I am a voyeur. A peeping tom.
I see in the dark and I reign in the light.
I view the things that are, and imagine those that cannot be.
I look and I truly see.

I wear the hats of many.
I am a climber, a diver, a driver, a miner.
A mother, a father, a son, and a daughter.
An artist.

I sail the seven seas.
I walk across deserts and brave the arctic breeze.
I march through jungles. I trek airy peaks.
Just to try and look and see.

I contort, I wedge, I bend, I pose.
I crawl through sand, dirt, fire, the snows.
I shoot the mountains large, the smallest of rose.
I frequent the places where no one else will go.

Famine, fires, floods, wars, earthquakes.
Their prints sit beside those of pristine lakes.
The lens unflinching at the horror, the horror.
It is only there to look and see.

I chronicle our time, the history of earth and man.
I record my life in portions of seconds.
Till that final shutter closes.
My images will remain when I am gone.
Reminding others that I was here.
That I was unafraid to look and see.
I was a photographer.

As most people know by now, Apple announced the iPad on Jan. 27th to much applaud and fanfare. Going so far as to call it evolutionary and “magical.” However, after the announcement there were many naysayers who were expecting a tablet style laptop, not a Supersized iPod Touch. Or the more humorous “4 iPhones Taped Together 1.0″ … at least on 4 iPhones Taped Together 1.0 I could multitask.

Personally, Im on the fence. I can see some potential, but I think it will be many months before we see really significant movement of iPads and iPad targeted apps. With that being said, lets take a look at this device from the photography side of things.

#1 Use of the iPad for Photogs: Sleek On-Site Portfolio

There you have it people, all laid bare, one sentence, no going on and on about potential. 500.00+ base price, PLUS a possible 130.00/year for 3G access … for a photo album. You see, potential is important, but potential energy hasn’t manifested itself yet. Unless you convert it to something useful, it just sits there. Besides, 500 bucks will buy a nice prime lens.

Yes, Im aware of the add on that *might* allow you to offload images from your camera or SD card … the latter throws the Pros out right off the bat. And even if they did support CF, a 64GB device isn’t nearly enough space. If I can only view images, again, there are much better products to fill that gap. For instance, Epson’s line of portable backup/image viewer drives. Look and backup at the same time, for less money than the iPad.

For other uses, such as web, email, and audio/video … there are cheaper and more robust alternatives to the iPad. One of those choices is the newly released Asus Tablet netbook. Some might scoff at the idea of a netbook, but a tablet netbook offers all the functions of the iPad along with the ability to shoot tethered in the field, offload new images, and isn’t restricted to draconian DRM rules.

In short, Im officially recommending that photographers abstain from buying the iPad for at least the foreseeable future, at least for professional uses beyond a portable portfolio. With that being said, I have a good feeling, given the past, that Apple will rapidly make strides to enhance the iPad to a level where photogs might be able to get enough use from it to justify the price tag. But until then … enjoy that new prime lens.

shooting blind

By walter e. howington

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Description: One photographer’s 4 month attempt at seeing his art in a new light …. total darkness.
More portfolio than memoir, Shooting Blind is the visual record of a project aimed at combining the random beauty of blind photography with the limitless creative avenues offered by modern image editing suites. Having shot more than 2500 images this book highlights more than 50 of the best pieces from that work.

One of the best places you can go for photographic equipment is your local hardware store. Bungie cords, tarps, and various other items that can be transformed into valuable photography equipment. For today’s post you’ll need to steer your shopping cart to the paint department. All a professional background is is a large piece of cloth with some type design painted/dyed on it, or it may be a solid color. However, many photographers, at least those that go for a more timeless look, will use a simple canvas background. Canvas provides a neutral color background that help the subject pop, but it also provides a texture even when working with a relatively shallow depth of field.

If you go to a fabric store ultra-wide canvas can be quite expensive, running 100.00 for a 9′x7′ seamless piece. For some pros this seamless quality is worth the extra money, but with the advances of digital post-processing a little fabric seam can be removed in seconds. With this in mind, enter the aforementioned paint department and look for the canvas painter’s drop cloth. These run in two larger sizes, the most commons ones being 10′ x 12′ and 8′ x 9′, with the larger being priced between 24.99 and 29.00 depending on your area. The smaller on is usually priced from 17.99 to 19.99. It’s an excellent deal when compared to the 100.00 of the fabric store canvas.

However, quoting countless TV infomercials, “But, wait, there’s more!” A large canvas is just like any other fabric, meaning it can be painted or dyed, just like those other multi-hundred dollar backdrops. If you happen to be handy with some spraypaint, or even regular paints you can create a wholly unique background that only your studio has. You can also custom tailor the background for your subject, and even charge a premium for the service.

Below is an example using a plain canvas backdrop that I bought in a local hardware store for 18.99 plus tax. As you can see with some simple retouches you can get an alternate color to the neutral tone that is inherent to common cotton canvas. You can look at the other images in my gallery and my flickr page for other examples of this look. I tend to use this plain background because it is a timeless look, with no tacky background graphics to date the picture. You can also see the subtle texture that the un-ironed canvas gives to the image which adds elements of depth.

