SEE WITH YOUR IMAGINATION  

I share this indispensable tip in my book, RIGHT BRAIN PHOTOGRAPHY. It is also a topic on which I spend a lot of time in my workshops, classes, and during my 1-on-1 photo lessons. It is one of the most difficult aspects for many photographers to grasp. Why? Because a common reaction is, "I can only see what my eyes see. What else is there to see?" It requires a different type of "seeing;" the type that requires practice, practice, 
 and more practice. It's different than "photographic seeing."

In order to see with my imagination, I need a combination of technical know-how and creative aesthetics. My right brain (creative aesthetics) needs to shake hands with my left brain (technical know-how) and tell it, "I see something. I've got an idea, and this is what     
I need from you." However, before my right brain can tell my left brain what it needs, it needs to know what the left brain can offer. Yes, it takes practice. Two life factors have helped me with this level of photographic application: 1) My art background in college, 
and, 2) I am primarily right brain dominant.

Regardless of where you think you are in terms of right brain and left brain, you can teach yourself. I know because I have students who have struggled with it, but are now "getting it." I have seen the growth in their photography as they send me samples of their work. I have seen improvements in their compositions, exposures, and how they now "see"  things when getting a shot--their renderings.

So, this month I will provide some examples of what I mean by "see with your imagination." But, before I do, l will share a non-photography story. It is about discarding programmed ways of seeing, learning, experiencing. The story is from a book I read, titled Successful Intelligence. Two young boys are hiking. One boy, according to traditional test scores, grades, and teachers' assessments, is very smart. The other boy, not so--not the best of grade scores. As they're hiking, they see a big grizzly charging toward them. The "smart" boy makes a quick calculation and tells his friend that the bear should reach them in 17.3 seconds!  As he is saying this, he sees his friend taking off his hiking boots and putting on his jogging shoes. He yells at him, "Are you crazy? We can't outrun that bear?" His not-so-
smart friend replies, "That's true. But all I have to do is outrun you." A different way of seeing things.

Now, with this long introduction to a subject which I believe every photographer should take to heart, let's start with this first example.

This is a typical way of seeing things; a "Before" image, i.e., a generic, not so exciting scene. This is what my eyes saw.  

By Colorado standards, this was a rather mundane scene. I looked at it for several minutes.
In Right Brain Photography I talk about the method I use to go beyond seeing the obvious.

At first, I didn't see anything worthwhile. Then, my right brain kicked it. Hmm? 

From a distance, I could see some little white flowers. They were in the shallow water, close to the large boulder on the far left. At first, I saw them as just cute little white flowers. My right brain taunted me: Yes, just little white flowers, unless (AND THIS IS WHERE SEEING WITH YOUR IMAGINATION KICKS IN)......I can make them "move." Yes, that's it! I wanted to see what they would look like if I made them "move." My right brain shook hands with my left brain and said, "I've got an idea, and this is what I need....."   

So, what did I need? Four elements had to come together: 1) Tripod; 2) Telephoto lens to "reach out" to the small flowers; 3) A slow shutter speed to help me with the fourth element-- actually move my camera during exposure to create a sense of movement. I was getting ready to apply the etymology of the word p-h-o-t-o-g-r-a-p-h-y--"Painting with light."

I put my 70mm-300mm lens on the camera, set at 300mm. Set it for manual focus, and 

estimated that a 1/5 of a second would give me enough time to move my camera just enough. Shooting on Aperture Priority, I adjusted my f/stops until I saw the camera give me 1/5 shutter speed---it took f/36 to get there! (In my book I talk about the inverse relationship between f/stops and shutter speeds) I put the camera on my tripod, but loosened the head to allow me to move (swivel) my camera to get a fairly smooth movement.

I was ready. When I thought I had the right starting point composition, I slowly moved my camera laterally during a 1/5 of a second exposure. It took three tries to get what I wanted. On one try I moved too fast; on another I moved too slow. But then, voila!! 

The image below is pretty close to how it looked to the naked eye as I looked at the scene. My histogram would have loved it--no major light or dark areas to drive the histogram crazy; not much to worry about in terms of dynamic range. But boring. This is why my histogram is turned off. It doesn't meet my right brain purposes. 

What I "saw" was a more vibrant and dynamic scene, with colors "popping" against a dark background. So, here goes the right brain again shaking hands with the left brain.

