Basic Photography Tips For Even The Most Novice Of Caving Photographers

Like many I have always seen really cool images of the Carlsbad Caverns. Great huge spaces filled with stalactites, long exposed lights and a few folks with cave helmets walking around. I have always thought those images were mysterious and exciting but not having been to Carlsbad I never thought I would get a chance to try it.

On a recent vacation to Mount Saint Helens however I found out about some amazing lava tubes that run from the mountain called the Ape Caves. My first thought was that it might be weird to visit lava tubes of an “active” volcano but apparently these caves were cut, not during the last eruption in the 80′s, but hundreds of years ago, so I had to give it a look.

Soon I found myself trecking into the dark, cool and multi-mile depths of the caves to see what sort of photographic damage I could do. It was quite apparent within moments that their would be no light except that of my flashlight & speed-lights. I have heard folks talk about a place being pitch black, but this was beyond anything I had ever experienced.

After going in a quarter mile I found a great location, set up my equipment and quickly decided on a game plan for gaining some great shots.

Bring what you need

You need to bring the kitchen sink. You don’t want to get a mile down and then find out you forgot some extra batteries in the car. Personally I brought two camera bodies, two speed-lights, a couple of wide angle lenses, tripod, extra batteries, cable release (very important), cleaning cloths and other miscellaneous equipment.

Keep your arms free

The cave can be slippery and of course is not stable so make sure your arms are free to balance. Shoulder bags could be a big problem here as they would throw you off balance. I would recommend a Lowepro camera belt system like I use, or some sort of backpack for your equipment.

Increase your ISO

You might think you should set your ISO to 3200 to get a good image but we want to balance the amount of light with the quality of the final product. The higher the ISO the grainier the image and the less you will be able to do with it once your done. I found that an ISO of 800 worked just fine. I was a good balance between quality and sensitivity.

Don’t get out of your depth

My first thought in such a dark lighting condition was to open my camera appature all the way but then I realized that it might result in a shallow depth of field that could effect the image where the side of the cave walls was concerned. Here I chose to set my F-stop at F11 to give me a good balance between depth and light.

Wait for “paint”

One I had my tripod and camera ready, composed my image, placed on a speed-light, set my ISO to 800 and placed the camera in Manual mode at F11, I placed the last part of my plan into action… I waited for light.

I decided that since these caves did not have any light to help distinguish features around me the best thing to do would be to wait for other cave explorers with lanterns and flashlights to come by and help me illuminate things.

Even with the speed-light I could only record a slight amount of information so I decided to listen and wait for other explorers. When I decided that they were just around the corner I would take the picture. Since my camera was in manual mode the speed-light would fire but I would leave the aperture open for anywhere between 30 seconds to 2 full minutes. In that amount of time folks would walk past me, their lanterns and flashlights illuminating the walls of the cave as the went down and past me further into the cave.

Because they were moving so quickly and the length of exposure was so long they wouldn’t be seen in the final image and in this way I was able to get light down every point of the tunnel.

Practice might make perfection

Now, I have a few images here that turned out amazing but I also have many more that didn’t turn out at all or looked terrible. This type of photography is a trial and error process with the emphasis many times on error. However, with enough trial and time, the more you practice, the more you might find perfection.

Birding Photography Has As Much To Do With Luck As With Skill

These amazing photos captured a drama with two of these little creatures that is every bit as poignant and heart-wrenching as any human story.

A female bluebird was hit by a car as she swooped low across the road, and the condition was soon fatal.

Her male mate brought her food and attended her with love and compassion.

He brought her food again, but was shocked to find her dead.

He tried to move her – a rarely seen effort.

Aware his mate was dead and would never come back to him again, he cried out.

The photographer sold these pictures for a nominal fee to the most famous newspaper in France .  All copies of that edition sold out on the day these pictures were published.

Anyone with a digital camera can now make their own 3D photographs with their digital camera and without the use of a 3D camera.

The concept is simple.  It involves taking a photo first using your left eye looking through the eyepiece, then shifting the camera to the right of the subject and taking another photo looking through the eyepiece with your right eye (do not move yourself or your head; move only the camera).

