National Camera Day

Greetings and welcome to Hohenfels Volks, THE place for our place!

Here's an item from the good Volks at SnapKnot to celebrate National Camera Day.

Courtesy of: SnapKnot

I hope you have your passport and get some great photos this week.

We want you to share your photos, especially of our place, with us on our Hohenfels Volks Facebook page. You can also e-mail questions, photos, or comments to HohenfelsVolks(at)tks-net.com, and we’ll get them posted!

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Daylight

Greetings and welcome to Hohenfels Volks, THE place for our place!

Today we’re going to talk a little about light. Hohenfels and our surrounding areas are home to a wide variety of light, and lighting conditions. For most of us shooting outdoors, we’re using what most volks think of as natural light. Really, though, any light can be natural if properly incorporated into our vision.

Generally speaking, we think of daylight as our source of natural light. Natural light really is made up of several components. First, we have sunlight, which is just that, light from the sun. Sunlight is warmer than plain white light, although we don’t perceive it as such until we examine our photos. Then we have skylight, which light reflected from the sky itself. This light tends toward the blue end of the spectrum. We also light reflected from clouds, which is more neutral than skylight. The last part we’ll look at is light reflected from environmental objects, such as buildings. This light picks up the colors of the reflecting source.

We can generally count on most daylight running between 5000 and 5500 k in color temperature. Photographically speaking, daylight is standardized for most applications as 5500 K. We generally, though, think in terms of warm or cool light.

Having covered both the general color temperature and make up of daylight, we can move on to some thoughts when shooting in it.

When using daylight as our source, we want to consider more than its intensity and temperature. We also want to consider its direction, or its diffusion. Diffuse daylight makes for some wonderful portraits, having a lower contrast. With a little help from a reflector, some nice shadows can be formed. This allows for marvelous shape and depth to a face. Less diffuse lighting makes for some very nice landscapes and detail shots.

The lower the sun is in the sky, the warmer the light we see. This can add some nice effects to an evening shot, bringing some golden highlights into your scene. Even later, during the blue hour, the light becomes incredibly cool, almost a pure blue!

Natural light can be used indoors, as well. Using only an open window and a reflector, an amazing portrait can be made. It’s also great for product or detail shots, with a little planning. Another great use for natural light indoors is for architectural shots. Churches, ruins, palaces, and the like can be a source for great photos when you shoot with natural light, as evidenced by the photo below.


ISO 1600, f/3.5, 1/30
The Schlosskirche in Bayreuth. The only light inside the church was from the windows. Being large and reasonably open to the light, an adequate image could be made. Using only natural light, even indoors, can make for a sense of openess in almost any image if done right.

Well, that’s enough for today. Don’t forget that we're having a "Thanksgiving means..." feature. You can submit your photos on our Hohenfels Volks Facebook page, and we’ll get them posted here!

We want you to share your photos, especially of our place, with us on our Hohenfels Volks Facebook page. You can also e-mail questions, photos, or comments to HohenfelsVolks(at)tks-net.com, and we’ll get them posted!We also welcome any tips, tricks, and ideas. If you’d like to write an article about something photographic or some place of interest, we’d be happy to post it here!Of course, comments on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Around Hohenfels: 3 in 1

Greetings and welcome to Hohenfels Volks, THE place for our place!

The last of the leaves are rapidly disappearing from the scene, leaving us with the dark, twisted branches of winter. The last few days have provided some opportunities for getting out and making your autumn shots a reality, so I hope you’ve managed to bring home some nice color! I’ve managed to shoot 3 rolls of Provia 100F from Fuji. The colors on this film are incredible! I hope to have some to share before too awfully long! I also managed to get in 10 sheets of Kodak’s Ektar 100 in large format. While a punchy, saturated film, the right shots take on a life of their own, which I hope to present.

Now, on to today’s topic. We’re going to give a quick rundown of 3 places to visit within 30 minutes drive of Hohenfels. There are quite a few other places, and most have information available online.

First on our list is the Thurn und Taxis palace in Regensburg. This is a palace in the heart of Regensburg, near the train station. It is occupied by the Prince of Thurn and Taxis. The family created the postal service for Europe some 300ish years ago. A lovely place with regular tours, the tour also includes some of St. Emmeram's, an old monastery. The gardens of the palace are beautiful, and the little park just outside the actual palace grounds is quite nice, also.
More information is available at this site.

Next up is Walhalla. Walhalla is just outside Regensburg, on the Danube. Built as a replica of the Parthenon, Walhalla is a tribute to Germanic speaking people who have contributed to the world in general. There are many busts and statues inside, and the view outside is incredible. It’s also a great place for a picnic and fall colors.
Click here for more about Walhalla.

Here are some pics from our next site, Kelheim.


ISO 100, f/16, 1/25
This is one of the many views from atop the Befreiungshalle in Kelheim. One can walk around the entire outside from 2 upper levels, which give you a 360 degree view of the surrounding area. It's worth the climb, but don't don't forget your camera!


ISO 1250, f/5.6, 1/80
This is inside the Church at Weltenburg. A 20 minute ferry ride from Kelheim, this monastery is the perfect place to enjoy a nice lunch and some photographic treasures! The meals served here come in extra large sizes, so bring your appetite.

Kelheim is a fantastic little town on the banks of the Danube, where it meets the Altmuhl River. Above Kelheim is the Befreiungshalle. The Befreiungshalle was built to commemorate the victories over Napoleon. The Winged victories inside have shields made from melted down canons and the door is cased in metal from melted canon balls. The town has some beautiful scenery, and is a great place to have some iced chocolate on a summer afternoon at one of the sidewalk cafes. You can even hop a ferry to the Weltenburg Abbey, where they brew some fantastic beer and enjoy a wonderful meal while waiting to catch the next ferry back.
Of course, to get the full scoop about the Befreiungshalle, click here

While none of the information is exhaustive here, I hope it will give you some ideas about how close things are. A wonderful afternoon with friends or family, or making some great shots, are all within a short distance of our place!

We want you to share your photos, especially of our place, with us on our Hohenfels Volks Facebook page. You can also e-mail questions, photos, or comments to HohenfelsVolks(at)tks-net.com, and we’ll get them posted!

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Autumn Leaves

Greetings and welcome to Hohenfels Volks, THE place for our place!

