwater you can walk out on. At the end there’s some strangely shaped items that the boys and I loved walking out on. It made for some interesting shots. Find more info here.
Mystery of Trees
Mystery of Trees is kind of a neat place. If you’re looking for purely awesome photography… maybe go elsewhere. But if you have kids in tow it’s a pretty cool place. They have an easy to walk trail that takes you to a sky tram gondola. You can then walk down the mountain or ride the gondola back down. My favorite spot in this area, though, was the trail that’s accessible right across the road from Mystery of Trees. Park in the hotel parking lot, far northern end, and there’s a trail that takes you out to the coast. It’s short, but a really great place to shoot. Check out the maps here at the NPS website.
And finally there’s Fern Canyon. This is a rather easy to get to location that does not disappoint. I went in early summer and the river flowing through the canyon was already fairly low and easy to walk through. To get to the good stuff you should plan on getting your feet wet. But it was only about eight inches at the deepest part necessary to keep going. My only real problem here was my obsession with getting focus stacked panoramic images. I think I got some OK shots, but I neglected to get some with my wide angle. But the polarizer really helped here as well since the walls are coated with ferns and the polarizer blocks the glare off the moisture allowing the greenery to really come to life. But as an update here in early June 2018, there’s a logjam blocking the loop trail, a ¼ mile out and back is still possible and still quite worth it. Check out some trail information here.
Use this link to get a free gift at checkout, plus it helps support my podcasting efforts. Thanks!
Jun 03 2018
Rank #10: Reviewing Listener Images and Judging the Light in Banff
Lots of people submitted images. Thank you!
Tim Lawson, Eli Temchin, Linda Maier, Alyce Bender, Jon Whitaker, Colin Mayer, Chris Bartell, Benjamin Stuben Farrar, Mike Sirach, Joe Vargas, John Scane.The images I’m choosing are from
Colin Mayer. This image is from St. Kilda, Scotland. I really was drawn to this image because it somewhat made me think of the beehive huts in Ireland. But not really. These are quite a bit different. Anyway, the rock texture really comes through well in the foreground building. The entryway is small and you’d have to nearly crawl in it seems. There’s moss or grass or peat on the roof as well and that’s cool, it gives a certain ambiance that is nice and authentic feeling. There’s buildings that are somewhat blurry in the background. They provide a nice background. And behind them there’s more hovels like this foreground element and then in the mid-ground there’s a rock wall that connects to another little moss-covered room.
Pretty much the only thing I’d change about this image is the heavy vignette. I think this image needs a vignette, but it needs to be less heavy and probably it should have a custom application as well. You can do this in Lightroom or PS where you brush in the vignette right where you want it. The lower right corner feels a bit empty and that’s probably OK. An image usually benefits from having some negative space. The DOF is small or shallow enough to keep the attention on the foreground building that we don’t really need to worry about the background elements distracting too much. They provide a good stage for the whole scene.
Eli Temchin submitted one of an elephant. It’s B&W as well, and it’s quite striking.
I love the texture coming through in the skin of the elephant. We see enough of the creature to certainly know what it is, but we only see a small portion of this beast, and that’s a good thing. By zooming in we’re looking more at shapes and forms to communicate the subject, but they are impartial shapes and forms. It’s not complete. This leaves more for the brain to figure out and work on. It’s good that way.
There’re two things I’d likely change to this image. I think I’d move the camera slightly more to the left. In the view as it currently is, we almost see the second eye. This leaves a bit too much negative space in the forehead/trunk area. By moving it, we’d have more of the shoulder area on the left side of the frame showing and the eye would be pulled out of the center of the frame. It’s almost in the horizontal center and by moving it a bit to the right we’ll create a bit more tension in the image. Also, the depth-of-field feels a touch too shallow for me on this one. The eye feels slightly soft. But we’d want to keep the crustiness on the front of the face too, so a bit more DOF is needed to accomplish that.
Linda Maier submitted one of ice on Yosemite Creek.
I decided to also add this image because, well, the ice is likely to soon be melting and I’m really glad to see a good image like this coming together, and that the effort was put in to get out there in this weather and be inspired by what we see.
This looks like a mini river flowing from left to right for me. It’s got a great starting point in the upper left corner with some strong elements pointing down and a bit to the right. As the eye travels down the ripples in the ice take over and they bring you off to the right side of the image. There’s a lot of chaos in this image too. I’d say the ice pattern is stronger than texture in this image. But texture certainly does come through nicely. There’s some grasses on the lower portion of the frame that provide context of location. It’s fairly high contrast with lots of highlights and lots of shadow areas and the lines are just squiggling all over the place.
One change I’d make on this image would be to crop the rock element out of the top portion of the frame. I find it a bit distracting and letting the ice go off to “nothing” as it were would suggest a larger icefield. Leaving the edge unresolved like that forces the mind to fill in the blanks. Don’t think of it as lying. Think of it as eliciting the imagination!
Thanks again to everyone who submitted images. I love it.Next topic for listener images
The topic this next time is the color red. However red manifests itself in your image, that’s what I’m looking for.A Quick Announcement/Reminder
Before we get to the main topic, I wanted to cover something that recently came up in the Master Photography listener group. I’ll likely make a mention there as well to try and ensure everyone is aware of this. That is, a listener asked us why things were so quiet over there at the IP websites. Especially the IP+ website. I’ve also had a listener ask about the rGPS app that was also published by IP. As far as the app is concerned I was able to contact Jim Harmer a while a go and he gave me a bit of info I can share. Basically the question was, “will it get updated anytime soon?” I don’t recall the exact question from the listener, but that was the main point. They liked the app, but wanted to see some updates happening. Jim stated that he’s buried in other projects but he’d “REALLY” like to do more with it. He also pointed out that there’s so much good data in it that has been added by users. But with the other projects it’s not going to receive any attention in the near future at least.