In order to achieve the true 3D affect, the distance to move the camera from the left eye view to the right eye view is 1/30 the distance the camera is away from the object.  If your object is 10 feet away, the camera would need to be moved 0.33 foot or 4 inches.

Materials

• 1 Digital camera
• Photo editing software (Such as Adobe Photoshop)
• Red/blue 3D glasses (You can make your own or buy them)

Activity procedures

1. Start out by picking a subject. It is easier to take photos of objects or landscapes because we need to take two photos that are as identical as possible. Shots of people can work provided they stay very still and do not move in the time it takes you to snap two photos. Take your first photo, then try to slide the camera over 3 inches and take the same photo again. One easy trick is to take one photo looking through your left eye and the second while looking through your right. A common mistake is to take the pictures too far apart.
2. Download the photos to your computer and open them up in a photo-editing software such as Adobe Photoshop. Any program will work as long as it allows for red, blue, and green color channels to be manipulated independently.
3. Once both pictures are open, convert them both to grayscale by clicking on IMAGE in the menu bar and selecting MODE then GRAYSCALE. [Image>Mode>Grayscale]
4. Convert the right photo back to red, green, and blue (RGB) by clicking IMAGE on the menu bar and selecting MODE then RGB (the image will still appear gray).
   [Image>Mode>RGB]
   In the Channels tab (in the layers palette between the LAYERS and PATHS tabs), select the red channel by clicking on the word RED – NOT the little eye next to it (eyes indicate which channels are displayed, not selected). Only that channel should appear highlighted.
5. Go back to the left photo and select the entire photo [Ctrl-A] for PC or [Command-A] for MAC then copy the image [Ctrl-C] for PC or [Command-C] for MAC, and finally return to the right photo and paste the image [Ctrl-V] for PC or [Command-V] for MAC.
6. Now you are ready to complete the merging of the left and right images. Go back to the channels palette. Click on the little box next to RBG. An eye should appear in all four channels but still only the red channel is highlighted. You should now have a mostly black and white image with red and blue halos.
7. You are nearly done. The left and right eye images need to be better aligned to remove as many of the halos as possible. This is achieved by centering the two images on the subject of your photo (typically what is in front and center – this will be the easiest part of the 3D photo for peple to focus on). Select the move tool [press V] then use the arrow keys to move the red image until you see the best alignment. We are trying to remove the halos from around our subject, though objects towards the edges will still be quite haloed.
8. The final step is to crop the image down to the size you want using the crop tool located in the tool bar (left hand column, third tool down). Try to remove areas of excess red or blue around the edges. Once you have selected the area of the image you want to keep hit ENTER to crop the image. Now that you are done, don’t forget to save!

Now when you look at your image using red/blue 3D glasses you should see the scene appear in 3D, depending on which way your shifted the images you might need to switch which way you are looking through the glasses. You should try experimenting for a while with taking photos and creating the images to get the best results.

Hints

1. Don’t save the changes to the original photos, always work with a copy.
2. Try making other versions and centering on something else in your photo (something more in the foreground or background) than what you originally planned.
3. It may be helpful to adjust the alignment while watching through 3D glasses.
4. This method works especially well with close up photos of detailed and textured things (use your camera’s macro mode, usually indicated with an icon of a flower which will make it auto focus even when very close to your subject).

View The Results

To view the results, red/blue 3D glasses is needed.  Free online instructions on how to make the red/blue 3d glasses can be found at http://stereo.gsfc.nasa.gov/classroom/glasses.shtml.