“Autumn...the year's last, loveliest smile.”
William Cullen Bryant

"Autumn is a second spring when every leaf is a flower."
Albert Camus

“On this autumn mountain,
Tumbling yellowed leaves,
For just a moment
Cease your scattering
For I would see my beloved's home.”
Kakinomoto No Hitomaro

William Cullen Bryant was a famous 19th century American poet. Albert Camus was a French philosopher and member of the resistance during the war. Hitomaro was a famous poet and court noble in the 7th and early 8th centuries, and is revered as one of the “36 Poetry Immortals” of Japan.

All 3 quotes are reminders of how autumn can be a wonderful season. The Season of color and clarity is upon us, preparing us for the dark and cold days ahead. The joys we experience in autumn can last a lifetime! Childhood memories are always rekindled with the tasted of fresh cider or just picked apples. Pumpkin pie and Halloween, not to be outdone compete with colored leaves and apple pie!

For the moment, though, we’re leaving the memories for later, when we’re each on our path. We’re going to give a few short pointers for dealing with autumn colors and shooting.

The easiest thing one can do when dealing with autumn’s majestic colors is to simply underexpose by 1/3 to 1 stop. Meter the area you’d like to see an increase in saturation, then set your exposure 1/3 to 1 stop less. To do this successfully, you have to make sure the rest of the scene is within the range of your cameras sensor. When you desire to increase saturation, underexposing will always help. This is because saturation, in simple terms, is generally inversely proportional to the reflected light. A lower luminance value will usually appear more saturated than a higher luminance.


ISO 100, f/16, 1/15
Lanu Mimita, Samoan for The colors are bold. This was shot in Dietldorf, a couple years ago. By underexpsoing slightly, and lowering the levels using the levels adjustment tool, saturation is increased. With some slight tweaking of color temperature the scene can be rendered to replicate the feeling of that wonderful day, time spent with family, and the big, hot, cocoa that followed the making of this image!

Another important thing to try is changing up your compositions. Since you’re likely to be shooting color, you’ll want to use composition to enhance the brilliance of your image. This can be used to either increase your subject’s importance or bring a saturated subject in line with an element having a lower saturation, while maintaining the distinction. Composition needs to be strong with higher levels of saturation to prevent the color from creating distractions or becoming a crutch.

If you wish to shoot black and white, autumn is a wonderful time to try it. If possible, use real filters on your lenses, as they will give you better renditions of the contrast inherent in your image than software alone. Editing your image should be done on multiple layers, especially if you desire to simulate different filters. A red filter will leave your reds, oranges, and yellows bright and your greens and blues very dark. An orange filter will have less impact but the results are similar. It's all about how you visualize it! Filter pack plug-ins for Photoshop are available, and Tiffen makes one for stand-alone use.

While these suggestions are a good place to start, I highly recommend getting out and making some shots. Try these suggestions, and any others you come across and feel comfortable with. Also remember, you’re the determining factor in your image’s value. If you like it, than show it off, definitely share it here, and be proud of your work.

We want you to share your photos with us on our Hohenfels Volks Facebook page. You can also e-mail questions, photos, or comments to HohenfelsVolks(at)tks-net.com, and we’ll get them posted!

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

On the Cheap

Greetings and welcome to Hohenfels Volks, THE place for our place!

“Valor is strength, not of legs and arms, but of heart and soul; it consists not in the worth of our horse or our weapons, but in our own.” Michel de Montaigne, Cannibales

“The Master said, “A true gentleman is one who has set his heart upon the Way. A fellow who is ashamed merely of shabby clothing or modest meals is not even worth conversing with.” (Analects 4.9)” Confucius

Both the above quotes refer to the fact that expensive is not always the best, nor is it always necessary. That’s the topic of today’s post, inexpensive lighting mods.

Firstly, this is not to say good equipment isn’t worth the price. A good set of lighting modifiers can be worth their weight, if they’re used. For most of us, a reflector, flash, and maybe something like a Rogue Flashbender are more than enough. There are also times when having something like a soft box or snoot can add a little something to your photo, especially in portraits.


ISO 400, f/5.6, 1/30
This was shot in a local church. I used a Rogue Flashbender on my YN-560 flash wirelessly triggered. The flash was above and to the right of the camera. The soft light wraps, but still has direction to it, giving a nicely lit portrait of our Jesus' love for us!

When I first started out with homemade light mods, the first thing I built was an ice chest soft box. By cutting a hole in the bottom of a Styrofoam cooler the size of my flash head and covering the front with a white pillowcase, I had a soft box. The soft box softens the lights by giving us a larger light source, diffusing the lights internally to the box, and softening the light as it exits the box with a piece of diffusing fabric.

Take your ice chest, with the hole cut in it, and line it with aluminum foil, shiny side out. Tape of glue the foil to the inside of the chest. Let it crinkle up and have lots of texture, as this diffuses the light more. Once that’s done, tape, or glue a piece of white fabric to the inside of the ice chest to cover the opening. Taping it about 1 inch back from the edge gives you some spill control and allows for more directionality of the light. If you’re particularly ambitious, you can add some support to keep it from sagging, perhaps mounting it to a tripod.

Another great mod is a snoot. This allows a focused ray of light to be targeted to your application. One easy method is to cut both ends from a Pringles can. Using one end over your flash, and the other end open, you have a beam of light for a spot effect or hair light. Cover the flash end to prevent light leaks. You can even wrap the can with some colored paper and have a nice looking snoot. Placing the cap over the end of the can softens the spot a little, giving you a wider beam. A snoot can also be made from a rolled up cereal box, although you may want to line it with foil.

Another simple mod is a pie pan beauty dish. By taking a solid pie pan, or even some larger, a very nice light can be created. Cut an opening in the back for your flash, and drill 3 small holes. Place a 2-3 inch disk about 2-3 inches above the opening using stand offs or long screws, and voila, instant mod! Great for a more focused, glamorous light and ring like catch lights in your subject’s eyes, that adds drama to your scene.

For more advanced stuff, like large scrims or reflectors, PVC can be used as a frame with white sheets cut and sewn to fit. You can even make adjustable mods this way, and add legs or stands. Scrims are great for shooting in sunlight, as they soften the sun’s light and create nice shadows. You can even use a space blanket for extra large reflectors. They have a gold side and a silver side, like most commercial reflectors, and smaller sections can be used for fill light on product shots or close ups of flowers. When you’re making the larger sizes, it pays to measure everything out and have your fabric cut and sewn to match the several options you’ll have available. There are instructions online for making the larger PVC mods, and that’s a great way to build up your kit without breaking the bank.