  

The left brain is endlessly in search of the "correct exposure." After all, isn't that what the histogram is for---to warn us when we don't have it? The right brain, by contrast, is calmly looking for the "right exposure." I arrived at the right exposure by setting my exposure compensation dial to........are you ready for this? -2 2/3 underexposure! This is seeing with your imagination.

These same concepts and principles can be applied to any subject, not just nature. Let me set the scene for this next example. It was Christmas time. I heard about a place where they had different variations of the nativity scene from several countries. Among the many interesting displays, one in particular caught my imagination. It was a display of the 3 wise men and Mary carrying baby Jesus in her arms. Behind the display, on a wall panel, was a mural of Jesus carrying a cross on his lady day of life. The mural had nothing to do with the nativity scene displays. My imagination saw the odd coincidence, even surreal, of the birth of Christ and his last days on earth, at the same time; in the same image. This is what the scene looked like to my eyes, after I got my composition; my perspective.

         

Not satisfied with the way it looked, I decided to do some light painting. I shined my flashlight as if making quick paint brush strokes around the area of the head of Jesus. With a 3 second exposure, I knew I would have enough time to do that. I also made sure to highlight just the head area, to keep the rest of the mural in darkness. I titled it "Dawn to Dusk."

The following example is one of best I can share, in terms of the amount of "seeing" that went into it. Let's start by looking at what my eyes saw. My strong belief is that most photographers would keep walking past this scenario. It's a beautiful flower, but, my goodness, look at that distracting background; the flowers just blend into the background. Wouldn't you "pass" on this? 

When we see with our eyes, we risk the chance of losing out on a lot. This is but one example. "OK," you say, "What else is there to look at?" Look at what's not there. Look at what else you could do with this, other than what you see before you.

Let me walk you through my "seeing." There's a reason why I refer to it as "seeing with your imagination." The key is not just imagining, but sharpening your imagination. Here's what my imagination saw: Create a double exposure, against a black background. Like this.

Let's pull the curtain back and see what the wizard did. Like in the Wizard of Oz, this is not magic; it just looks like magic.
Step 1) Once I get my composition, I manually focus, with a wide f/stop (small number), take the entire grouping out of focus and underexpose by about 1 stop (the black backdrop tend to overexpose my shot). At this point, it's an estimate and I'm ready for a test shot. I set my camera on a 20-second delay. I go behind the flowers and place my large piece of black material behind them. I hear a click.
Step 2) I check my display to make sure it isn't too blurred nor too sharp. If I need to make an adjustment, I do and try it again. If I like it, I am ready for my double exposure.
Step 3) I now engage the multiple exposure feature on my camera and set it for 2 exposures. I already know my first shot is going to be good because that was my test shot. 

I depress my cable release, knowing that I have 20 seconds. I again stand behind the flowers and place my black material behind them. I hear a click. I double check my display again to make sure the shot looks like my test shot. It does. I have my first of two exposures.
Step 4) I now focus right on the entire grouping of flowers and change my f/stop to make sure I cover my subject. I underexpose my second shot, usually from -2/3 to -1. For this image, I underexposed by -1 & 2/3 because of the black background. This is art, not science. That's why I take test shots. Now I'm ready for my second shot, which will be in sharp focus.
Step 5) My camera is already set for a 20-second delay. I click with my cable release, then walk behind the flowers again and hold up the black material. I hear a click. I now check my display to see if I got what I wanted. In the example above, when I saw that image displayed on my screen, I stopped shooting. Got it!

Art is subjective. Photography is art. I say this to introduce my last examples. The first one is a straight shot, with which I was satisfied. The second one is a double exposure, using most of the same steps as the example above. I like both for different reasons. They both have those sought after autumn colors. The second one looks like a painting. Impressionistic.

        

Are you ready to start seeing with your imagination? Have fun with it. Loosen up. Don't think science; think art. Don't limit yourself by letting your eyes determine what you can see. 

A combination of reading and practice always helps. You can also e-mail me. I can help massage your imagination. 

  

THAT MAGIC TIME--TWILIGHT

Lighting is everything in photography. The right lighting can elicit awe, suspense, intrigue, feeling, or a sense of uniqueness.

I look for the quality of light, angle, color, amount, direction, or the time of day. I like night photography, but I prefer that magical twilight. My definition of twilight is roughly 10-30 minutes before sunrise or after sunset. Magic!

Scenes taken at any other time of day can look good, in fact very good, but twilight gives them a little extra flare. The sky becomes part of the composition, instead of just taking up space. 