Canon’s Latest PowerShot Cameras Set New Standards For Image Capture

New PowerShot SX150 IS and ELPH Cameras Showcase Extraordinary Image Quality with Every Shot

Today’s tech-savvy consumers expect to have a photo-capturing device always at hand that is adept at producing exquisite images and video without sacrificing quality. Delivering these users’ must-haves, Canon U.S.A., a leader in digital imaging, announced three new PowerShot Digital cameras that capture beautiful still images and great high-definition video: the PowerShot SX150 IS, the PowerShot ELPH 510 HS (the world’s thinnest digital camera with 12x optical zoom and a 28mm wide-angle lens¹) and the PowerShot ELPH 310 HS. Built to handle a wide range of shooting situations with ease and accuracy, each camera is equipped with features such as impressive zoom, a new Intelligent Image Stabilization (IS) system, Smart AUTO with 32 shooting scenes, High-Speed Burst mode and HD video capture. The ELPH 510 HS and ELPH 310 HS Digital cameras also include Canon’s renowned HS SYSTEM to handle shooting in low light.

“With a strong reputation of imaging excellence, Canon incorporates acclaimed quality, design innovation and intuitive engineering into each product,” said Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies and Communications Group, Canon U.S.A. “With the inclusion of advanced features, such as the HS SYSTEM and HD video in these new PowerShot cameras, we continue to reach new levels of performance and design to satisfy our users.”

The impressive zoom with optical image stabilization found in all three new PowerShot models allows users to snap a memorable, highly detailed shot from a variety of distances. The PowerShot SX150 IS Digital camera is equipped with a 12x wide-angle optical zoom and 28mm lens. In the compact ELPH series, the PowerShot ELPH 510 HS is the thinnest camera to date, with a 12x optical zoom and 28mm wide-angle lens, while the PowerShot ELPH 310 HS has an 8x optical zoom with 28mm wide-angle lens.

Helping to capture blur-free images and video, Canon introduces the new Intelligent IS system in these PowerShot models. To deliver crisp, undistorted images in various shooting conditions, Intelligent IS automatically chooses from six different modes (Normal, Macro, Panning Dynamic, Powered and Tripod) to optimize image stabilization.

Many novice photographers are intimidated when adjusting camera settings. Canon eliminates this issue with its Smart AUTO feature, which analyzes faces, brightness, colors, distance and movement and selects the appropriate setting based on 32 predefined shooting scenes for stills and 21 scenes for video.

Low light photography is a challenge even for a seasoned photographer. To assist the user, the PowerShot ELPH 510 HS and ELPH 310 HS utilizes Canon’s HS SYSTEM that combines a 12.1-megapixel, high-sensitivity CMOS sensor and DIGIC 4 Image Processor to enhance image quality in low-light settings. The HS SYSTEM also reduces noise at high ISO speeds and expands the camera’s dynamic range to allow for greater detail and color when shooting in darker settings. The HS SYSTEM can also help compensate in situations where a flash can’t be used, such as a wedding or dance recital.

Determining the right moment to “freeze” what you are shooting can be difficult in action scenes. The High-Speed Burst mode in the PowerShot ELPH models ensures that you never miss out on the fast-moving or unpredictable moments. With the simple hold of the shutter button, the High-Speed Burst mode shoots continuously, capturing up to 7.8 frames per second (fps) in the PowerShot ELPH 510 HS and 8.7 fps in the PowerShot ELPH 310 HS.

Today, the ability to switch between shooting still images and high-definition video is a key consideration when customers shop for a new camera. Providing stellar video-shooting capability in a compact frame, Canon has incorporated 1080p Full HD video recording into the PowerShot ELPH 510 HS and ELPH 310 HS, while the PowerShot SX150 IS camera features 720p HD video recording. Each camera can optically zoom while filming and has a dedicated movie button for quick access to the video-recording mode. The PowerShot ELPH 510 HS and ELPH310 HS cameras also include Movie Digest mode that shoots a four-second video before capturing a still image and then automatically combine a full day’s worth of videos into one clip. All three PowerShot cameras are also iFrame capable, allowing for quick and easy sharing and editing across multiple platforms and devices.

The PowerShot SX150 IS Digital camera is equipped with a 12x optical zoom with 28mm wide-angle lens, 720p HD video recording, Intelligent IS and Smart AUTO. The PowerShot SX150 IS Digital camera also features a 14.1-megapixel CCD sensor and Canon’s DIGIC 4 Image Processor. This new camera includes manual-shooting capabilities, such as aperture priority and shutter priority for optimal artistic control that any photography aficionado will appreciate. The PowerShot SX150 IS Digital camera includes a discreet-shooting mode to help ensure a low disturbance when capturing photos, and a 3-inch LCD screen for easy viewing and scrolling through menus. Available in black and red, the PowerShot SX150 IS Digital camera is scheduled to be available at the beginning of September for an estimated retail price of $249.99.