The most recent listener concern was regarding IP+. The biggest thing to ensure everyone is clear on is that there’s no formal business relationship between IP+ and myself, and as far as I know, none of the other podcasters in the Master Photography group either. I contributed one video on camera cleaning and tripod cleaning when I first came on as a contributor. But any videos produced were “one-time” deals and for the last few years I’ve been focusing my efforts on providing my own solutions.
Most of you know about the print course I’m developing. That’s still on schedule for an early April release. I’m striving for April 2. I’ll be spending my spring break on finshing it up and getting it ready for everyone. But I continue to spend pretty much each Friday and Sunday getting content produced either for the podcast or this course. And it’s been about three weeks since I last published an episode, so you know where my attention has been going JMe being quiet does not mean I’m taking it easy, that’s for sure!
If you’re an IP+ member and you want to know more, I’m afraid I won’t have any answers for you.
With that, let’s get on to the main topic. I’m going to blend in the idea of reading the light and making the most out of your shoot as I talk a bit about my trip to Banff National Park in the Canadian Rockies.
For the details on this part of the show, please check out this blog post on my main site.
Mar 08 2019
Rank #11: A conversation with Chris Marquardt
Today I have a special guest with me. He is the host of the longest running photography podcast on the planet, Tips From the Top Floor, and if you’re not a subscriber you should totally go check that out. Chris Marquardt, welcome to the show…
Chris, tell us a little about yourself and your photographic interests.Topic:
Today we’re talking about a few topics. We’ll get into a few design principles in photography and some travel tips, in particular, cold climates.
Chris, set the stage for us. What’s one of the foundational items you have for us when it comes to approaching this idea of design in photography?
- Establish your goals for what you are shooting. What is your purpose?
- Do you need to then improve your technique? Composition? Timing, attention?
- Do you shoot for advertising? Or “likes” on social media? Maybe you want to convey a message. Or tell a story. That would be your goals.
- Then, you can look at design principles to achieve those goals. It all becomes more purposeful.
- Some “concrete” terms, to know what your photos are about. What’s the subject?
- “Rules” such as rule of thirds, not worth a thing if you don’t know what your subject is. So, get that figured out first.
- Spacing, placement in the frame. What does it feel like.
- Scale, the relative size or impression of how big things are. What lens do we use? How does that affect proportions of the subject.
- But start with the subject, and find ways to emphasize that.
- Backgrounds are important. Or frames, leading lines.
- I have an “itchy finger” to start shooting right away. But spending time with a subject before you start shooting is super valuable.
- Look at it from different angles. Walk around it if you can. Place it in front of different backgrounds if you can by doing that.
- Brent relates a story about an experience in Ireland where he missed a shot due to leaving a lens behind.
- Chris talks about a visit to Canyon Lands National Park in the US.
- Focal length is a key component. It dictates how far you have ot be away from the subject. Closer you are the more that proportions are stretched out between items in front of you compared to items further back.
- I love showing scale by putting it in relation with other things. Back in 2009, in the Himalayas for the first time, at Base Camp at Everest in Nepal. As long as you’re not around things that you know, it will be really hard to derive scale from what you see.
- Only when something that is familiar is close by then the real scale can snap into understanding.
- When shooting things like scale and texture, being familiar with the subject is necessary for proper interpretation.
- The viewer brings all their experiences and knowledge to the photo that we look at, and if we have an experience with that subject, it will inform our interpretation of that subject and our impression of the photo.
- Chris tells a story about people in Nepal and their experience between looking at photos of themselves compared to images of the Black Forest in Germany.
- Lake Baikal, Freezes over, weather forces causing large ice shapes, methane bubbles in the ice, shards of ice, it can get up to 6ft thick. Some people ice dive, they cut a hole and dive under the ice, which is so clear you can wave at them.
- Warm sunset over bluish cold ice… a wonderful view.
- Feb 2020, Lake Baikal
- April, Bhutan, The Land of the Thunder Dragon
- Later in the year, Cappadocia, in Turkey. 300 wild horses just for us!
May 12 2019
Rank #12: Compositional Awareness
New Workshop for December 2020 just announced. Check out the website for all the details.https://brentbergherm.com
There’s still spots left in my Denver one-day printing workshop.https://brentbergherm.com/workshops/denver/
And don’t forget my Oregon Coast Workshop!https://brentbergherm.com/workshops/oregon-coast-2019/
Today I have David Long once again joining me. David, welcome to the show.
Listeners may remember you from a while back when we talked about winter photography in New England. That was from November 2018.
Today wanted to talk about Composition, and in reality, I maybe should call it “thought processes” on making images, or “thought processes on composition.” We’re also going to weave in some stories from the road. David, you’ve been a busy traveler lately. Tell us a bit about that first.
St. Augustine, FL.
Beach photography, FL landscape, birds, moon rises, Milky Way items too.
Holland, tulips, canals, windmills. There during third week of April.
10 days on CA coast.