On-line calculators or apps to determine sunrise or sunset don't work for me. Whoever designed them did not have photographers in mind. Sometimes I read their predictions, but arrive at my designated and pre-determined spot 20-30 minutes before sunrise or sunset. That extra time allows me to take my time getting the right composition, determine my depth of field, get a preview of my exposure, and test my settings.

Here is what I did for this first example. I used a combination of shooting at twilight (late evening) and painting with light at Garden of The Gods in Colorado Springs, Colorado. Using the BULB setting, I first walked along the walkway as I shined my light on the walkway, zig-zagging it side to side. I told my assistant to tell me when he could no longer see me. It was so dark that my movements did not register. I then came back (flashlight turned off) and stood next to my camera, with the BULB setting still on, and painted the side of the formation to the left, highlighting it along its thin side. I then released the BULB setting. All in all, about a two minute exposure.

  

  
The following two examples are from the quaint and historic town in the Ozarks, Eureka Springs, Arkansas. 

This was more like 45 minutes before sunrise. Clouds in the sky always enhance the feel of an image. The dark blue background makes the buildings stand out.   

This is a very popular subject among photographers. I had seen many renditions of it, but what I had not seen was a photograph of this seven story statue at twilight. So, I put it on my to-do list. I chose a time a few minutes after sunset, to pick up what I hoped would be some dark blues and pinks. Christ of The Ozarks statue.

  

I saw this image in my imagination 3-4 hours before I created it. I liked the composition in late afternoon, but it looked too plain for me. My right brain could see a deep rich blue sky,
if I came back later that evening. I could not have ordered the clouds that evening, but was sure grateful and counted myself lucky--they added mystery and drama to the scene. Zurich, Switzerland.

I did some research on a most famous arch in Utah--Mesa Arch. I wanted to see, not only what other photographers had done with it, but what they had not done with it. I saw just enough images to conclude that there must be hundreds (if not thousands) of images on-line on Mesa Arch in Canyonlands--all created in the early morning light, after sunrise. I only saw one night shot. So, what did I not see? I did not see the arch photographed at twilight. Hmmm? I added the idea to my bucket list. 

I took my part-time assistant with me because I knew I would need some help. We arrived just before sunset. I got my composition, my depth of field, took some test shots, then patiently waited for the right lighting. I went there in December, hoping to get the La Sal mountains snow capped--I lucked out! In addition to selecting twilight for this image, I knew in advance that I would also do some light painting to highlight the underside of the arch--something I did not see in my research. A 25-second exposure allowed me just enough time to paint the arch.     

This last example was created at my #1 locale in Colorado--Telluride, elevation 8,750.' There is a free tram from town that takes you to 10,500' for a breath-taking view above the Swiss-like box canyon town in southwest Colorado. The view of Telluride from up there is great, but incredibly phenomenal at twilight, as you look out at 12,000' and 13,000' peaks.

As you can see, virtually any subject can be enhanced by photographing it at twilight. So, take your camera out someday before sunset and add some splendor to your photographic collection. Think of a photograph which you are very proud of, then ask yourself, "What would that look like at twilight?" You might surprise yourself. Your best shot of the year might be just around the corner! Have fun.

Contact me if you have any questions about twilight photography.  

HYBRID PHOTO ART  

 
So what is hybrid photo art? Well, first of all, it is not my favorite thing to do with my photography, nor is it something for which I want to be known. That said, it can be fun.
I don't call it photography. It is just a different type of fun art. I don't pass this off as my photography because it isn't, though it does include a photograph--thus my term "hybrid."

I call it hybrid photo art because it is part photography and part computer software application. It's a form of digital mixed media, which I mention in my book. The base, or foundation, for each hybrid piece is a photograph. Then, different "filters" or software applications are added to the original photo image to create a hybrid---a modified version
or rendition of the original image. I always like both versions for different reasons. Non photographers especially seem to love this type of art.

Depending on the type and amount of software application(s), some of these renditions look like book illustrations; some look like pen & ink drawings; some look like something in a 
sci fi comic book; and some, to the untrained eye, can just look like awesome over-the-top photographs.

I'll start off by talking about different filters. The photo editing software I use offers tons of filters from which to choose. There are too many to list them all, but they include filters and sub-filters, found along the top task bar. For example, under the "Artistic" filter, found in the horizontal command menu, I have several sub-filters from which to choose, like Fresco, Plastic Wrap, Poster Edges, Cutout, etc. And there's more! Under each sub-filter I also have at least three sliders I can use to further fine-tune the final effects! Yes, it can be a bit intimidating at first, but just like anything, once you start experimenting with menus and sub menus you realize they are only options to select or ignore. 