The PowerShot ELPH 510 HS Digital camera features a 12.1-megapixel CMOS sensor with a 12x optical zoom and 28mm wide-angle lens, Canon’s HS SYSTEM and 1080p Full HD video recording. The ELPH 510 HS Digital camera also includes a High-Speed Burst mode, Intelligent IS and Smart AUTO. Available in red, black, and silver, this camera has a 3.2-inch wide, touch-panel LCD screen, offering fast and easy menu navigation. The ELPH 510 HS Digital camera also has Touch Shutter, simply touch the screen where you want to focus and release your finger to take a photo. The ELPH 510 HS Digital camera is scheduled to be available at the beginning of October for the estimated retail price of $349.99.

The PowerShot ELPH 310 HS Digital camera has a 12.1-megapixel CMOS sensor with an 8x optical zoom and 28mm wide-angle lens, Canon’s HS SYSTEM and 1080p Full HD video recording. The ELPH 310 HS Digital camera features a High-Speed Burst mode, Intelligent IS and improved Smart AUTO. The ELPH 310 HS Digital camera includes a 3-inch LCD screen and comes in five vibrant colors: purple, blue, pink, green and silver. The ELPH 310 HS Digital camera is scheduled to be available at the beginning of October for an estimated retail price of $259.99.

To further enhance the built-in flash of the PowerShot lineup, Canon has developed the HF-DC2 High-Power Flash , which increases the effective flash range up to approximately 30 feet and supports 24mm wide-angle shooting with the wide-panel attachment. The HF-DC2 automatically fires in-sync with the camera’s built-in flash and operates wirelessly to capture subjects at twice the range of the camera’s built-in flash. The HF-DC2 includes a mounting bracket that attaches to the camera, but it can also be hand-held or mounted on a tripod. The HF-DC2 High-Power Flash is scheduled to be available in December for an estimated retail price of $149.99.

Super-Telephoto Focal Lengths With New AF-S NIKKOR 200-400mm f/4G ED VR II

The evolution of the super telephoto lens continues as Nikon Inc. announced the new AF-S NIKKOR 200-400mm f/4G ED VR II lens which delivers optical excellence and stunning image quality for professional photographers. Ideal for bringing to life exquisite detail for sports, nature and travel photography, this new lens affords a constant maximum aperture of f/4 and rugged construction for maximum versatility. Continued refinements and new technologies such as Vibration Reduction (VR) II, Nano Crystal Coat, and optimized autofocus (AF) modes enhance functionality and improve performance for discerning FX and DX-format photographers.

“The AF-S NIKKOR 200-400mm lens builds upon a proven design for professional level optics by incorporating the latest Nikon lens technologies to give photographers the edge in the field, and the ability to capture the most intricate of details with extraordinary fidelity,” said Lisa Osorio, general manager of Marketing at Nikon Inc. “As both camera capabilities and the roles of photographers expand, NIKKOR enhancements will continue to meet demands and exceed expectations to remain the pinnacle of optical excellence for all types of photographers.”

Whether photographing the decisive play at home plate or predators of the Serengeti, the 200-400mm f/4 lens is an essential tool for photographers who require long focal lengths and maximum versatility without sacrificing image quality. The 200-400mm lens benefits from the addition of Nikon’s proprietary Nano Crystal Coat to reduce instances of ghosting and flaring. The result is unparalleled clarity and sharpness in challenging lighting environments typical to sports venues or harsh sunlight.