With a little effort and ingenuity, a lot can be done. Even going back to Ansel Adams and many of the older era photographers, simple and cheap was a good thing. Ansel Adams was known to use the white side of his dark cloth for fill light when needed. Improvisation was often necessary, and following in that vein, we can get great shots without breaking the bank. A great place to start is DIY photography. They’re listed on our resources page!

We want you to share your photos with us on our Hohenfels Volks Facebook page. You can also e-mail questions, photos, or comments to HohenfelsVolks(at)tks-net.com, and we’ll get them posted!

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Master or Mastered?

Greetings and welcome to Hohenfels Volks, THE place for our place!

The fact is that relatively few photographers ever master their medium. Instead, they allow the medium to master them...
Edward Weston

I posted that quote Saturday. I often get asked by volks about new gear or which camera is better. There are all kinds of questions about this or that pertaining to tricks to make them better photographers.

The quote goes on to say “… and go on an endless squirrel cage chase from new lens to new paper to new developer to new gadget, never staying with one piece of equipment long enough to learn its full capacities, becoming lost in a maze of technical information that is of little or no use since they don't know what to do with it”

It’s sad to say, but many of today’s beginners, and even those who’ve been around long enough to know better, are always searching for the better or the new. As you can see from the quote, this isn’t a new phenomenon, but has been a constant source of frustration since the early days of photography.

As often as that question is asked, there are answers ranging from try this lens or that camera. People will tell you a larger sensor is better, others that a smaller one is better. Someone will say not to use your on-camera flash and others will say that’s all they use.

The BIG, HUGE, AWESOME secret is simpler than the advices and opinions you’ll receive. But first, a photo…


ISO 100, f/4.5, 1/60
Winged Nike, Victory at Samothrace, at the Louvre in Paris. This statue on marble was made to celebrate a Hellenistic victory at sea. The lines and flowing drapery of her gown are suggestive of a strong sea wind. This statue is considered an example of the Greek ideal beauty. It shows a sense of triumph, even with the missing head and limbs. By knowing your gear, you, too, can experience triumph and mastery of photography!

Here is the big secret- pick one thing and learn it until it becomes automatic. Master your kit lens and camera, and then add a lens. After you’ve mastered that one, add a flash and master single source off camera lighting. Each step building upon the previous, and each step building out your kit, will allow you to gain a mastery that will surpass even the best of the “secret chasers,” those who always go on Weston’s “squirrel chases.”

One method, and probably the best, is to read your camera’s manual. Study it and get to know it. Make up a little sheet that outlines the features you need or wish to use and keep it with your camera. Get with others who own the same camera and discuss the camera. Discussing with others, even if they don’t own the same gear, can lead to a better understanding of the basic elements and can go a long way toward reaching your mastery. Then, start in on your lens. Start using the different modes, color balances, and features of your particular gear. Make photos that combine your vision and the challenge of learning your gear. I’ve seen photographers capable of changing their shutter speed, aperture, sensor speed, and focus, all while looking through the viewfinder. They knew their gear, the settings, and the procedures to get the camera to do what they wanted.

After that, you can begin to pick up more gear and learning it. The process is endless, so is the growth and improvement. It’s really a simple series of 4 steps- acquire the gear, learn the gear, practice the gear, master the gear, and repeat. It’s a loop that never ends, at least while resources or initiative are available. That’s the path for most forms of growth, whether it’s gear you acquire or knowledge. Growth shouldn’t end after 1 cycle through, but should be ongoing, that’s how entire civilizations are built and shaped!

Get out and get making your photos! We’d love for you to share them with us on our Hohenfels Volks Facebook page. We’d love to see your work. You can also send us an e-mail, if you prefer. Our e-mail address is HohenfelsVolks(at)tks-net.com and we'd love to hear from you!

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

From the Soapbox

Greetings and welcome to Hohenfels Volks, THE place for our place!

Today’s discussion is a short one on a quote from one of the early greats in photography, Alfred Stieglitz.

Photographers must learn not to be ashamed to have their photographs look like photographs. Alfred Stieglitz

First, a little background on Stieglitz. He began photography in the 1880s, and campaigned hard for photography to be recognized as an art unto itself. In 1902 he held one of the first ever photo exhibitions to be judged solely by photographers. Prior to this point, exhibits were being judged by painters and the like, who’s influence led to a more painterly and less vigorous style holding sway in the art. Over the years he influenced many photographers, founded several asscoiations, clubs, organizations, and galleries. He was friends with many famous photographers, including Edward Weston and Ansel Adams. He worked with them to ascribe a new ideal to photographic artistry.

All this brings me around to the quote, and also to today’s message. As we all know, learning photography takes some effort, it’s a task that frustrates and rewards those who set themselves to it. We go through the various stages, and then we find ourselves making photos that can connect, communicate, and express on their own merits. Most of know the joy that somes from that achievement, we know the sense of accomplishment that we feel.

The issue we’re seeing is that too often, marketing tells us that our photos should look like paintings, or that we need to do things with software that we can’t do with our camera. We see plug-ins and products designed to sell us on the idea that our photos should be a little less like photos. My concern is that all too often, we’re being led into a path that doesn’t match what our vision or intent. Frequently, these products and techniques are either marketed or taught to folks to cover up or salvage bad shots, which undermines the learning process.


ISO 125, f/4.5, 1/25
This was shot in Munich at BMW World during a daytrip. I wanted to share something of how our world may be changing, but some things will remain timeless. Exposing and planning for black and white allowed a more readily grasped sense of that thought. I knew that any other rendition would create an association with different art forms, which I did not want. This is the final intent, to show that abstract use of lines, tones, and texture can still look like a photograph and be artistic. I have a print of this I find very pleasing.

Be proud when your photos look like photos. Show off your photos, share your photos, and let the world know you made your photos! That feeling of pride that comes from the successful matching of our vision, intent, and final product can’t be replaced, and if your intent is canvas, than be proud of that canvas! Jump for joy and shout Hallelujah if it looks the way you want, because that’s what we’re trying to accomplish.

Enough of the old soapbox. I don’t want to discourage anyone from trying something new, but those new ideas can become a crutch all too easily. I relied on some of those crutches myself early on, and I know how easy it happens!

So now, it’s time to get out and get shooting! Plan your presentation while your planning your shot, and you’ll be way ahead. Then, make your shot and share it with us on our Hohenfels Volks Facebook page. We’d love to see your work.

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Improve Our Seeing

Greetings and welcome to Hohenfels Volks, THE place for our place! Hohenfels is getting ripe for photographic opportunities. Within the next couple weeks, the “autumnal fireworks” will really be in swing. Time to explore our areas and get your images made!