There are two important caveats I should share with you: 1) Always save the original image.
2) After a while, I lose track of which filter and sub-filter I used on each final hybrid piece!
Having learned the hard way, I have now created a code for myself to keep track of what application I used for each piece. For example, If I have a piece I call "1955 Corvette," to which I applied the Artistic filter and Poster Edges sub-filter, I title it "1955 Corvette_APE." However, there are two filters that start with S-- Stylize and Sketch. In that case, if I used 
the Stylize filter, my title might be "1955 Corvette_STGE." That's my code for "Stylize" and "Glowing Edges," a sub-filter under Stylize.

There is nothing magical or "heady" about this. The two main tools are Filter and Select, both found along the top horizontal task bar. All I do is experiment with the applications, amount of applications, and slider increments. I look at the results and go back and fine
tune my adjustments if I don't like what I see, start all over, choose another filter/sub-filter, 
or simply conclude that filtration is just not going to work for me.

One more detail before I show you some examples. This is simply a personal decision, so 

I can't give you strict formulas or If/Then advice. Sometimes I decide to apply a filter to the entire image, which is much easier. Sometimes, though, I choose to apply it only to certain parts of the original image! Yeah. That can get a bit tricky and time-consuming. I have to be very careful to the selection I make (See "quick selection" under A on this link), making sure that it is a "clean" selection, i.e. that I don't end up making the application to the part of the image 
I did not want to change. Once I make the selection, I enlarge the image, using the Zoom tool (See "zoom" under Navigation Tool on this link). That way, I can toggle around the selected part to make sure it's "clean;" that I didn't miss anything or didn't select part of the background         I want to change. It's not rocket science; just careful spot checking and quality control.

I've kept you in suspense long enough. I'll start with an example that reflects the caveat 

I just mentioned above.

For this image of a 1961 Cadillac, I only wanted to apply a filter to the background without affecting the car itself. To do that, I carefully used the Quick Selection tool to select only the car. After I made sure my selection was a "clean" one, and with the selection still active, 

I then clicked on "Select" (part of the task bar across the top) and clicked on "Inverse" (found when you click on Select and see a drop-down menu). Basically, I told the software to inverse my selection, which made it select everything but the car for me to work on. Which filter to use is a personal choice. My most commonly used is Artistic/Poster Edges. This was the result.

I used the same approach, but different application, to this red/orange 1955 Corvette beauty. I can't overemphasize the importance of using the Zoom tool when making your
selection. It helps to better see all the small details--in this case, tail lights, windshield
lines, bumper lines, etc. 

For this piece, I made the same application to the entire image--no need to "select"
a portion of the original image.

        

Ditto on this one. The same filter and sub-filter might have a different "look" on different images, depending on the subject and different elements in the scene--like the street light in this downtown scene of Eureka Springs, Arkansas.                                         

This sub-filter (under the "Stylize" filter) is called Glowing Edges.

I used the same filter/sub-filter on this image as I did on the Cadillac piece. However, the effect looks different. To me, it looks more like a book illustration or pen & ink drawing, especially when seen on the high resolution piece.

There are two sides to the "art coin." From the artist's side of the coin, I like to call a spade a spade. If I do something severe to one of my images, like the examples above, I have entered a new form of art and I call it what it is. I don't apply filters, hoping to improve my photography, then pass it off or brag about my photographic skills, when I know there were other skills involved in addition to my photography skills. On the other side of that same coin, from the general public or consumer perspectives, who cares? If they like it, and they pay for it, great.

Most companies have different product or service lines. They're all different, produced by the same companies. This form of art is just one of my product lines. 

So, go out there and have fun with it. Some people like it; some don't. Bottom line: if you like it, that's all that matters.

    

SHOOTING IN THE RAIN

We've heard of dancing in the rain, but shooting in the rain? Why not.

In this day and age, a lot of photographers seem to be obsessed with making every image super sharp, super saturated, and super everything else. As the artist Jackson Pollock once said, "I like it when I don't have total control." Photography, to me, is art, not science--although all product and software companies are good at convincing us otherwise.

While I do need to protect my equipment, I have discovered some simple, low tech, and creative approaches to shooting in conditions that make most people put their cameras away--rain.