Additionally, this new NIKKOR lens features Nikon VR II image stabilization, which is specifically engineered for each lens for maximum performance. VR II is a valuable asset to those shooting photos or HD video, as image blur introduced by camera shake and telephoto magnification is significantly reduced. Users are able to shoot up to four stops* slower than otherwise possible, overcoming many of the challenges of handheld shooting with such extreme focal lengths. VR functionality is further augmented with Automatic Panning Detection and an Active VR Mode to help compensate for movement from an unstable position such as a moving vehicle. Additionally, VR is always engaged when shooting in the D-Movie mode on select Nikon D-SLRs, helping to stabilize HD video capture.

The new 200-400mm f/4 lens features a host of professional focusing features to further enhance functionality. Photographers can now select from three focus modes to match shooting conditions, including manual mode (M) and autofocus with manual override (M/A) mode, and new A/M mode which is used to avoid cancelling the AF setting by unintentionally moving the focus ring while shooting. The M/A and A/M focus modes enhance AF control with fast, secure switching from automatic and manual focus to adapt to personal shooting preference and techniques. Additionally, photographers can activate the AF Recall Mode at the press of a button that allows for instant return to a predetermined point of focus to confidently capture anticipated shots.

This professional lens is constructed of die-cast magnesium for maximum durability and is sealed to resist dust and moisture, with protective Meniscus glass to safeguard the lens’ front element. The optical formula features four Extra-low Dispersion (ED) glass elements for superior sharpness, color and image quality, while minimizing chromatic aberration. The lens also features Nikon’s exclusive Silent Wave Motor (SWM) technology, which enables high-speed autofocus performance with exceptional accuracy and powerful, super-quiet operation. Nikon’s Super Integrated Coating further suppresses flare and offers superior color consistency throughout the frame.

Price and Availability

The AF-S NIKKOR 200-400mm f/4G ED VR II lens is scheduled to be available at Nikon authorized dealers in late May 2010 with an estimated selling price of $6,999.95**. For more information, please visit www.nikonusa.com.

With a comprehensive assortment of FX and DX-format lenses and focal lengths, from the new ultra-wide 10-24mm to the super telephoto 600mm VR, Nikon photographers have come to rely upon the NIKKOR core technologies that contribute to their optical superiority. NIKKOR is the brand name for Nikon’s photographic lenses, which are precision crafted to the most exacting standards in Nikon’s own glassworks. In 1933, Nikon marketed its first camera lens under the NIKKOR brand name, the “Aero-NIKKOR” for aerial photography applications. Since then, NIKKOR has been used as a brand name for Nikon’s lenses that symbolizes durability, high image quality and optical excellence.

*As determined in Nikon performance tests.

**Estimated selling price listed is only an estimate. Actual prices are set by dealers and are subject to change at any time.

I have been dabbling in photography for about 10 years now. I am just an amateur photographer that loves learning new things when it comes to photography. I tend to prefer nature and wildlife over taking photos of people. Recently HDR and Lomo styles of photography have really caught my eye and are things I am really interested in learning.

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Groundbreaking Photographer Breaking iPad App Ground

In a world gone digital and absolutely crazy about iPads, Loweprofessional Michael ‘Nick’ Nichols has launched his very first app. One of the photographers at the forefront in utilizing this new technology, he’s gone as far as to revise his entire web site in favor of this different, maybe even better, way to experience some of his best work. ”I love the way photography looks on the IPad! Recently I decided to reduce my website and put my energy into creating something for those who want to see my long career of essays presented beautifully and with my voice.”

Available for the first time today, Nick’s app provides an intimate and behind-the-scenes look at his groundbreaking work in the most remote corners of the globe. He’s compiled over twenty years of photography and never-before-told stories from locations all over the world. His app features:

Fifteen photo galleries and over 160 photographs (some never published before)
Exclusive behind-the-scenes video of Nick working on assignments for National Geographic Magazine
Links to buy limited edition prints and autographed books

Nick’s career is legendary. As an Editor-at-Large for National Geographic and former member of  Magnum Photos, he’s been called the ‘Indiana Jones of Photography’. He’s published numerous books, received countless awards and been instrumental in the creation of 13 national parks in Africa as well as reforms in chimp conservancy. He’s also photographed 25 stories for National Geographic including Ivory Wars: Last Stand in Zakouma (March 2007) — a piece that helped raise awareness and funds to protect the embattled elephants of Chad. Featured in our 2010 Loweprofessionals Brochure, he has worked with legendary conservation icons like Jane Goodall and J. Michael Fay.