Northern NH. Waterfalls and Wildflowers workshop.
Going to Iceland soon. Going with 5 people.
“Composition,” to me, almost seems like an overused word. Yet it’s so important to keep these things in mind as we head out to make great photographs.
What compositional idea would you like to start us out with today?
(David’s first item to talk about, does not have to be part of the list below)
Focal point of the scene.
Available elements found in the scene.
Other compositional points to ponder in no particular order: (would love to weave in some of your recent images as examples of how you approach these following items, I’ll do the same where possible)
- Emphasis of the idea you’re trying to convey, how does this idea inform your compositional decisions?
- Understanding visual weight
- Understanding balance, symmetrical and/or asymmetrical
- Different ways to control eye movement of the viewer
- Seeing like the camera, reconciling the differences in the way a camera records a scene with how we experience it, and being able to convey that in the final image, screen or print.
- Telling the story, an image should tell a story and if it does, it will finish the goal. No tried and true tricks, just something to practice.
Where can they find you online:
Jul 21 2019
Rank #13: New England with David Long
Today my guest is David Long, a photographer from New England. David, Welcome to the show….
David, start out by telling us a bit about you and your photography.
“I do most of their workshops in the NE area”
You just published an e-book on photographing NE Vermont. Tell us about this special region. The types of subjects we’ll find and the like.
Started as part of my workshops. Getting more locations than was possible to take people on a one or two-day workshop. Includes trail info, GPS info for parking and trailhead info. Also include thoughts on best time of year to visit, optimal weather conditions. And recommended photography gear. I try to cover 8-12 locations in a small geographical location. So if you’re not from NE and you want to head to a place to shoot, this is a great starting guide to get out to some great locations.
Started with Cape Cod. Broke the areas into three sections. I have one in the White Mountains, Central VT, and now NE Vermont. Each participant gets a book that helps them navigate during the workshop but also helps them explore on their own when the workshop is done.
Talk to us about Nichols Ledge: It’s one of about a dozen or so overview locations that are quite popular. This one is only about 5×20 feet or so and I don’t take tours there as it’s a small location and there’s a significant cliff so photographers want to be careful. It’s not a well-used trail so you can potentially get lost which could be problematic.
Also, fall color, at the time of this recording and by the time this gets published, will be all but over. How do you recommend folks approach the region for winter photography?
Winter thoughts: A going into winter look is great with desolate landscapes, churches, with a bit of snow coming in. A light snowfall can be gorgeous. It’s a tremendously different shot than what we can get now with the fall colors. Cape cod gives us the desolate beach image, with no one there, they’re so populated in the summer and fall, and now it’s empty. And the sea grass turns a golden wheat colored hue, the shrubs turn a brilliant rust color as well. Lighthouses can look great too, and it’s totally different than what you’d think of with fall colors.
How is the Atlantic coast in the winter time? When I think of winter, I love to think about heading out to the Oregon coast due to the excellent chance you’ll get a storm and very interesting images because of the varied weather. Any chance it’s similar over there?
And if it gets cold enough you get a blast cold air you get sea smoke where the warm ocean water is reacting with the cold air and causes this layer of fog to linger around in the immediate area around the coastal regions.
There’s a lot of locations because of the population base where you can access it easily. I tend to wear the slip-on cleats and stuff. Helps grip the ice and snow. There’s lighthouses, fishing villages, and large cities like Portland and Boston, we were down to below zero last year. The sea smoke drapes the boats, lighthouses along the shoreline, and it’s clear 15-20 feet above the sea smoke, so you can have a great layered effect going on, creating a rather mythical NE lobster boat, that type of thing.
Do you do an exposure blend? A neutral density filter? I’ll do both. I’ll shoot with a 3-stop ND grad filter. I do a 3-stop exposure blend many times as well. Sometimes I’ll do a blend, sometimes I’ll just stick with one exposure and simply process it how it is needed. I do a lot of high-key stuff where the sky is basically white.
Let’s talk about staying safe and warm this winter. In particular I’m thinking keeping the feet and hands happy.
Certainly, a lot of layers. You can start out very cold in the morning, but on the Cape, I can go down to just a wind shirt and a thermal in January. I have extreme sensitivity to cold, so I use the hand warmers and the feet warmers in a waterproof boot. And I start out with those and I carry extras. I use oversized mittens and stuff the hand warmers in those. I’ll take the off to do the settings I need, and then put the hands right back in. And I don’t stay out very long. Not going to be 2-3 hour hikes, some great friends do some great photography in doing those types of treks but that’s not for me.
Any final thoughts on those of us that have a few extra days this Thanksgiving week that’s coming up. Where would you suggest we go?
It’s an area where you look for some early show in the White or Green Mountains. There’s a lot of festivals for the holidays. Really, just a couple hours outside of Boston and there’s a lot of latitude for various options. Do some holiday shooting in Boston. They are one of the most photogenic cities from my stand point. They’ll decorate parts of the Boston Common, Beacon Hill, the coast and many other places. You can shoot iconic Boston landscapes beautifully decorated for Christmas.
And where are you heading to next?
I’ll be headed off to Ricketts Glenn for some waterfalls. I’m looking at the weather so I’m looking to go there when the weather is right. And then I’ll be shooting in Yosemite for a week next year, Iceland, and planning on a trip to Peru for next September. And I also kinda get tired of winter, so about mid-February I go to St. Augustine FL from mid-February to April. Great sea coast, bird and historical photography options there.