Today we’re going to provide a couple exercises to get you thinking about your photography and small ways to improve.

First up, we’re going to look at the use of tone and tonal variations to improve our shots. The exercise is simple enough. You’re going to need a couple lightly textured items to photograph. A couple differently colored towels or pillowcases will suffice. The object is to learn how our exposure impacts our tonal ranges, and how tones translate into an important element of our final image.

It’s best to use red, green, and blue items, but whatever you have at hand will work. Set up your item and meter it. In manual mode, set your exposure to give you –3 stops exposure and make a photo. Repeat for every full stop between –3 and +3 stops. You’ll have 7 photos. Do that for the other colors. Compare them in your image editing application, and see how the saturation, texture, and feel of each color changes with the different exposures and colors. Then take the same series of photos, but put your different items in the same frame. Finally, convert the last series to monochrome, and review one last time. After reviewing them all, you can see the difference in tones and moods. This is a big part of visualization, knowing how your camera’s rendition of color and light will present itself in the final image. It’s a simple exercise that does more than give you that knowledge; it also shows you what your camera can do. By knowing that there should be texture through all the shots, you can identify where your camera begins to lose that texture. Hey, since it’s autumn, you can combine the shots with more than all you colors into making something to hang on your wall by shooting something of the autumn around you.


ISO 100, f/15, 1/25
One of my older photos, taken just outside Hormansdorf. The track to the field was dappled and the tonal range of the colors brought to mind something from childhood, a reminder that God's beauty is everywhere. Notice how dark and light tones of the same color come into play here, creating contrast and enhancing the feeling of magic.

The next exercise is patterns. Learning to recognize patterns is something we all naturally do from an early age. But, patterns can be subtle or glaring. Stucco has a nice texture, and can have something of a pattern to it if you observe it long enough. Decorative tiles, clothing, and even bark will present something to create the feeling of a pattern if you open yourself to it.

The exercise is shooting 5-10 photos of patterns around you. This can be the tracks from a tractor in a just harvested field, the still tall rows of corn, your hounds-tooth pants, anything presenting a pattern. Corn on the cob present a nice pattern that can be presented and intensified by including the green of the husk and the golden caramel brown of the outer silk. They’re everywhere once you open up to them! It’s a great way to add interest to your photography, and bring you into a closer relationship with the scenes we take for granted every day. There is so much in God’s green Earth to see and feel, that an entire lifetime isn’t enough to experience it all!

I hope everyone will get out and make some photos, both for the exercises and to celebrate autumn’s beauty. There’s no time like now to get shooting! Figure out where and when, the rest will follow. Then, make your shot and share it with us on our Hohenfels Volks Facebook page. We’d love to see your work.

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Autumn Care

Greetings and welcome to Hohenfels Volks, THE place for our place! Here in Hohenfels, the Sun made a couple cameo appearances but wasn’t able to stir up any kind of significant warmth. The rain put a damper on the spirits, as did the fact that it’s a workday!

With autumn’s brutally chilled arrival, we’re nearing the time to shoot some real color! There’s always some excitement about the colors, shapes, textures, and patterns that accompany autumnal photography. As I mentioned in yesterday’s quote, now’s a great time to think about negative space and the use of color to create tension, balance, and harmony in your photos, and bring about the connection you’d like to make.


ISO 800, f/11, 1/60
These flowers were shot at the Hermitage in Bayreuth. A Wratten #8, yellow, filter was used. By using the filter, the green was brought up slightly, and the white flowers separated from both the red flowers and green leaves. By allowing a rich grey-black to fall on the leaves and red flowers, a velvety feeling of negative space results. While fragmented and carrying visual detail, it is by no means the subject, and yet becomes a subject of its own.

Along with the march of color into the dreariness ahead, comes other factors that photographers should take note of. First, is the rapid decrease in temperatures, the drop in temperature can take the starch out of an exciting day. Another factor is the rain, always something to be ready for in our Hohenfels area. Getting your camera wet can lead to issues that no one wants!

One of the biggies, I’ve found, is the increase in static. For the most part, photographers don’t have to worry about while photographing with digital cameras. It’s when the time comes to change cards or clean your sensor, or even change your lens that it becomes an issue. A typical “zap” can have as much as 30,000 volts jumping from one surface to another. Enough to ruin your day if it arcs over onto your sensor. Since most folks don’t clean their sensors beyond a squirt from a bulb blower, it’s pretty reasonable to say that the standard precautions are sufficient.

With film, though, static can be a big problem. Advancing film, rewinding film, activating the shutter, removing a dark slide, all these things can cause an arc that will ruin your shot. The can also damage your shutter curtains if your camera uses cloth. In the driest and coldest weather, it could damage your sensor, but that’s unlikely.

The biggest threat to digital cameras during this time of year is the condensation from thermal transitions. That’s a fancy way of saying going inside from outside. I’ve found one of the best ways to protect anything is a Ziploc bag and 30 minutes. Don’t plug your camera in, put your card in your reader, or power on your camera when you first come in. The temperature change can cause moisture, which we all know, doesn’t sit well with electronics! Think about glasses fogging over when you come in from the cold!

Another awesome tip- when you get in from the cold, make a big cup of hot cocoa, with extra chocolate. It’ll warm you up, and give time for your gear to reach a suitable temperature! It helps if you have someone to share it with. A nice cup of cocoa with my little princess makes for some fun talk time, and 30 minutes is gone before you know it!

Now’s the time get scouting and planning your autumn shots. Figure out where and when, the rest will follow. Then, make your shot and share it with us on our Hohenfels Volks Facebook page. We’d love to see your work.

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, Hohenfels Volks is on Google+, too!

A Tryst

Greetings and welcome to Hohenfels Volks, THE place for our place! Another rainy reminder that autumn is upon us. The colors and clarity of the season provide so much to intoxicate the spirit, and numb the body for the long cold ahead! Here, in Hohenfels, it’s no different!

It has been said that art is a tryst, for in the joy of it maker and beholder meet.
Kojiro Tomita

Again, another taste of the artistic and spiritual side. Kojiro Tomita was an early 20th century art expert from Japan. He had come to America to expose the U.S. to Japanese aesthetics and art. He was curator of the Museum of Fine Art in Boston.

I chose to use this particular quote to express what our photography can do, and how we involve our audience in our work.