The Ultra-Wide 16-35mm f/4 VR and Ultra-Fast 24mm f/1.4 Lenses Provide Photographers With New Perspectives and Creative Versatility

Nikon Inc. today announced two new lenses for professional and enthusiast photographers that epitomize NIKKOR leadership in optical excellence. The highly anticipated AF-S NIKKOR 24mm f/1.4G ED lens is engineered to meet the demand for an ultra-fast professional lens for wide angle applications, while the AF-S NIKKOR 16-35mm f/4G ED VR offers Nikon’s widest FX-format focal range with VR, offering additional versatility to a broad range of photographers.

“The 16-35mm f/4 VR and 24mm f/1.4 are two new lenses designed to address the needs of an ever-expanding number of Nikon FX-format photographers, delivering dramatic perspectives, amazing clarity, contrast and color when capturing stills or HD video,” said Edward Fasano, general manager for marketing, SLR Systems Products at Nikon Inc. “Customers that choose these new lenses will experience excellent image quality and sturdy handling, which is made possible through our commitment to excellence and expert NIKKOR engineering.”

World renowned NIKKOR technologies play an essential role in the design of these two new lenses, and both feature Nikon’s exclusive Silent Wave Motor (SWM) technology for quiet, fast and accurate autofocus performance. The optical construction of both lenses also utilizes precision Nikon ED glass elements along with multiple aspherical elements to suppress chromatic aberrations resulting in sharp, high contrast images. Additionally, Nikon’s proprietary Nano-Crystal Coat minimizes instances of internal “ghosting” and flaring, further ensuring exceptional image integrity.

The 24mm f/1.4G ED Lens

Perhaps one of the most hotly anticipated lenses in recent memory, the new AF-S NIKKOR 24mm f/1.4G ED lens blends a natural yet versatile 24mm perspective with an ultra-fast f/1.4 aperture to expand an existing collection of well over 60 NIKKOR interchangeable lenses. The f/1.4 maximum aperture allows photographers to shoot handheld in low light and provides dramatic separation between subject and a softened background. In a wide variety of photographic situations, both FX and DX-format shooters will enjoy the benefits of extra-bright f/1.4 viewing, superb image quality and the dramatic perspectives afforded by a picture angle of 84 degrees (61 degrees when mounted on a DX-format body).

The 16-35mm f/4 VR Lens Brings a New Perspective to VR

The new AF-S NIKKOR 16-35mm f/4G ED VR lens is an ideal lens for enthusiasts and professionals craving a constant maximum aperture and ultra-wide angle zoom versatility with the benefits of Nikon’s Vibration Reduction (VR) II image stabilization. As the widest FX-format NIKKOR zoom lens with VR, users can realize the ability to shoot up to four shutter speeds slower than otherwise possible, expanding low light shooting opportunities and contributing to dramatically sharper handheld photography and video capture. Nikon VR II image stabilization technology is engineered specifically for and optimized to function most effectively for each lens, ensuring optimum performance. Whether joining the growing ranks of FX-format photographers or using the Nikon DX-format, photographers will appreciate the perspectives possible when shooting architecture, interiors, landscapes and more.

Pricing and Availability

The versatile, wide angle AF-S NIKKOR 16-35mm f/4G ED VR is scheduled to be available in late February 2010 at Nikon Authorized Dealers with an estimated selling price of $1259.95*. The ultra-fast AF-S NIKKOR 24mm f/1.4 G ED lens will be available in late March 2010 for estimated selling price of $2199.95*.

For more information, please visit www.nikonusa.com.

*Estimated selling price listed is only an estimate. Actual prices are set by dealers and are subject to change at any time.