The most basic rule of composition that you will read about is the rule of thirds. This is basically done by dividing the frame into 6 compartments using 2 lines. The rule of thirds states that the images “heavy” points should rest along these lines instead of in the center like most people who are used to simple snapshots. While there are situations when a centered subject is more pleasing, though even in these images it is best to create “lines of tension” along the criss-crossed lines. As you can see from the example’s main subject, the red sumac, falls on the line to the left of center.

Aesthetically speaking, this creates tension between the various parts of the image, it draws the eye in a type of circular pattern. The eye is naturally drawn to the bright red, up the plant, then into the negative space on the right hand side. There is also an out-of-focus item that lays along the right line as well, but it is muted by comparison so it doesn’t detract from the image as a whole. By shooting the image this way, the viewer is sure to see the whole picture, and not just a small portion of it.

You might thinking about portraits since the normal portrait requires one to center the subject, at least marginally. But within the confines of a “head shot” portrait the most important part to be in focus is the eyes. In the typical portrait the eyes will lie on the upper horizontal line, so the rule of thirds is followed.

I know I promised a longer post, but after i started typing I realized that it is less deep of a topic as I previously thought. Its actually pretty straight forward and easy to implement, even for the average user. So keep the rule of thirds in mind when you’re out shooting pictures and you’ll be sure to have a more professional look to your images.

Have a great day!

At first look, the book is very well made and put together. The basic print paper is a good weight and took the ink well. The color images were dead on. The glossy cover looks good and the paperback cover is stout. The binding is tight giving the book a good strong spine.

The cons was I found my RGB B/W images had a light green cast to it, but Im sure that is an issue of Lightroom/Photoshop/Me than it is Blurb. Shippping was a tad bit high in my opinion, but if you look you can usually find free shipping coupons on the web. Another Con is their Booksmart software. I found it usable yet dismal at the same time. If you’re very creative I highly recommend downloading some templates from The Art of Engineering blog. She has released them in both TIFF and InDesign file formats. These templates allow for custom layouts so you don’t have to use Blurb’s preset layout defaults. I used these templates for [ In Situ ] and loved them. Very well done.

While I may chose to publish a traditional book via a normal publisher at some time in the future, I find the positive aspects of self-publishing via Blurb too good to pass up.

The first thing I tell people is about the fact they are buying a system, not a camera. In fact, I just said that, but let me explain a little further. When you go out to buy a DSLR it is kind of like buying a car, you don’t jut pick a brand and pick the first one in your price range. You test drive it, you find the one that you feel good driving, the one which handles the best for the type of driving you plan on doing, and you look at how much it will cost you in the future. You should do the same thing when choosing a camera. Go out to a camera store and see about renting the camera you are considering purchasing. You might end up spending a $100.00, but as they say you don’t want to be penny wise and dollar foolish. By going this route you get a good feel for the camera in your hands, and its operation. You may even find that a camera you hadn’t even considered turns out to be the best choice for you.

Next, you should look at the types of lenses available for the brand you ultimately chose PRIOR to purchase. What many first-time buyer don’t understand is that the camera body you buy is disposable. In 2 years, maybe less if you’re like me, you’ll be on the hunt for a new camera body. However, you’ll still use your collection of lenses. The other thing most beginner don’t realize is that lenses can be expensive, and by expensive, I mean EXPENSIVE. Some lenses can cost as much as 2x any of a line’s camera bodies. Hence why I say lenses are your primary investment when choosing a brand. Be sure to see which brand of DSLR have good quality lenses for what types of photographer, and be prepared to pay god money for them. They will last you a long time.

Third, and I can’t stress this enough, forget Megapixels. Unless you plan on blowing up images beyond 20″ x 30″ 6MP is more than sufficient for the average print. Invest in glass (aka lenses) over megapixels. I could wax long on sensor types, brands, and sizes; but, that would really miss the mark on what I want to get across here. So, let me sum it up in a nice neat package. If you buy a non-Professional level camera you’ll be buying an APS (or close) sized sensor. For professional grade cameras they will have a 35mm sensor, or what is known as a Full Frame sensor. Just like film, larger sensor areas leads to sharper pictures, more contrast, and a larger image size.

In short, test drive the camera you are planning on getting to really make sure it is what you want. Ensure the brand you choose has suitable, quality, lenses for the type of photographs you plan on taking, and don’t let any salesmen try to get you to buy a camera based on more megapixels.

As for Nikon verses Olympus verses Pentax versus etc. I generally like to keep it in the realm of Nikon and Canon and Nikon.

Now, I am going to give my personal opinion on this matter. I shoot Nikon because they fit my hands well, and I feel like it is a better made camera. Perhaps this is just a bias remark, but it is how I feel nonetheless. The build quality also extends into the higher end Pro level cameras were, personally, I think Nikon’s offerings are leaps and bounds beyond Nikon to be better suited to the photography I choose to do.