When we feel our shot is the right one, when we see the scene, and visualize our final image, we often feel something beyond our technical and expressive processes. If we stop and think about what we’re expressing, and who we’re expressing it to, we begin to see a relationship take shape.

Neither party may know each other; indeed, they may be separated by centuries. At the same time, though, we are brought together for a small moment, in some connection that shares our feelings and viewpoints with those of our viewer. We connect.

Just something to think about the next time your out. If you’re out to make a portrait, find a way to include your subject, as well as your audience and yourself, in that connection. You’ll find a photo that will touch lives for generations to come! When making a still life, try to visualize the final product, and put yourself in the shoes of the viewer. How does that visualization make you feel? If your reaction brings you deeper into the scene, then your audience will no longer be your audience; they’ll be a tryst you enjoyed while expressing your vision, and enjoying your creativity! Of course, that’s just my thought!


ISO 3200, f/5, 1/30
Flowers in Vase, my tryst. This was taken in a little Vietnamese restaurant in Bayreuth during my last day trip. I made the shot knowing that the flowers in stark isolation against the background would create a sense of isolation, especially with all the negative space. I also noticed, even in that sea of isolation, that the flowers were not alone. Their isolation created a balance that allowed their relationship to transcend appearances and become tryst like in its relation of tones, shapes, and placement. I knew this one would speak to someone as a reminder that we are never alone, even when we feel like it. To paraphrase Ansel Adams, "There are always two people in every photo." That seems to go along with today's theme nicely.

I hope all our Hohenfels Volks readers will get out and create something of a tryst in their photography, and share it with us on our Hohenfels Volks Faceboook page. We’d love to see your work.

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

10,000 Revisited

Greetings, volks. Welcome to Hohenfels Volks, THE place for our place! Everywhere you look, you’ll see white! Winter is here for the long haul, and that means it’s time to get some seasonal shots. I hope everyone is getting geared up for Christmas and some great photography.

Earlier today, we had blue skies and some nice clouds, perfect for the landscape shooter in all of us. Of course, things turned ugly quick, and left us in the midst of a dark and icy wall of snow. As often happens, the sun managed to beat back the snow and again we were ready for making some great shots.

Enough weather, that’s not what we’re here for, right? Today we’re going to talk about pride and accomplishment. It’s also a chance for an exercise in good old-fashioned photography. Even though we’re using our digital cameras, and often forget the importance of each shot we make, we can return to the old ways. Remember, as Henri Cartier-Bresson said, “You’re first ten thousand shots are your worst.” In a much older post, we addressed this and modified it to be about 100,000 to 1,000,000 shots. This is due to the inherent nature of instantaneous feedback and automatic cameras.

In the earliest days of photography, folks used glass plates for their negatives. Then film came along. In those early days, your film, or plate, was only sensitive to blue light. This made balancing your light and color very important. With the advent of thinner films and panchromatic emulsions, more sensitivity was added. Then, of course, came color film. When you shot either a sheet or roll, you couldn’t change your ISO or color balance. Film and digital sensors can be thought of as the same thing, and for the rest of this article will be used interchangeably.

Film costs money. It cost money in the old days, as well. When a photographer made shots, he weighed the value of the film and the shot. Every photograph was precious, and had to be made with care. Exposure, color balance, even composition had to be weighed and given some measure of value in relation to the photo. Photography took time, to both master, and in terms of the individual image created. Light meters for measuring exposure, going back to the 1800’s, are available on auction sites all over the internet. Focusing aids, powder flashes, apertures, and even shutters were part of the photographer’s knowledge. In many of the older lenses, the aperture was adjusted using an insert placed in the lens at the time of the photo.

Now that we see how valuable the image was, and the knowledge to make an image, we can see how those early photos, and those that have come down to us through the years, were not the product of guesswork or automation.

For the next few days, try doing an exercise in film. Choose one ISO for your camera, choose one color balance, and only limit yourself to 36 shots per session. Remember, getting your color balance and ISO right will require thought and planning. It will also require learning about your intended shooting situation. If you’re shooting outside, shoot in daylight or around 5200K, and inside shoot at tungsten or around 3200K. If you’re shooting in bright conditions, choose ISO 100, in the dark ISO 800. Finish your 36 shots before changing your settings. Also, don’t look at your images on the camera monitor, or delete any shot. Wait until you get home to see what you have. This will encourage you to value your images, while also helping you improve.


EI 500, f/5.6, 1/60, 56mm
I couldn't resist this shot, the mix of shapes, textures, and tones are intriguing! Shooting manual all day, let me have control of the camera, instead of the camera controlling me. It also allowed me to use my knowledge to get what I wanted.

This little exercise will require you to know your camera settings, it will require the knowledge to get the shot right, and it will allow for a sense of visualization to settle in. Visualizing your image is an incredibly useful tool in photography. This is a great time to undertake this exercise, as our changing weather conditions, and lighting, will challenge even the best without proving impossible with a little effort. As an added bonus, it’ll make every shoot an adventure, and every moment until the photos are loaded like Christmas. It’s a fun way to experience the anticipation of Christmas with a gift in every session! It’ll also make shorter work of getting the best shots, since you’ll be improving with each photo made. You’ll also develop your confidence, which always helps! Remember, a great camera doesn’t make a great photographer, any more than a great kitchen makes a great cook.

Please feel free to share your photos on our Facebook page. Everyone here would love the chance to see your work! Is there anything you’d like to see here? Do you have a question or an idea? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Large

Greetings, volks. Welcome to Hohenfels Volks, THE place for our place! Old Man Winter is settling in for his long stay here in Hohenfels! I hope everyone is settling into their anticipation and excitement for the long nights and brilliant moments ahead.

It’s certainly been some time since my last post! I’ve been quite busy as usual. Branching out into large format photography has filled me with new ideas and visions. I hope to make some of the winter shots I’ve been visualizing and preparing for. Large format gives you a way of relating to the scene and subject that it’s hard to imagine without seeing it. This leads us to today’s basic topic, shooting tethered.

One distinct advantage of the digital age is the ability to hook up to a computer and see our images presented quite large. When we load our photos onto our PCs, it gives a way to see detail an ordinary 4x6 print denies us. It also gives us a tool to learn far more rapidly, by allowing us to honestly assess our images in all their glory, and with all their flaws.

But, as many folks don’t know, it also gives us a way to see those flaws prior to making our shot. It allows us to compose our scenes at a scale which invites a more involved relationship with the image. It allows us to troubleshoot our images prior to recording them, and to resolve any images that may prevent the full realization of our vision.