Thanks so much for being here and sharing your expertise on this fantastic region that is New England.
Use this link to get a free gift at checkout, plus it helps support my podcasting efforts. Thanks!
Nov 05 2018
Rank #14: Photography and Vision with Tim Lawson
Today’s show is an interview with a listener, Tim Lawson, and we’re talking about Vision and working to execute that vision. But there’s a few other announcements I want to take care of before we get on with the interview. Denver meetup. Denver one-day workshop. Oregon Coast. Walla Walla and Palouse Workshop. Final call for Blue images via the facebook group. That wraps up the announcements, let’s hop on over to my conversation with Tim Lawson and this idea of vision. This is an enhanced episode, so if you have the ability to see the photo on your device, and if you’re not driving, go ahead and take a peek now so you know what we’re talking about, it’ll also have been posted to the facebook group a few days ago so you can also find it there.Topic:
Tim Lawson, welcome to the show… Tell me about your image. Let me describe it first for the listeners, but then I just want to know how to came about this image. It’s a young woman in a cape and mask standing on a rock hill holding a large branch with a lantern over her shoulder. The stars are behind her with a significant swirl going on. Tell me about how this image came together and how you also worked in Photoshop to make this all happen.
Jun 02 2019
Rank #15: All About Clouds and a New Bag I Like
For all the photos, please check out the Latitude Photography Facebook group, or my website here: https://brentbergherm.com/all-about-clouds/
Links Mentioned in today’s show:
Fine Art Cloud Photography link:
Bag Review on YouTube:https://youtu.be/ZWOfVT-2TaQ
Lensrentals.com affiliate link:
ThinkTankPhoto affiliate link: https://www.thinktankphoto.com/pages/workshop?rfsn=953619.2a0eb
My Online Course:https://brentbergherm.com/course-info/
Cloud Illustration: Valentin de Bruyn for Coton:
Coton Cloud App:
Clouds, possibly a strange topic, but let’s face it. When I’m shooting images that include the sky, or anything significant that’s sky related, I usually like some good clouds to add interest. Of course, there’s some types of clouds that totally get socked in and that just stinks when you want that overview, the vista or what-not. When that happens I know I have to shift my expectations and what I’m looking for in order to get good images.
For all the photos, please check out the Latitude Photography Facebook group, or my website here: https://brentbergherm.com/all-about-clouds/
Sep 30 2019
Rank #16: Buying your first Photo Printer
Today’s topic is printers. This is something that’s very interesting to me because I love printing. I love it so much I made an online course about it to help you get going quickly with creating fine prints.
I recently finished an in-person class on printing and the student was just all smiles. She couldn’t believe the creative doors that had been opened because she learned to print. She was very timid going into it and almost afraid to make it happen. But by following my process and taking things one step at a time she quickly gained the confidence she needed to wrestle those various printer settings and controls to do what she wanted them to do and she made some excellent prints.
If you want to add more “wow” to your photography I encourage you to learn to print fine gallery-quality images. Whether you do it on your own printer or if you use an online lab, it’s a valuable process to go through.
Speaking of online labs, as I record this I’m in the middle of adding my bonus feature to the online course where I order from at least six different online labs. I walk you through the entire ordering process and do a print analysis at the end comparing the different print labs. I’ll turn this into a future episode of the podcast as well.Alright, on with the show, selecting a printer.
In this episode I’m going to assume you’re buying a printer for the first time. I’m also going to assume you want to have maximum control and freedom of paper to put into your printer. Towards the end I’ll look at large format or grand format printers.Where to begin
For me, the end result is all about the image on paper. The machine you use to make that happen is just an intermediary device. Your image is key, I can help you there, but not in this episode, and the paper is key. But even with paper, where to begin? There’s so many options available. It can get quite frustrating to tackle this daunting task of deciding which paper to go on. The reason I suggest you start here is so you can easily identify which printer you “Shouldn’t” be buying. Your end goal is to create fine gallery-quality images. And we’ll get there, but we need to also start there at least for a few moments so all the other decisions we have to make are the right ones that will help us achieve that end goal.Recommendations on paper manufacturers
I really like Canson Infinity papers. There’s also Moab Papers and Hahnemühle. I just went for it and jumped to the finest quality papers on the planet. This may seem strange since this is not going to be your starting point when you make your first print. This is about understanding where you want to be with your print making once you have all the skills. There are literally hundreds of different paper types to choose from between just these manufacturers, and I’ve only mentioned three manufacturers.
The first thing to do on these manufacturers websites is to simply read about the different types of digital papers they offer. Much of it won’t make any sense to you. That’s OK. Please do however look for some keywords that do interest you. Maybe it’s something like the word texture, or smooth, or warm tone. Anything like that. Just get a basic feel for it.
Once you’ve looked at a few items to see if there’s anything that interests you, it’s time to look at their ICC profile downloads. This is THE reason I had you come to the paper manufacturers first. The ICC profile is a little tidbit of information that’s needed so the printer puts down the proper amount of ink on that specific paper it’s made for in order to get accurate color. It’s possible to make your own Profile, and I cover that in my online course, but that’s not usually something people want to get into, and that’s totally fine, no need to worry about that at this time. You’re probably already feeling overwhelmed with all the paper options.ICC Profile, so what?