Bio:
Jonny B. was born in the small, costal town of Coos Bay Oregon. Early in his childhood John became fascinated with pictures and photographs. With his moms old “110″ camera he set out to capture the world through pictures. His first photograph was a pastel pink feathery clouded sky. He has never forgotten that day and the feelings captured within him. Now He has a Canon EOS 5 D and looking forward to adding to his collection. When most kids wanted to be playing ball, Jonny just wanted to be with nature and capturing it all with the thing called photography that he loved with all his soul.

By the age of 11 he had worked hard and was able to buy his first real 35 mm camera. Spending the next several years experimenting with this new art form he nurtured his talent. In high school he was the yearbook/newspapers lead photographer. His first published photograph was in 1984 at a California Horse Review for a Peruvian horse breeder. Seeing his name and photo in a magazine flamed his passion even more.

After leaving home he realized that he had to earn a living to enable him to pursue his dreams in photography. Another of his passions was cooking. He realized another dream, became a chef and ultimately opened his own restaurant “The Shark Rock Cafe” in Astoria, Oregon. With a steady income he was able to pursue his first love of photography with great zest.

He has won 4 silver awards with his pictures published on Better Picture.com called “Endless Journeys”. He was invited to a Washington D.C. awards banquet to accept these awards and do a photo shoot with the lead photographer of National Geographic.

Jonny has been creating his art in photography for 30 years. He is currently is living and showing his work in his Gallery in Seattle

With his life partner, we have recently developed a new business called “the Loft “. We  do personal art shows which allow people to be part of customizing Jonny art to their own specifications. These parties are currently being hosted once a month by friends and associated and are open to the public.
Jonny personal focus is wildlife, nature and abstract art or inner urban living with still capturing the beauty of this Earth. However, if it catches his eye you can guarantee he will capture it with his camera.

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You Don’t Need Expensive Programs To Create Great Work

Many times photographers think they need the most “cutting edge” or expensive technology to be successful. It’s true that good equipment can help a good photographer be his best… “but” a good photographer can also use what’s available to “create” great work.

Below are a list of some amazing FREE programs that any photographer can use instead of the expensive counterparts.

Gimp

First lets dicuss the Gimp. GIMP is the GNU Image Manipulation Program. It is a freely distributed piece of software for such tasks as photo retouching, image composition and image authoring. It works on many operating systems, in many languages. Gimp is a great program that has many of the features normally seen in Photoshop.

Use: Photo Retouching

Pros: Quick to install and has many amazing such as RAW editing. It is also very stable and doesn’t take many resources on your machine which mean that even with large images your computer will still run smoothly.

It also has some wonderful color management and personalization features that even programs  like Photoshop don’t have.

Cons: Unfortunately because the Gimp is open-source it doesn’t have the budget behind it for development. That being said, in the last few years it seems to have fallen behind the times a tad and still only works with 8bit processing.

Conclusion: If you are new at retouching or are still “saving up” for a program like Photoshop, then why wait? The Gimp is for you!

Download

Picturenaut

Picturenaut was born in the German photo community. It has been in the works for four years, with consistent improvements. It  is setting the standard for making high quality HDR Imaging accessible and easy.

Use: HDR Image Creation

Pros: I have literally tried every program on the market for creating HDR (High Dynamic Rance) images. I have found that most of them, even the truly expensive ones, do a really terrible job when compared to the way a photographer can “manually” merge or manage images in programs like the Gimp or Photoshop. That said, when I ran across Picturenaut I was truly amazing at it’s ability.

The HDR images it creates are clean, crisp and don’t have all terrible artifacting that can occur even with the expensive programs.

Cons: It’s user interface could be easier to use, but after a little playing around you get the hang of things.

Conclusion: You must try!

Download

Picassa

Picassa helps you organize and edit the photos on your hard drive. Picasa can also help import pictures from your camera. Picassa has been out for a few years and does some things really, really well. Even though I personally own other “professional” image viewing programs, I find myself using Picassa as my main photo viewer, mostly due to the ease with which images can be scrolled.

Use: Image Viewing / Retouching

Pros: Quick image access and easy “scrolling” options. Picassa also have some nice photo editing features which can really help folks just getting started in the image retouching game and find Gimp a little overwhelming.