 There are four reasons why I like to shoot when it's raining.
 1) It's a challenge--I like challenges
 2) Colors look different--I like variety in my images
 3) Images create mood, feelings, sensations, and sometimes surprises
 4) There is less detail and sharpness in the images--less is more

Like many photographers, there was a time when it wouldn't even occur to me to shoot in the rain. As my photography evolved, or maybe I evolved, I started realizing that, hey, maybe I can turn a negative into a positive. I now look forward to a rainy day. Instead of moping and complaining about not having a nice sunny day, I go out and see what I can find.

I do not have the desire for everything to always be clear and clearly identifiable. I do not always strive for sharpness and fine edges throughout the entire image. As a photo artist, that can be boring. Don't get me wrong, I do have many images in my collection that are sharp and clear, but I like variety, a mixture of applications, approaches, and interpretations. 

That said, here is my first example. I had heard about this really cool old stage coach that was a few miles outside of Boulder, Colorado. I set out to find it one day. Soon after I saw it, it started raining. My right brain woke me up and shouted, "Hey, take what is given.What does this moment give you?" Carpe diem!!!

I shut the engine off to reduce vibration and with my arms steadily on the steering wheel,
I shot it right through the windshield, allowing the out-of-focus rain drops on the windshield to give me this Impressionistic, dream-like effect. 

I was downtown Denver, Colorado working on a project for RTD, the local bus/train transportation system. Of course, it started raining. But, I liked what city life was transforming into as a result of the rain. I proceeded to take advantage of the situation. 

I could have edited the image through post processing to bring out more detail, more color, more everything, but I decided to leave the scene muted--the way it looked and felt to me. You can feel the wetness, the dampness, the coolness. On a clear day, there would be no light reflections on the street, no wet surfaces, no umbrellas.
I was standing on a corner under a large awning.

It was a cool rainy day in Boulder, Colorado on a weekend. I went to its famous Pearl Street Mall specifically to photograph in the rain. I knew there would be a lot of people there with umbrellas. As I watched people hanging on to each other in the cold wet rain, colorful umbrellas everywhere, and rain pouring down, I knew it was going to be a good day for photography. As I stood carefully on the corner under an awning, I started photographing people as they uncomfortably waited for the light to turn green. As they started walking, 

I panned my camera as I followed their movements across the street. In other words, 

I followed them with my camera, set at a slow shutter speed, as they walked, knowing that everything around them would be blurred. I must have spent a good 20-30 minutes shooting. This is one of my favorite images from that cold and dreary day. Carpe diem!

   

Historic Eureka Springs, Arkansas. A sudden downpour on a May morning. Time to run inside? No--start shooting. I just happened to have my camera with me. The moment it started raining, I knew I had to take advantage of the fact that I just happened to be right downtown. I knew exactly where I needed to go. I scoped out two areas on Spring Street where I could include the historic stone buildings in the rain. I wasn't disappointed.

I quickly pulled the car over by the curb, set my emergency lights, and shot through my side window for this one. The result is a combination Salvador Dali and Monet.

I then moved forward to a another nearby spot I thought would also give me a good composition. I knew that section of town well. Again, I wasn't disappointed. For this shot, 

I also pulled over, but this time I shot through the windshield for a better composition. Monet, thank you--I am taking advantage of your artistic legacy.

So, next time it rains, don't run for cover--run to cover it! Add some diversity to your photos.

From a right brain perspective, loosen up. Concentrate on getting good compositions first. And, not all rain photos look good--they must have an appealing, interesting subject and good compositions. Don't get overly concerned with how it's going to turn out. Your images won't look "perfect," if you're going by left brain definitions of "perfect." But they will be creative and fun to look at. From a left brain perspective, take quick exposure test shots and adjust your exposure compensation dial as needed--quickly (very quickly). Don't use a small, or large number f/stop--you don't want the actual rain drops or rain in sharp focus. As a general guide, f/2.8-f/10. And, don't focus on the windshield when shooting from your car--use manual focus (not auto focus) and focus on the subject, in order to get those nice blurs and mysterious distortions. 

Have fun with it. To paraphrase a former student, don't be so linear!  

    

  

TIPS FOR GREAT AUTUMN COLOR PHOTOGRAPHY

The best photography is found where technical know-how and creative aesthetics meet.  For this month's blog, I will share a combination of both.

The right brain needs to "see something," then shake hands with the left brain and say,       "I have an idea.....and this is what I need from you." I will share tips from both sides of the brain and how they relate. Confused? Read on.