The whole purpose here is to simply verify that the paper manufacturer supports the printer you have, or the printer you want to buy. At this point you don’t know which printer you want to buy, but if it’s in this list, it’s going to have a thumbs up from me.
If the printer isn’t in this list then you can’t control the color coming out of it very easily and printing will be a continual act of frustration for you since you won’t be able to get consistent results. So take a look at these profile pages, see the many, many options of printers that are supported and revisit these pages once you start looking at specific printer models.
If the printer model you’re interested in buying isn’t supported by the paper manufacturers, then don’t buy it.
A few thoughts on that, just to clarify further because photography is one of those lovely fields where someone can make a blanket statement and then instantly he can be proven wrong for that statement given certain circumstances. And printing is certainly one of them. In this case, the only caveats to this rule is if the printer manufacturer provides profiles for various papers or if you have your own calibration device and you want to make your own profiles. Those devices are expensive so I’m assuming in this episode you won’t want to make your own profiles.Printer specifications, what to look for
Let’s talk about the printing hardware for a bit now and what to look for in deciding upon a printer.
For the most part, to be on the ICC profile list of a paper manufacturer, your printer will have to be classified as a “photo” printer or some such by the printer manufacturer. Also, very few letter-sized printers are supported by the paper manufacturers too. So, I recommend looking at the 13×19 print size printers to start out with. They are capable of printing amazingly good quality photographs straight out of the box, but with proper training you can do so much more. If you want to go with a 17” wide printer that’s awesome. And there’s other models that are 24” 44” and even 64 inches wide. Those would be some amazingly large prints. If you’re doing canvas or something like that the larger formats make sense. But let’s get back to reality.
In the range of 13×19 printers, there’s not a whole lot of selection. And those of you that are HP fans I’m going to disappoint. I don’t have any experience with HP printers. In the photo printing field they just haven’t achieved anything notable in the market share side of things, and I just don’t have experience with them. I do have experience with Canon and Epson printers, so I’ll focus on these two printer brands.
If you go to Epson’s website and click on the “photo printers for home” link you’ll get a selection of seven printers at the time of this recording in late June 2019.
The first four printers are the smaller format models and are not supported by Moab paper at least. If you click the “photo printers for work” link you’ll only be shown the four models that we’re interested in.
These are the XP-15000, P400, P600 and P800 with the P800 being 17” wide. All of these printers are supported by Moab paper with ICC profiles, and I would assume the other paper manufactures have them covered as well.
Let’s take a look at Canon. Their models were a bit tougher to filter out online, so I’ve included a link here:
The two we’re interested in from Canon are the Pixma Pro-100 and the Pixma Pro-10. They also have the Pro-1000 but that’s a 17” wide printer.Epson Ink Sets
Let’s start with Epson again. The XP-15000 uses a six-color Claria Photo HD inkset “with all-new Red and Gray” inks. The Claria ink is a dye-based inkset. More on Dye vs. Pigment inks in a moment. Epson doesn’t readily disclose the size of the ink cartridges but they are about $11 each.
In looking at the website for this printer, Epson seems to be targeting this printer at the home crafter. It’s geared towards higher production with the large paper tray in front and a rear paper feed.
The P400 uses and 8-color Epson UltraChrome HD ink. They are 14ml each and cost about $18.
The P600 uses a 9-color Epson UltraChrome HD inkset. They are 25.9ml per cartridge and they cost about $32 each.
The P800, while a larger printer, uses the same 9-color inks, but they are in larger cartridges at 80ml and they cost about $63 each. That’s a huge cost for replacing the ink, but they are available individually. You won’t have to replace all inks at the same time. By far, the P800 will be the cheapest printer to operate and would be worth the extra investment if you’re going to print a lot. At just over a $1/ml of ink, the P600 strikes a nice balance in ink cost vs. printer cost.
I should mention the Epson UltraChrome inks are a pigment inkset.Canon Ink Sets
The Pixma Pro-100 uses the Canon ChromaLife 100 inks. It’s comprised of eight individual inks and each cartridge is about 14ml. At $17 each it’s not cheap, but about a $1 cheaper than the Epson counterparts. There’s a black and two gray inks in this set which is nice for making B&W prints. The Canon print driver has an option to do true B&W prints which can be nice since it will only use these Black and grey inks.
The Pixma Pro-10 and the Pro-1000 are pigment based inks. The Pro-1000 model uses 11 inks plus a chroma optimizer and they are 80ml for about $55. The Pro-10 uses 9 inks with a chroma optimizer. This chroma optimizer is said to “reduce bronzing” and to provide an even ink height which helps reduce surface reflection. This bronzing effect is most noticeable with large sections of black ink. When you hold the print at an angle and you move it back and forth in the light you might notice a secondary color that is present, this is the bronzing they’re talking about. It’s also known as metamerism. It’s not usually a problem, but these pigment inks will have two different blacks, one for matte papers and another for glossy papers.Pigment vs. Dye inks
The “more affordable” printers use the dye-based inks. And those inks are cheaper to purchase as well, so you might ask, why the difference? The reason is longevity of the print. Printer manufacturers have come a long way in their dye-based systems. It’s quite impressive. It used to be that if you wanted longevity you went with a pigment-based ink, and if you wanted a wider color gamut you went with a dye-based ink set. Today, it almost doesn’t matter. However, for me, I still prefer the pigment-based inks. The color these printers are capable of producing are very near that of our high-quality monitors so that’s no longer the limiting factor.