Previously, this has been the domain of those with large format cameras, like the 8x10 field camera or a 4x5 view camera. The composition was done on a negative sized piece of ground glass, with the image upside down and inverted. This naturally led to a slower pace and more contemplative image creation process. Combined with film costs, equipment costs, and time costs, large format photography was largely practiced by those making money from it. With the proliferation of digital cameras and the advent of sites like E-bay, large format become reasonably priced to anyone with the desire and motivation to learn the ins and outs. The format can be daunting and challenging, sometimes extremely so, but it can also be rewarding.

Now that we have DSLRs capable of producing extremely high quality images, and the capabilities of our computers, we can all practice Large Format.

Now that the background is behind us, the steps and equipment are quite simple. You most likely have the equipment you need, as it probably came with your camera. This would include a USB cable to connect to your computer, and the capture software that allows for control of your camera. If your camera didn’t come with the capture software, your manufacturer may have it at their website. If not, there are commercial options available that run from free to higher priced options. You’ll want a tripod and maybe a platform for your PC if you want to use a laptop from other that your desk. That’s it. Just start the software, and for Canon’s, select Remote Live View.

Once you’re connected, you can control everything. You can focus in the autofocus mode using the software, or in manual mode. Both ways give you a giant magnification and full control of your focus. You can control white balance and display your camera’s metering, which will allow you to control your exposure and place your values below, at, or above, neutral gray. It allows for full functionality of the camera, and can even capture directly to your hard drive. The beauty is in a few Windows hot key shortcuts, you can zoom in the live preview, making your preview as large as your monitor. How’s that for large format? Focus, DOF preview, and exposure controls as if shooting directly form the camera, and viewing from the computer, it can’t be beat. You’ll know if you have a keeper even before making the shot.

This has been around some time, just search for tethered shooting, but the first thing to learn is exposure, white balance, and how to use your camera. Once you know these things, you can move on, in ways I can’t even begin to touch upon here! Using tethered shooting will give you an appreciation for all the detail in the scene and lead to a new found way of looking at the smaller parts of a scene to see the big picture. It also saves the frustration of having to sort through the good and the bad. You’ll find yourself making fewer bad images when you shoot tethered.

It has its drawbacks. Who wants to carry a tripod, computer, and cables everywhere? Who feels like lugging extra stuff to make the picture? There are trade-offs in it, but you’ll find if you’re shooting something for your own vision, or if your doing something where there is time to set up and work that way, tethered may be your new default!

I hope this gives you some new ideas. Getting out there and shooting , tethered or un-tethered, will give you the winning shot this winter, so get started making your images now!

Please feel free to share your photos on our Faceboook page. Everyone here would love the chance to see your work! Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Overlooking

Greetings and welcome to Hohenfels Volks, THE place for our place! After a rather gloomy week, punctuated with brief moments of beautiful clarity, we begin another week here, as bland as things have been recently! Hohenfels is turning toward the bleakness of winter, and as we end our autumn, we begin to notice the beauty hidden within the warm grasp of summer’s embrace.

Today we’re going to talk about how we often overlook things, objects, subjects, and other items that could be of interest to an observant photographer.

Humans, being creatures of habit, routine, and ritual, go through life overlooking things they encounter on a daily basis. We take notice only when something is new or suddenly gone. I’ve done this myself, and wound up losing a few shots. Taking anything for granted leaves us a little less than we could be!

Taking notice though, can make for the opportunity of a photographic lifetime! Everyday, during my drives through our wonderful Hohenfels area, I have driven past an area with some ledges and trees alongside the road. This autumn, some Aspen trees along this way turned the most brilliant yellow and orange-gold. They made the change before the rest of the leaves, and held on for so long! With trucks and buses racing by, bringing with them the icy wind clawing on the leaves, trying to pull them down, they have managed to cling for so long, apparently by sheer force of will! The scene was a bit of a “found object” as Ansel Adams called it, and yet everyday I passed it, seeing but not stopping. Today I took the chance, and standing alongside the road, made a couple shots. The negatives developed up nicely, and have some detail that makes me wonder how I ever passed the scene up. Tomorrow, God willing, I’ll make some digital photos, as the scene is too magnificent to pass up!

We begin to take for granted these scenes, and when they depart, we’re left feeling a loss. Of course, there will be next time, if things hold true. But, the disappointment lasts for some time. When we start to pay attention to the world around us, we start to see shots everywhere, there is no shortage of things to make images of. Take the time to stop and observe what’s changed in your area, make a note if you don’t have your camera, and come back to make the shot. You’ll usually be glad you did, and might even make some great memories in the process.

Well, enough preaching! I hope that everyone will see something new in the old, make the shot, and share it with us on our Hohenfels Volks Faceboook page.

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Plans...

Greetings and welcome to Hohenfels Volks, THE place for our place! Thursday in Hohenfels, that means it’s time to plan some weekend shooting!

Let’s start with a quote from Ansel Adams. He said, "I never know in advance what I will photograph... I go out into the world and hope I will come across something that imperatively interests me. I am addicted to the found object.”

Planning your shots doesn’t always mean going out with the intention of only shooting 1 thing. Planning your shots means going out with a plan and intention, then being fluid enough to take the shot you find. Part of planning your shot definitely is definitely visualizing the final image, but it doesn’t have to be done when you wake up!

Planning some shots for your autumn collection means planning to get some leaves, using the texture, color, and shapes to emphasize certain things. However, you may come across something that would make for a special “only available now” shot, and if you’re too intent on getting your planned shot, you may miss an opportunity.

In my case, it’s not too terribly hard to get distracted with a new shot or angle, even though I’ve planned everything. The light falling onto and emphasizing a certain part of the scene, a break in the clouds, or even something brought in on a breeze can make for some unplanned magic. As long as you’re open to the experience, and visualize your final image, you’ll make something to crow about!

Well, enough preaching! I hope that everyone will feel some pride in their vision and work, and share it with us on our Hohenfels Volks Faceboook page.

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Creative Metering and Exposure

Greetings and welcome to Hohenfels Volks, THE place for our place! I hope everyone is getting a decent start to the week. The Hohenfels area is beautiful this time of year, as many of you know, and full of go-to places for some great shots.

Today we’re going back a little to some basics. We’re primarily going to look at metering and exposure.

We all know the basics by now, that your meter offers a combination to make the measured area fall at 18% reflectance, or neutral gray. Most of us know that by overriding that proffered setting we can take fuller control and get closer to our vision.