Although I have my preferences, every time of day and every weather condition can produce interesting results. It's more of a matter of taste than what is right or wrong. 

That said, I do prefer to shoot in the mornings, evenings, under cloudy or overcast skies, or after a calm rain. Mornings give me less harsh lighting, coupled with diagonal light and long shadows--all of which I take advantage. Evenings give me the same attributes, plus warm hues. Cloudy or overcast skies make colors "pop" and make it easy for the built-in light meter to give me what I want. Rainy days give me reflections--I love reflections.  

Other conditions I like are before the sun rises or sets. Both scenarios require uncommon long exposures, which can create magic in the final image.

Let me show some examples of why autumn remains my #1 season to photograph. I will share any pertinent right brain or left brain applications along the way.

========================================

Some say Maroon Bells in Colorado are the most photographed peaks in the U.S. I can't vouch for that, but, as you can see, it just might be true.

I have photographed Maroon Bells several times. When I know what I want, sometimes I need to return two, three, or even more times.....to get it right. This is that one time when almost everything came together for me. I had hoped that the clouds cleared the peaks completely. However, as it turned out, I liked the mystery added by the clouds. 

I waited 45 minutes for this shot. Yes. Really. When I started shooting that early morning, The clouds almost completely covered the peaks. So, I continued shooting other areas while I kept my eyes on the weather over the peaks. Then, I saw them. I got my composition, set my depth of field, set the proper exposore. Click!


Lessons: Be patient, very patient--the best opportunities seldom appear the moment you want them. Get up early. Most lakes are more mirror-like in early mornings. In my book,       I spend several sentences on a model I've followed for decades: CDE. You get your Composition, Depth of Field, and Exposure right and you can guarantee yourself a good shot. In this case, I chose a vertical view to enhance attention to the reflections. I intentionally included the rocks sprinkled throughout to add "eye flow" and "containment."

Make sure you have enough depth of field to cover everything from foreground to background (sharpening and clarity cannot fix errors in focusing and choice of f/stop).

When I decide on my composition and focus point/f-stop combination, I then estimate the best exposure (f/stop & shutter speed combination) and take a test shot. I then double check for depth of field and exposure, make any adjustments needed, then get my shot.  

    

Sometimes we don't have to do much with a scene--it's just there waiting for us to go "click."
However, we have to be there when the magic is happening. Timing. Timing. Timing. 

For this shot, I set out to find some side lighting, hoping to find the right composition. Wow did I luck out! Yes, I planned the timing. Yes, I had a general sense of what I wanted. Yes,    I had the skills to make the best of any scenario that presented itself to me. But, who was to know I would come across this natural Monet scenario, including the clouds. Click.

Lessons: Don't shoot like a tourist; shoot like a photographer. A tourist will start shooting at 10:00 and stop at 4:00, and look for those "post card" locales. Take advantage of side lighting. Include shadows and highlights in the scene--they give it mood, contrast, and a three dimensional feel. Add some foreground and some background, but not so much that they compete for attention--just enough to complement the main theme.

For the following shot, I put my camera right up against this tall aspen and shot straight up.
I was on my knees, so I couldn't see what I was getting. I had to carefully estimate where to aim my camera. My camera was on a tripod.

Lessons: There is no rule that says our eyes have to be behind the camera to get a shot.
Vary your perspectives--don't shoot everything from eye level. Focus approximately 1/3 of the way from the bottom of the view finder in order to increase your depth of field--never focus on the bottom of the viewfinder. As a general rule of thumb, your depth of field will be 1/3 in front of your focus point and 2/3 behind your focus point. Always over expose a scene like this when shooting against the bright sky, or you'll end up with silhouettes! This image was created at a +2 1/3 over exposure! Yes. If you expose for the middle tones, all other tones will fall into place--with just a little fine tuning needed afterward. My camera was about two feet from the ground.

It was getting late and the sun was setting. As I drove along a gravel road, I noticed the back lit aspens. Not the best lighting situation, but my intuition inspired me to stop the car, get out, and start exploring. I found this grouping of aspens with bright light behind them. 

I knew I wanted to emphasize the trail leading up to the aspens.

Lessons: Challenge yourself to shoot in less than ideal conditions--late evening, setting sun, back lit trees. In order to emphasize the trail and use it as a leading line, I had to get low, looking up at the trail. Alter your perspectives to get more interesting compositions. Don't be afraid to use your exposure compensation dial--what I call the "life saver" in photography.
This image was shot at a +1 1/3. You can safely assume that when you shoot against bright light, like in this scene, the built-in light meter will tend to expose for the brightest areas (the background sun light), thus rendering the leaves and trees darker than you would like.