I suppose we should get into the specific differences between the two types of inks. Dye inks are those where the colorant is dissolved into the liquid carrier. When it’s squirted onto the paper it’s more fully absorbed into the special coating that’s applied to photo papers. For a pigment ink system, the colorant is a ground up substance that is suspended in the liquid carrier. When the ink dries it’s more likely to have less absorption due to the nature of the colorant, and that’s also why it’s possible to get the bronzing effect with pigment-based printers. But I’d like to stress, this is 2019 and this hasn’t been a serious issue for at least 10 years. Probably more. I’ve been printing for about 13 years now and this just isn’t an issue anymore.
If you want more information on ink longevity, check out Wilhelm Research. Their website needs some help in the design, but they have excellent guidance when it comes to understanding ink sets and their longevity.
Does resolution really matter? Canon advertises 4800×2400 dots per inch for the Pixma Pro-10 and 100 models and 2400×1200 for the Pixma Pro-1000. Epson Lists their droplet size as small as 1.5 picoleters. The XP-15000, P400 and P600 have a resolution of 5760×1440. The P800 has a 2880×1440 resolution.
For simplification of discussion let’s focus on each manufacturers lower number. For Canon 13×19 printers that’s 2400 dots per inch. For Epson it’s 1440 dots per inch. And for the Canon 17” wide machine it’s 1200 dots per inch.
Does this even matter?
For the most part I say no. Each of these are very high and will produce very fine photo quality results. Quite frankly the only reason I find this to be of any interest is that I like to set my image resolution in Photoshop to an even multiplier of these lower numbers. So for a 2400 dpi printer, I set my resolution to either 300 ppi, 240 ppi or 200 ppi, depending on the level of detail I need out of the print or the physical size I’m making the print (these two notions go hand in hand).
For the Epson, it’s either 360 ppi, 240 ppi or 180 ppi. Do you notice a common number in there? 240 works for each model. Maybe that’s why the default resolution when bringing an image from LR into PS is 240 ppi? I’ve not talked with anyone at Adobe, but it seems it would make sense.
I like to have this even multiplier of ppi to dpi just to make translating the image from PS to the printer easier on the print driver. I get pretty picky when it comes to my sharpening settings and I don’t want any surprises. Standardizing my printing resolutions will help me do that.
More on Ink Sets, why all the different colors…
Epson and Canon have formulated these ink sets to deliver excellent quality. The primaries in the printing world are Cyan, Magenta and Yellow. Black has to be added so we have good contrast. Beyond that the most popular expansion inks are going to be called Photo Cyan, Photo Magenta, Gray, Light Gray (Light Black or Light Light Black for Epson) and then we have an assortment of other inks such as green, orange and red. By including these other inks, the ones beyond the CMYK colors, the manufacturers are more easily able to get their printer to reproduce all the colors in the sRGB or Adobe RGB color spaces (or models). These are the two color spaces we’re most interested in with our printing. So is one better than the other?
In short, yes. More color options does give you the opportunity to print more colors and you’ll be able to have, theoretically speaking anyway, a better chance at having accurate colors being reproduced. With that said, my Epson printer at work has a Green and an Orange ink. And they hardly ever get used. So there’s at least part of the whole thing that is a marketing gimmick of sorts. But when you need it, those colors are available. My Canon Pixma Pro-10, my personal printer at home, has a Red ink, I’ve not used it enough to see if it’s anything of a high use with my prints. Certainly it depends on the type of images you’re producing. I have a feeling Canon put the Red ink in there to save on Magenta and Yellow when reds are used since Magenta and Yellow very easily make a perfect Red. I’d like to see a printer with two or three different greens in it though since those are the colors that are hardest to accurately reproduce.Ink head technologies
Both Manufacturers have different technologies for squirting ink onto your paper. “Back in the day” I used to prefer Epson because their printers would get clogged less, or rather, when it got clogged, I wouldn’t have to replace a print head. With Canon I would have to replace a head every now and then. Today, however, both manufacturers have done really well at getting good cleaning processes figured out. They even have sensors on the ink heads now that will detect when a nozzle is clogged and it will use the other nozzles to print in its place. You can always run a nozzle check and I recommend you do at least that once a month if you ever have a period of time where you’re not printing. Replacing print heads can be expensive and if it happens to you it might be better to just buy another printer. On the Canon iPF 5100 I had a while back, it cost about $1,700 new, but then I ended up replacing three print heads because I just never printed during the summer. At $500 a pop that got ridiculous. So I bought an Epson and have always been able to unclog it. I know Canon printers have gotten better though, but I don’t have specific experience of not printing for 3 months to see if I can resurrect it when it gets clogged.Getting started with your new printer
Both manufacturers have made printing very easy right out of the box. It’s amazing how simple printing is. However, the simplicity they offer does come at a cost. My recommendation is to get your feet wet. Install the driver and the profiles and utilities that is available for your printer. And if you’re buying a used printer that is a discontinued model get on the manufacture’s website and be sure they still support your computer and operating system with a current driver and utilities.