I’ve discussed metering and key stops before, but today we’re going to see how it can be used for maximum impact when combined with our vision.

I’ll be referring to the following photo as an example.


ISO 125, f/22, 1/2 on Ilford FP4+
I, Un-Subjugated.When we leave the I, or in this case the red, unsubjugated, a wider variety can thrive.

In the above image, both the highlights and shadows were extremely close in values, and were identical with the light shifting as it was. My initial reading was 15 c/f2 for the shadows and 30 for the highlights. The brighter leaves are red and the darker ones are green. Knowing the values were so close, with the red reading about 2/3 to a whole stop brighter, I chose a red filter to bring up the reds and decrease the greens. A red filter allows about 97% of the red light through, while only allowing about 12.5% of the blue and green. It also gives a factor of 8x or 3 stops. Throwing in the aperture decrease, I was shooting with 5 stops less available light for the greens and shadows. By adding 4 stops to their initial reading of 30c/f2, their levels were increased and the red was 2 stops over neutral. In yesterday’s shot, the same leaves and exposures were made, only using a green filter, bringing all the levels more in line with their illuminations.

This is the same shot, and levels as the image I posted yesterday. This will allow you to see how using the tools and techniques at our disposal, we can lead our image and our viewer to the desired result.

When we meter at our key stop, both for highlights and shadows, what we’re learning is the illumination of the subject. The reciprocal of our shutter speed is the amount of illumination, expressed in candles per square foot. By metering off the shadows, mid-tones, and highlights, we have a range of illuminations with which we can work. Those readings will always be the same at any key combination. For instance ISO 100 and f/10 or ISO 400 and f/20. So, we meter 100 foot candles at ISO 400, f/22. At ISO 250, we would set f/16 to get the same results. Now to place that value at somewhat higher value, for instance, we could set our shutter speed to 1/50 instead of 1/100 at f/16 ISO 250, and get a result that is lighter than neutral, by about 1 stop.

Throw in the ability to see our desired results and the steps to get them; an image can be made, not captured. We have several tools to modify the exposure we’ve selected without destroying the original image. With digital photography, shooting RAW gives you complete control. By raising your red tones, and lowering your greens and blues, a red filter can be somewhat approximated, and so on.

By combining exposure, processing, and value controls throughout the photo making session, we can bring our creative expressions to life. The first step to learn is metering and how to use that information. This little tool can be used for a record photo that leaves little to interpretation, and one for the magic of creative photography, as well. You can give voice to your thoughts without uttering a word. Using what you know, and the tools available to you, vision can be brought to life, and given a meaning according to your creativity and visualization.

I hope everyone enjoys the rest of the week and makes an image using their knowledge, tools, and vision to share with all of us! Get out and make it happen, then show us, share what you felt through your images on our Hohenfels Volks Faceboook page.

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Update!

Greetings and welcome to Hohenfels Volks, THE place for our place! Well, after an incredibly busy October, it looks like things are settling down enough in Hohenfels to say, “I’m back.”

Firstly, I’d like to thank everyone for continuing to check us out!

I’ve been shooting large format 4x5 film almost exclusively as of late, as well as developing and printing the results. That’s made for some interesting photos and even more interesting discoveries.

Our weather here is typical of Hohenfels, rainy and cloudy. Let’s not forget cold, too! There are still enough leaves and signs of autumn to make for some great photos, so it’s time to get out there and make our visions spring to life. Let’s not forget the Christmas markets that begin at the end of the month, either. Just a trip to the market and you’re presented with more photo possibilities that you can imagine. I’m planning up a couple shots for some friends as I write this. Now’s the time to plan yours, the joyous sights, sounds, and smells will fill your thoughts and if you don’t have at least one planned shot, you’ll be overwhelmed.

Well, I’m going to leave you with this large format photo. It was taken on Ilford’s FP4+ film, developed in Tetenal’s Ultrafin + 1+9, contact printed on Ilford’s MGIV paper, and finally developed in Tetenal’s Eukobrom 1+18 before scanning it as you see it. I adjusted the levels for contrast and mood.



EI 125, f/22, 1/2. 4x5 film using a Calumet CC-401 view camera and Rodenstock Caltar II-e 210mm lens.
I, subjugated. This was shot with a green filter to bring the red leaves in line with the green leaves. By diminishing the levels of the red to match the green, we see everything based on contrast and sharpness, and these guide our eyes through the scene. The crop allows the whole negative to be viewed, although an enlargement would be cropped appropriately.

Here’s hoping you enjoy the rest of your week and capture the shots you’ve been wanting. Get out and make it happen, then show us, share what you felt through your images on our Hohenfels Volks Faceboook page.I'm looking forward to your comments!

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Announcement

Greetings and welcome to Hohenfels Volks, THE place for our place! Tuesday evening finds Hohenfels in the grip of a storm, complete with lightning and thunder!

Today’s post is a short contest announcement. Hohenfels Volks is going to have a photo contest. The prizes are all small, with the winners getting a gift certificate to Photohaus Zacharias. I’ll need to work out some details prior to starting, though.

The winners will be selected based on:
1- Technical Execution- Is the exposure correct is the image sharp, etc.
2- Creativity- How creative is your shot.
3- Theme- Sticking to the posted theme.
4- Impact- Can the viewer connect with the image in some way? What message does it seem to convey?

I’ll post the starting and ending dates Thursday, as well as the theme. A couple notes- first, this is not a photo editing contest. Get it as close to right in the camera, and your job is more than half done! Second-you’ll have to come see me to pick up your prizes. Third- your image is your image, you keep the copyrights, although we’ll feature it here. So start thinking about your shots, planning your tools, and visualizing the image you want to make. This is a great time to practice photography, for all of us!


ISO 400, f/3.5, 1/30
An old airplane engine manufactured by BMW, here in Germany. The shapes and lines lead you through the image as you wonder what it is. Sharpness and light work together to creative an interesting draw.

Here’s hoping you enjoy the rest of your week and capture the shots you’ve been wanting. Get out and make it happen, then show us, share what you felt through your images on our Hohenfels Volks Faceboook page.

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Now Departing

Greetings and welcome to Hohenfels Volks, THE place for our place! I hope everyone enjoyed a great weekend and is ready for another one! Here in our Hohenfels area, autumn is rapidly approaching. Soon the trees will be awash in reds, golds, and greens, which creates some great opportunities for photos!

Today we’re going to discuss departing from the literal. As you know, most creative images involve some departure from literal translations of the scene. Often, when shooting black and white, we use filters. In color digital photography, we use CPs and editing software.