Cons: When retouching RAW images Picassa starts to fall down. Its display is inaccurate, mainly due to the total amount of information in a RAW file. As well, Picassa treats RAW images in the same way it treats JPEG files. If you are wanting to work in RAW, you might need to use something else like Gimp.

I would also have to complain that when retouching an image it applies the filters without making you “save” before closing or leaving the image editor. Because of this someone could apply filters to an image and then close the program. To overcome this a person must apply the filters desired, “save as” renaming the file and then remove all the filters applied in order to keep the original “un-retouched” image.

Conclusion: I personally think it needs to be updated a little and their are still some strange “bugs” but the program is very nice for many things.

Download

note: Recommended image size 900 x 600 px.All images will be moderated and added to the after approval. Pornographic and other unsuitable images will not be admitted.

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Taking Pictures of a Bottle – A Product Photography Tutorial

When taking pictures of a bottle you may need to put light behind it to make it look transparent. Here is how using cardboard and aluminum foil you can achieve professional looking results.

First we’ll need to make a small stage where to put the bottle. Find a cardboard box that it’s taller than the bottle you want to photograph and remove the top flaps and two of the sides.

I used pieces of paper to cover the inside of the box. You can use any material you like. Fabric is a great idea because there is so much to choose from. Using something distinctive helps to make your picture look special.

I lined the inside of the box with white foam core to make it rigid. Then covered only two sides with paper to let the light reflect back. You can also tape a piece of white paper to make light bounce back.

Use the object you want to photograph as a template to cut a piece of cardboard of the same shape. Wrap the cut-out in aluminum foil.

Put the bottle in the set leaving a few inches of space between the bottle and the back wall.

Make rings of tape and use them to stick the cut-out to something that can hold it standing up.

Put the cut-out behind the bottle and turn it to make the light coming in from the window reflect and go through the bottle.

Looking from the position where you will put the camera find the angle that makes the most light go through.

With and without the card in the back!

Special Thanks to Mariano at Via U!

Canon 60d Being Used For Film Production – DSLR’s Video Evolution

My DSLR video production company, Age of Rockets, is currently working hard to get the pre-production phase of our short film, Criminal complete. It’s an ongoing and complex process that I wanted to document to help others learn from our experiences.

We shoot our videos on a Canon 60d. We chose this camera for two main reasons. It was affordable to us at the time and its viewing screen swivels. To us, having a budget left over after buying the camera to invest in lenses was well worth the sacrifice we made in some other areas. And being able to have the camera three inches off the ground and not need my face three inches off the ground is a big advantage too. A monitor would fix this issue, but again, we didn’t have it in the budget at the time.

To begin the film-making process, we started with a script I wrote that I thought we could produce and shoot with little funding. I set the film primarily in one location we had access to and a very simple story involving mostly dialogue with only a few cut away action moments. This enabled us to move ahead immediately, even with a meager budget.

Once the script was done we moved on to casting. I put an add on Craigslist announcing auditions and emailed a sample page of the script to everyone who responded. I booked a meeting room at a local library for free and enjoyed watching 13 people give their all throughout a Saturday afternoon. After some discussions with my co-filmmakers, we had our cast.

With our cast and location in place, we set up a production schedule and got everyone together for a table read and rehearsals. The biggest advantages to doing a table read is getting to hear the script read aloud by your actors. Listening to someone else interrupt the lines and words in their own way is truly an eye opening experience. we started making tweaks and changes to the text immediately to better fit the actors and the desire for natural speech. At the rehearsals we had our lights set up and some props in place to work out our blocking and look of the picture. We had done a simple lighting test before hand with a stand in so we had a pretty good idea about the feel and tone we wanted. With our actors in place, everything started to take shape and look really great.

We shot some video of the rehearsal which you can see here:

Next week we move forward with our shoots and plan on posting a review of the process and some gear usage retrospectives. If you want more “up to the minute” reporting from the set of criminal, follow us on twitter: @ageofrockets or “like” us on facebook or check out our blog.

Thank for reading, Jaiken