Use the manufacturer branded paper to start out with. Canon and Epson especially make some really fine papers. And they make it easy by preinstalling the ICC profiles for you. Use their recommendations to get started, but once you have the basics down, start bringing in other papers as that’s where the true magic can happen. The image should be printed on a paper that helps accentuate the image, not detract from it. If you’re showing a print to an average viewer and their first comment is something to do with the paper then you’ve probably missed the mark. It takes a lot of practice and a lot of experience but once you’ve graduated to the finer quality papers that we first talked about you’ll see what I mean and you’ll understand what I’m talking about.Paper Handling
We started with paper, and it’s probably good to end with paper. The different papers have different handling of paper. I prefer to put my paper in one at a time. I’m guaranteed not to let it set to long on the printer that way, and in my current office setup the rear paper tray is unusable on my printer. So I feed it in single sheets on the top. If your printer has a tray I say use it for the standard papers. But not the fine papers we’ve been talking about from Moab and the like. They have a good surface that needs to be treated right and stacking the paper in a tray and allowing the printer to drag it across the other sheets is a bit of a travesty. This is probably just me being extra picky, but when it comes to my art I think it’s good to be picky.
Once you’ve gotten a few prints out and you’re getting used to the process of printing I encourage you to find buddies or other resources that help you achieve even more in your printing. I’m sure you know I’ve got an online course that dives very deep into the world of printing. Getting even better results out of your photography on one of these printers is possible, but it’s one of those things where until you see the difference it’s hard to understand what you’re missing out on. That’s why I offer a 30-day money back guarantee on my course. Plus, there’s monthly group sessions for the first six months where we get together online and we share our questions and successes with learning this print process. Printing gallery quality prints is possible, and with the help of others we can have you printing with WOW in just a few short weeks. Maybe even less.Join a workshop and learn it even faster!
And if you really want to learn it fast, join me on the Oregon coast this August. We’re going to shoot the coast and learn printing too in the hotel conference room. All the info is available on the website, I hope you can make it. It’s limited to 8 participants for the first session, and then I have a compressed session from in the very beginning of September, going over Labor Day weekend. That’s limited to 4 participants. So whatever you’re in for, let’s get together and print this summer!
Jun 30 2019
Rank #17: Adventures with the PhotogAdventures guys
Welcome to Latitude Photography Podcast. The show where we talk about all things related to landscape and travel photography.
I’ve got a new bag giveaway. Email me (brent (at) latitudephotographypodcast.com) proof of sharing out the show via your social media channels, emailing friends, anything of the sort, and you’ll be entered to win an Exposure 13 black from ThinkTank Photo or a FirstLight 20 also by ThinkTank Photo. Get it emailed by December 1, 2018 and the first winner will be able to choose which bag, the second winner will get the other bag. Must be living within the US and 18 or older.
Topic 1: Interview with Aaron King and Brenden Porter from Photog Adventures.
In this interview we talk about several topics, including:
- PhotogAdventures in the Faroe Islands
- Chile Total Solar Eclipse
- And SO MUCH MORE
Use this link to get a free gift at checkout, plus it helps support my podcasting efforts. Thanks!
Nov 04 2018
Rank #18: My Fujifilm Conundrum
Links mentioned in this episodehttps://brentbergherm.com/course-info/
In this episode Dan Bailey and I talk at length about what we expect when we photograph and what’s important to us. I’ve recently tried to switch to the Fuji X-T3 and while the shooting experience is excellent, the post-production is giving me some challenges. I’m not ready to say all my questions have been answered, but at least I’m further along the line and I can better address these issues I’m facing.
Jul 14 2019
Rank #19: Creativity is Problem Solving
Book mentioned in this episode: Art and fear https://www.amazon.com/Art-Fear-Observations-Rewards-Artmaking/dp/0961454733/ref=sr_1_2?keywords=art+and+fear&qid=1563289912&s=gateway&sr=8-2
I have another very special guest with me today. His name is David duChemin and I’ve been following his work for pretty much as long as I can remember. David, Welcome to the show!Topic:
Tell us a brief history of your career as a photographer.
You recently sent out an email to those on your list and I’d like to use that to start our conversation. The first one talks about your rules for photography. In it you talk about:
- Constraints I teach design and photography at a university, so I love this one. When my students don’t like an assignment I give them the “excuse that this is their “design challenge” i.e. constraints. Tell us about some of the recent constraints you put yourself under and how that has affected your creativity.
- Trust your gut Help us understand how this works out for you
- Sounds like your bottom line is these ideals help you make images that are truly your own. When should a photographer be taking these steps of constraints and trusting their gut. From the very beginning? After some experience?
You then mentioned another comment, “Creativity is a work ethic more than it is a talent.”
Wow, I want to put this in all my syllabi at the university…
Help us understand the meaning behind this though. I think in one sense we get caught up with the notion that “I’m not as creative as so and so…” and what not. It seems that what you’re getting at here is that this comparison misses the mark. So… “creativity is a work ethic more than it is a talent.” Let’s unpack this a little bit more.
One last thing before we wrap it up, I recently switched to Fujifilm X-T3 and I love the change in the shooting experience. But I’m struggling a bit with getting my vision executed in post-production. You made that switch a little while ago, what changes in post-production did you experience, in any, or do you have any advice for someone like myself?
My biggest problem is a subject I shot on the Oregon Coast. A backlit sand dune. The results didn’t even look like sand. And it’s all about the processing for sure, but it’s really thrown me off a bit and I’m trying to do a good job to test things out and see if I can make it work for me. I’ve talked with Ibarionex Perello and Dan Bailey and now yourself, all Fujifilm shooters, and you’re all, and many others, are producing great work with it. I’ve just hit a bump in the road and I’m trying to overcome it…
Where can people find you online?