To begin our discussion, it’s important to point out a simple fact. That fact is that in order to make any meaningful transition from literal values to a creative placement, you need to know the more technical side of photography. Today’s general discussion assumes you already understand exposure and DOF, as well as the other more technical sides of a good image. On the artistic side of creative departures, we need to understand the relationship between place and fall. This has been discussed before, as has the creative use of DOF to enhance or minimize an area’s impact on the scene.


ISO 125, f/4, 1/160
By bringing the reds more into play and simulating a red filter, the departure creates something that stands on its own. It also left the tree at a level that exceeded the values of reality, creating a nice chunk of texture.

When we place an area of a scene at a certain value, it needn’t be the literal value. You’re meter will give you the value for 18% gray, but not all things are neutral gray. For instance, clouds should be near white or about 3 stops over the meter. By placing the clouds at 3 stops over meter, or M+3, we have placed them at about their literal values. Everything else in the scene will fall to its prospective values and levels, giving us a literal interpretation.

In this hypothetical situation, we may want some part of the scene to be exposed to a higher value. This can be done, as mentioned, with filters or software. For instance, if we desire the bright green leaves of spring to stand out more, we may expose them to M or even higher. Another way is to use a yellow filter in soft light, if you’re shooting black and white. This can be simulated in software applications through the adjustment of color channels.

A big part of this, as always, is your vision. Visualizing your results, and the steps to make them real, will make your creativity stand out more. It also enables you to make creative departures and still end up with an image that says what you’d like it to. Not every image needs to be literal, many of Ansel Adams and Clyde Butcher’s images are not literal, but they connect to almost everyone who views them. They are often viewed as more realistic than the reality of the scene.

This goes back to creativity, visualization, and knowing your tools. Read the manual for every piece of equipment you own, and the software, too. It’ll prepare you to make the best images possible when you make your vision tangible.

Here’s hoping you enjoy the rest of your week and capture the shots you’ve been wanting. Get out and make it happen, then show us, share what you felt through your images on our Hohenfels Volks Faceboook page.

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Find the Light

Greetings and welcome to Hohenfels Volks, THE place for our place! Rainy nights mean clouds and fog coming for some great photos in our Hohenfels area.

Today, a quick post on seeing the light. Nothing long or elaborate, here.

Light glorifies everything. It transforms and ennobles the most commonplace and ordinary subjects. The object is nothing; light is everything - Leonard Misone

An interesting thought. Photography means writing or drawing with light. Often we forget to look at the qualities of the light that surrounds us. That light can make or break an image.

Lighting changes throughout the day, even during weather changes. A nice rich golden or reddish light can make an image pop, but only if you know what to look for in the light. The same can be said for blue light during the blue hour.

Black and white photographers used to use filters for creative effect and control of values based on light color. A red filter on a reddish subject or light, or blue to intensify atmospheric conditions of the light can make magic images that sing.

Scott Kelby’s says that if you find great light, finding something to shoot in it is far easier. Look for the light, and then worry about your subject. Another tool in your creative arsenal.


ISO 200, f/8, 1/320
This was shot in bright daylight, which allowed for a faster shutter speed. It also allowed for an improved contrast. The image succeeds because of the lighting.

Don’t forget to share the results of your camera work with us on our Hohenfels Volks Faceboook page.

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Exposing To the Right

Greetings and welcome to Hohenfels Volks, THE place for our place! Beautiful weather and some great photo ops made for a wonderful day here in Hohenfels.

Today, we’re doing just a short post on the concept of ETTR, or expose to the right. This seems to be popular with most digital photographers today, so we’re going to discuss it here. Before we begin though, let me make it clear that I’m not taking sides. My opinion, while favoring other methods, is of no consequence. If ETTR works for you, and you’re happy with your photos, keep shooting that way! Our goal here is to enjoy photography and make images we like. If you haven't tried it out, I suggest you do so. Becoming familiar with various techniques and tools allows you to increase your abilities, and improve your images by allowing you to discover what works for you and what doesn't.

Basically, ETTR says you should always expose your image so that all your information in the histogram is as far right as it can go without blowing the highlights. The stated reason for this is that half the bits are in the highlights, and as we progress down the range of exposure for your sensor, each lower level only has half the remaining depth. By using this technique, you keep more information and detail in the maximum part of the range. It also keeps noise from the shadows, or at least partly mitigates it.

It sounds simple enough; deliberately overexpose the large part of your scene to maximize your available information. On the surface, this seems to make sense. Especially when you’re told it also reduces noise, and helps eliminate posterization. Posterization is the abrupt banding you get in the transition between smooth levels in an image. If you do it with an eye toward balancing the elements of your exposure, it can be quite useful. Just remember to allow for reducing exposure in your RAW conversion.

But, we need to mention the major pitfalls associated with ETTR. It only works with RAW format images. ETTR was conceptualized when sensors had lower ranges and bit depths than we do today. JPEGs can’t have their exposure changed after being fixed into this format. Based on my own experience, ETTR leads to washed out images, with blown highlights. It also doesn’t allow for crafting your image, or for artistic images. Even worse, it prevents creativity from flowing during the capture process. When you are shooting bright scenes or those that contain wide ranges of values, ETTR will usually blow your highlights, and even some of midtones.

Certainly, detail in shadows is very important. However, we often forget that true and near blacks add depth and mood to an image. They also provide places wherein we differentiate areas and ideas within a scene. When we create an expressive image, part of the process is determining value placement. There is the possibility that your chosen placements will result in an image that is not exposed to the right, but entirely below the midline on your histogram. Of course, high key images often need to be exposed right of center in their entirety.

Most beginners allow the camera to do everything. Further along, they begin memorizing little statements like always expose to the right. They follow it religiously. After some time, they may progress to a type of crafter. They use their tools exactly as they say, for instance always using a gray card and any placements go out the window.

Always following one way or another without question or investigation leads to stagnation. All the techniques have a valuable place in our tool kit. For instance, shooting my daughter at play means getting the exposure right for her, and getting a fast enough shutter speed. By placing her at M+1 for the majority of the light she's playing in, I get a better image. A long exposure landscape means taking the time to meter the elements and determine where my placements will best match my vision. When you begin to make your expressive photograph, determining which way you wish to meter or expose your scene, and what tools to use, is part of the creative process and should not be overlooked. Just know the limitations of each method before committing to one.

Don’t forget to share the results of your camera work with us on our Hohenfels Volks Faceboook page.

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!