I had been shooting all morning. Up to this point, I had concentrated on strictly nature shots. However, when I got to Lost Lake in Colorado, I saw this couple enjoying the moment.

Lessons: If you compose your shots carefully, you can include people and still go beyond documentary photography. If you can add reflections on top of that, you will end up with more than just a snapshot of a couple in a canoe. I composed my shot first, before the people were in view, then patiently waited for them to come across to complete my composition. See something before you see it. Create images, don't just take pictures.

As I shot around the Historic Loop in Eureka Springs, Arkansas, I saw this carriage coming up the street. The travel guide stopped next to this house as he shared Eureka history with the couple in the carriage. I quickly ran up to him, introduced myself, and asked him if I could take their picture. He said yes. I told him, "I'll stand over there and give you two signals--one when I'm ready to get the shot, and another one when I'm done. He and his customers politely obliged me, and I got my prize for the day.

Lessons:  At the risk of sounding redundant-- always get your composition down first, the rest will follow. I spend a chapter on composition in my book. Don't hesitate to talk to strangers--some of my best shots have been because I talked to people I didn't even know. Overcast skies really make autumn colors pop. Oh, and don't forget CDE. 

I could not leave you without introducing some photo art concepts. In today's digital world of photography, most of us try so hard to get everything, in every image, absolutely totally sharp and super saturated. It's okay to have less than sharp images. Really. We are programmed to think that is the only way it can be a great photograph. Part of that programming comes from the day we heard our parents say, "Take a picture." We are still "taking pictures."

I was in Crested Butte, Colorado, at the end of Maroon Avenue, when I came across a trail surrounded by aspens. I knew immediately that I had to convert the scene to Impressionism. I have the straight shot too in my collection, but I favor this one.

Lessons: Don't think so linear. Think outside the box. Loosen up. You don't always have to "take a picture." Think artistically. If you have a multiple exposure feature In your camera, start experimenting with it! Photography is not about engineering tolerance levels; it's about having fun! This is a double exposure. The first shot was slightly out of focus; the second one in sharp focus and slightly under exposed.

Now, pick your spots, go uninhibited without a specific agenda, let nature speak to you instead of you making firm decisions in advance, loosen up, and have fun! Oh, and don't forget--composition first!  

TIPS FOR GREAT AUTUMN COLOR PHOTOGRAPHY

The best photography is found where technical know-how and creative aesthetics meet. For this month's blog, I will share a combination of both.

The right brain needs to "see something," then shake hands with the left brain and say,       "I have an idea.....and this is what I need from you." I will share what the right brain sees and what it instructs the left brain to do. Confused? Read on.

Let's start with the right conditions, i.e., when to shoot, or not. Although I have my preferences, every time of day and every weather condition can produce interesting results. It's more of a matter of taste, than what is right or wrong. 

That said, I do prefer to shoot in the mornings, evenings, under cloudy or overcast skies, or after a calm rain. Mornings give me less harsh lighting, coupled with diagonal light and long shadows--all of which I take advantage. Evenings give me the same attributes, plus warm hues. Cloudy or overcast skies make colors "pop" and make it easy for the built-in light meter to give me what I want. Rainy days give me reflections--I love reflections.  

Another condition I like is before the sun comes up or after the sun sets. They often both require uncommon long exposures, which can create magic in the final image.

Let me show some examples of why autumn remains my #1 season to photograph. I will share any pertinent right brain or left brain applications along the way.

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I was driving along a narrow gravel road in Colorado. It was too late in the day and too late in the season for that particular area. The golden leaves had all dropped from the ubiquitous aspens. The sun had already set behind the mountains. These are the conditions when, instead of complaining and kicking myself in the butt, I quickly ask, "What does this moment give me?"

As I scanned the scene, I looked up on the side of the mountain and found something that fueled the creative aesthetics side me. What I saw were ghost aspens, which I created.
I converted the image to B&W since there was little color in the scene.

Lessons: Don't just shoot what you're looking for. Don't wait for something to hit you between they eyes---scan for the subtleties in nature. Don't hesitate to shoot after the sun goes down, when others put their cameras down. Turn negatives into positives. 

    

Sometimes we don't have to do much with a scene--it's just there waiting for us to go "click."
However, we have to be there when the magic is happening. Timing. Timing. Timing. 

