Don't you just hate it when you step outside to catch a breath of fresh summer air and you see photos that have to be taken? It happened to me the other day. So back inside I went, grabbed the camera and the tripod and spent an hour photographing the incredible crop of Queen Anne's Lace that has taken over my yard this year. I think it's just a wildflower, but no idea where it came from. I have probably 100 plants in my yard. My favorite method of photographing flowers like this: strong backlighting and a black background. I darkened the background in editing a bit. I shot these with a 70-300mm Nikkor with an extension tube, but I'd kill to have my old 200mm Micro Nikkor back. A prime lens is a bit slower to work with because you have to adjust your distance instead of the lens' zoom, but the sharpness and clarity of a prime lens are generally far superior. The lesson here: don't go outside unless you want to take some pictures--they're everywhere! Please visit my main site. There's a gallery of close-up flower photos there, too.
“Effective immediately, Delta will officially ban shipment of all lion, leopard, elephant, rhinoceros and buffalo trophies worldwide as freight,” according to a statement by Morgan Durrant, a Delta spokesman. “Prior to this ban, Delta’s strict acceptance policy called for absolute compliance with all government regulations regarding protected species. Delta will also review acceptance policies of other hunting trophies with appropriate government agencies and other organizations supporting legal shipments.”
Way to go Delta.
(Photo from Google Image Search, photographer not credited. Please correct if you know the photographer.)
It's been a long, long time since I did any "real" black and white photography and I kind of miss all those years when I worked with black and white film. For probably 10 years black and white was my primary means of expression. I had a darkroom in my basement since I was in my teens (my father, a photographer, taught me how to develop film when I was about 10 years old) and later I worked for several newspapers and so shot dozens of rolls of film a week at times. I probably spent more time in the darkroom than out of it. And I loved it. Just me, the radio, cigarettes (in those days, no more), coffee and my darkroom. It was the best.
Today the only black and white work I do is converting digital images to black and white in Photoshop (did you know that all digital cameras capture their images as black and white data?). The process is very easy, you just select that option from the layers-palette menu and then you can adjust the tonality based on the original colors in the scene (choosing to lighten or darken reds or yellows or blues, for example). You can convert an image with just a few keystrokes and it's a lot of fun.
I shot this image of an old building not far from my house. It was once a famous costume museum on the grounds of the American Shakespeare Theatre believe it or not. (Thus the title of this posting.) I really like the color version a lot, but I think the black and white variation is interesting, as well.
Which do you prefer? Please don't forget to stop by my main site jeffwignall.com
I got in a slow line at the McDonald's drive through thru this week and fortunately had my camera next to me in the front seat. I'd noticed some interesting shapes in the back of this building on past visits and so I was happy to get in a slow line. The late-afternoon lighting was great and the saturation of the colors and the combinations of highlights and shadows and the very bold and graphic shapes were just great fun to explore. I shot about 20 frames in about four or five minutes. I had such a good time shooting that I know I'll have to go back. The food is pretty awful (the tea is great, oddly enough), but it's a visually exciting and colorful place to shoot--maybe they can attract more business by inviting photographers to shoot their buildings, lol. I shot all of these images with a Nikkor 18-70mm zoom lens; most of them were shot at a pretty wide-angle setting. I shoot in RAW 100-percent of the time, but did virtually no adjusting on these shots in post--what you see here are the frames exactly as shot. I didn't even crop them (I rarely crop). Also, I drive a van, so I'm up higher than you would be in a normal car, I think that helped a bit. You never know where you're going to find good photo opps, so keep your camera or your cellphone camera handy. Once the line started to move I had to stop shooting and I was pretty disappointed. Who knew I'd be hoping for a slow drive-up lane from now on?
Just a foggy day on the Housatonic River in Connecticut. I shifted the color balance for each using the white balance setting during the RAW conversion process--one of the reasons that I always shoot in RAW. One of the nice things about the start of spring is that there always seem to be a few interesting days of dense fog.
I'm pleased to announce that my interview with the wonderful photographer and filmmaker Michael Grecco has gone live on the Motion Arts Pro Daily site to mark the release of his new Panasonic-sponsored film "Forever Young" (there is a link to it from the interview). I'm sure that you have all seen Michael's iconic celebrity still portraits and it's nice to see this ambitious new short film from him. It was a lot of fun to delve Michael's very creative mind and to study his work so closely--and it was a great pleasure to interview him. (Photos: Steven Martin photo by Michael Grecco and shot below of Michael at work on the set of "Forever Young." Both: Copyright 2015 Michael Grecco.)
Not the sharpest photo I've ever taken, but I decided to haul out a lens I haven't used in a long time: a Sigma 400mm f/5.6 APO. I shot this photo of a coot on the Housatonic River in Connecticut using that lens with a 1.4x tele-converter (also Sigma). Coots are a real challenge to shoot because they just never stop moving, they are like perpetual motion machines when they're in the water--and they are small and fast. I was close enough to the riverbank that I found shooting from my van with the lens resting on a rolled up sweater in the window frame was the simplest solution. I shoot on a tripod about 95% of the time, but sometimes you have to improvise and being up high in my van gave me a good vantage point. I had to sharpen this quite a bit in Photoshop and it's still not blazingly sharp. I think the slight softness is due to the motion of the bird and the extreme focal length (with the 1.4x) more than the quality of the glass: on a dx Nikon body the 400mm is 600mm effectively and with the added 1.4x tele-converter, it's a whopping 840mm. It's a been a great winter/early spring for birding in Connecticut.