Tell me about your online courses, and where can listeners go to sign up for them?
Aug 04 2019
Rank #20: Fuji Conclusion and More
Links: See the images and read the full Fuji conclusion here. https://brentbergherm.com/shooting-xt3/Announcements.
My Oregon coast workshop is coming up, just a few days away now. If you have been on the fence about this I encourage you to jump in and allow me to challenge you and encourage you in your growth as a photographer. David duChemin said in the last episode that the print “is a powerful evaluative tool.” In fact, I’m going to turn it over to him once again.
And I invite you to come out to the Oregon Coast with me and take the plunge into the world of shooting the beautiful coast and getting excellent prints from those images right there onsite as we dive deep into printing your photography.Topic:
There’s actually a few topics today. I’ll start out by wrapping up the story about my Fujifilm experiment, Mark Morris joins us with a drone safety concern and then I end the show with a listener chiming in on the love of photography. Here we go.
I wrote a blog post about my experience trying to switch to the Fujifilm X-T3 camera. The shooting experience was so wonderful. And I’ve talked about it a bit here on this podcast as well as on the Master Photography Podcast too. It’s time to wrap this up.
In short, I sent the camera back. Please do read the post on my website, the link is in the show notes.
The reason I sent it back is both complex and simple at the same time. It really hurts to send it back because I just loved shooting it so much. It was amazing. But I couldn’t get over a few details with regards to the types of images the camera struggled with.
Most notably the sand image that not even the Fujifilm processing in camera could make look like sand, and an edge issue when shooting silhouetted objects. The processing in multiple programs just didn’t come out right so I lost faith in my ability to achieve my creative vision in post-production.
I owe many thanks to Ibarionex Perello, Dan Bailey and David duChemin for coming on the show and talking with me about creativity and shooting Fujifilm cameras. But in the end it just wasn’t for me.
For my photography, the ultimate purpose of a quality image is to make a gallery quality print out of it. I did a lot of printing comparing results from my Canon camera and the Fuji camera, and then I did a lot of further printing with just the Fuji files. I got a lot of very good and excellent prints. But a few subjects had too many challenges and I just can’t get passed it.
Dan Bailey was also suggesting that I skip the raw processing and go with the in-camera JPG files. I tried that and on the flower subject I photographed in open shade the results were stunning. I literally took the file from camera, resized it, applied minimal output sharpening and it was excellent. However, I did the same with the raw image, also using the Fujifilm color profile, and it was even better, not by much, maybe 2%, but still, it was better. So I think I’ll keep my flexibility of the raw processing for now. But, when you’re in a pinch it’s good to know that usually you’ll have such awesome quality images coming out of the camera’s JPG processor.
I also shot some star trails with the camera. My technique is to take multiple images over a period of time and blend them in Photoshop. I should have shot JPG for this process because in the raw as I switched from image to image the stars were not white. They were very distinctly blue, red or green, and they changed color depending on which frame you were looking at. This, of course, represents the rendering pixels but for the stars to not be recognized as white, it would just look too psychedelic. My Milky Way shot came out really great. But the star trails, not so much.
The main reason behind sending it back is that I know my shooting experience would be affected by these issues. Most scenes turned out really well with this camera. But a few scenes just didn’t work out. I don’t want to be out there shooting and thinking to myself “I can’t shoot this silhouetted tree because I know I’ll be unhappy with the edges.” Silhouettes is something I do somewhat frequently. And many times certainly with my Canon it messes up, but it’s more of a lens or dynamic range issue where I can overcome it with multiple exposures. But when you have a very rough edge that can’t be overcome I just had to call the whole camera into question.
In my tests I found that Luminar processed the images really well. Unfortunately, about five days after I sent the camera back they announced Luminar Flex, a Lightroom plugin that brings the Luminar processing engine to the Lightroom Classic workflow. This may have been what I needed to make it work. I’d be willing to use a plugin like this for those odd times where Lightroom just doesn’t do the file justice. But I was under the pressure of a return deadline and I needed to make a decision sooner rather than later.
As I look to the future I’m disappointed that I’ll not be able to lighten my load anytime soon. I’ll still lug the Canon around and shoot great images with it. I’ll keep my eye on what Sony just announced with the new Alpha camera, and we’ll see what Canon comes up with next and then there’s Sigma with the L-mount alliance and the cameras they’ll be producing. There’s so many good things on the horizon but let’s face it, it’s hard to be patient. I’ll do my best though J
This next section is an interview I had with Mark Morris regarding drone safety, so let’s head on over to that now.
I’m really grateful to Mark for coming on the show and telling us about this issue. If anyone else has a story like this please let me know and maybe we can talk about it too.
And finally, we have a listener submitted section. I asked for some submissions a while back and the theme was simply, “for the love of photography.” I was hoping to get several folks to record something with the voice memo app on their phone or anything like that and that would allow me to turn it over to them for a bit. I got a few submissions in the facebook group but only one voice memo app. Let’s talk about a few of these images and then I’ll turn it over to Gary who submitted an image.
Next is Gary Aidekman and his story behind this alpenglow image of a volcano on the Kamchatka Peninsula, Russia.
Thanks so much Gary. You’ve given me an idea to record a show all about the images we can shoot while serving others. I’ve done quite a bit of that over the years and I have a chance to maybe head to India this December on a similar outing with a non-profit group.
Aug 11 2019