I set out to find some side lighting, hoping to find the right composition. Wow did I luck out!
Yes, I planned the timing. Yes, I had a general sense of what I wanted. Yes, I had the skills to make the best of any scenario that presented itself to me. But, who was to know I would come across this naturally-given Monet scenario, including the clouds. Click.

Lessons: Don't shoot like a tourist; shoot like a photographer. A tourist will start shooting at 10:00 and stop at 4:00, and look for those "post card" locales. Take advantage of side lighting. Include shadows and highlights in the scene--they give it mood, contrast, and a three dimensional feel to your images. Add some foreground and some background, but not so much that they compete for attention. Just enough to complement the main theme.

For this shot, I put my camera right up against this tall aspen and shot straight up.
I was on my knees, so I couldn't see what I was getting. I had to carefully estimate where to aim my camera. My camera was on a tripod.

Lessons: There is no rule that says our eyes have to be behind the camera to get a shot.
Vary your perspectives--don't shoot everything from eye level. Focus approximately 1/3 of the way from the bottom of the view finder in order to increase your depth of field--never focus on the bottom of the viewfinder. As a general rule of thumb, your depth of field will be 1/3 in front of your focus point and 2/3 behind your focus point. Always over expose a scene like this when shooting against the bright sky, or you'll end up with silhouettes! This image was created at a +2 1/3 over exposure! Yes. If you expose for the middle tones, all other tones will fall into place--with just a little fine tuning needed afterward.  

It was getting late and the sun was setting. As I drove along a gravel road, I noticed the back lit aspens. Not the best lighting situation, but my intuition inspired me to stop the car, get out, and start exploring. I found this grouping of aspens with bright light behind them. 

I knew I wanted to emphasize the trail leading up to the aspens.

Lessons: Challenge yourself to shoot in less than ideal conditions--late evening, setting sun, back lit trees. In order to emphasize the trail and use it as a leading line, I had to get low, looking up at the trail. Alter your perspectives to get more interesting compositions. Don't be afraid to use your exposure compensation dial--what I call the "life saver" in photography.
This image was shot at a +1 1/3. You can safely assume that when you shoot against bright light, like in this scene, the built-in light meter will tend to expose for the brightest areas (the background sun light), thus rendering the leaves and trees darker than you would like.

I had been shooting all morning. Up to this point, I had concentrated on strictly nature shots. However, when I got to Lost Lake in Colorado, I saw this couple enjoying the moment.

Lessons: If you compose your shots carefully, you can include people and still go beyond documentary photography. If you can add reflections on top of that, you will end up with more than just a snapshot of a couple in a canoe. Compose your shot first, before the people are in view. Then patiently wait for them to come across to complete your composition. See something before you see it.

As I shot around the Historic Loop in Eureka Springs, Arkansas, I saw this carriage coming up the street. The travel guide stopped next to this house as he shared Eureka history to the couple. I quickly ran up to him, introduced myself, and asked him if I could take their picture. He said yes. I told him, "I'll stand over there and give you two signals--one when I'm ready to get the shot, and another one when I'm done. He and his customers politely obliged me, and I got my prize for the day.

Lessons:  At the risk of sounding redundant-- always get your composition down first, the rest will follow. Don't hesitate to talk to strangers--some of my best shots have been because I talked to people I don't know. Overcast skies really make autumn colors pop.

I could not leave you without introducing some photo art concepts. In today's digital world of photography, most of us try so hard to get everything, in every image, absolutely totally sharp and super saturated. It's okay to have less than sharp images. Really. We are programmed to think that is the only way it can be a great photograph. Part of that programming comes from the day we heard our parents say, "Take a picture." We are still "taking pictures."

I was in Crested Butte, Colorado, at the end of Maroon Avenue, when I came across the trail surrounded by aspens. I knew immediately that I had to convert the scene to Impressionism. I have the straight shot too, but I favor this one.

Lessons: Don't think so linear. Think outside the box. Loosen up. You don't always have to "take a picture." Think artistically. If you have a multiple exposure feature In your camera, start experimenting with it! Photography is not about engineering tolerance levels; it's about having fun! This is a double exposure. The first shot was slightly out of focus; the second one in sharp focus and slightly under exposed.

Now, pick your spots, go uninhibited without a specific agenda, let nature speak to you instead of you making firm decisions in advance, loosen up, and have fun! Oh, and don't forget--composition first!