I did a lot of research when I first decided to purchase a DSLR. I also took the time to visit several retail stores to feel the cameras in my hands, and to get a real feel which one was best for me. This is honestly the best suggestion I can pass on to those who are looking to entry into the exciting world of Digital SLR Photography.

A few weeks ago I picked up her newest book, At Work, and I must say it is both exactly what I expected it to be as well as far away from it at the same time. All in all however, it is an excellent read. Let’s start by judging the book by the cover …

At first look the book is packaged in a very nice way and the design is exactly what I want from the cover of a Photography book. Let me sum up what I like in 4 simple words … Eye-catching, simple, simple, an simple. I absolutely HATE over-designed, self-righteous, pretentious, book covers that do nothing but create an eyesore on my bookshelf. Annie’s book is classically designed, simple large serif font in black, on a tactile taupe canvas jacket covering. The book feels solid, heavy even, everything a book should be to catch my eye. But for those who don’t get butterflies in their stomach for good design this book is a little treasure, the kind that one stumbles over and never really understands the value of it until they spend ample time with it.

Moving along to the actual information in this book, first off let me tell you this isn’t some sort of directional manual. The entire book is more of a autobiographical memoir that moves in a non-fluid manor. Annie has picked out the high points of her life and expounded on each of them. Add in amongst the various remembrances she has inserted some simply amazing pictures that gives us a peek into the lives of those she has had the honor of capturing on film. Well know stars like Mick Jagger, Keith Richards, Ella Fitzgerald and Arnold Schwarzenegger. Legendary authors of our time such as Hunter S. Thompson and Robert Penn Warren. As well as various Presidents and political figures. While amazing, the book sometimes gets a “look at all the famous people I’ve taken pictures of” feel to it, but Annie’s words help to put this feeling to rest.

Near the end we finally get some good “insider” information when Annie discusses gear, both new and old. She then responds to 10 commonly asked questions. For me, these last two chapters were the most enjoyable to read after the sections on photographing John Lennon and Yoko Ono. I think her points on gear might surprise some of those who are new to the field.

Even though it is obvious that Annie worked hard to get where she is, throughout the book I feel that she feels overwhelmingly lucky to have been in the right place, at the right time, to get to apply her love of Photography in the way she has for so many years. She understands that so many of us hope for just such a time and place. I think each of us can be honest that we too would write this type of book if we had lead the life of this institution of American Photography.

In short, love her or hate her, this artist’s life is one to revel in. When one of us makes it big, in some small way, we all make it big. This is no less true for the amazing Annie Leibovitz. With this in mind, I highly recommend this book and suggest it as a great rainy day inspiration piece. [end]

As a side note, no one has paid me for this review. I purchased the book with my own funds and of my own volition. I have added a few links to where you can pick up this awesome read below.

Amazon.com, Barnes & Noble, or Half.com

Just like with film, the amount of grain/noise is dependent upon the ISO of the camera. In analog (aka film cameras) this was/is determined by the actual film’s ISO, and in digital it is determined by an ISO setting which varies the sensitivity of the sensor. Since most of you are going to be using a digital SLR or point and shoot (P&S) cameras, I am going to focus mainly on the digital realm. Let’s start with the basics of ISO and photography. In a nutshell, the higher the ISO speed the more sensitive to light the sensor becomes. What this does is allows the photographer to shoot at faster shutter speeds in low light, which is excellent for night shots or indoor shots where light is scarce. However, this ability comes at a cost and that cost is more noise/grain in the final image.

Below is an example shot. The image was taken with a Nikon D80 through the kit 18-135mm f/3.5-5.6 lens. The left half is set at ISO 200, the right is roughly the equivalent of ISO 1600. I will admit, in this instance, I have faked it in Photoshop, hope you’re OK with that since it’s easier and still gets my point across. As you can see the left is very clear even though the light is very low inside the church. On the other side, there is a very clear grain to the image. As you can see this detracts from the image quite a bit. The sharper half was about a 1/30th second exposure and I hand held it. Obviously, 1/30th second is pushing the lowest speed one can use to get sharp images with hand-held shots, however had I upped the ISO I could have shot at about 1/160th second, which is very acceptable for handheld shots. The downside of this is the horribly grainy image you see on the right side.

You may be asking yourself what you can do about ISO to ensure you get the best quality images every-time you press the shutter release. Well, since higher ISO is bad, you simply need to make sure you keep the ISO is as low as possible. This means moving your camera from the very Safe “Auto” mode. I know, I know, you’re hands are shaking thinking about it, but trust me when I say that with a little practice you can take much better images when you abandon the Auto. most ever other mode on modern cameras will give you access to ISO control. (ie. Aperture Priority, Shutter Priority, or Manual (Av, Tv, and M on the selection dial))

With the sheer number of cameras that are out there I can’t go through all of them explaining how to use yourself, so I suggest a read through your manual. You know … that little book that you tossed in a drawer without looking in it? For those without a manual, you could probably find a PDF of the manual online at your camera’s manufacturer’s website. But, for you DIYer people, here is a basic run down. On a P&S camera there should be an ISO setting under the Menu option. On the DSLRs there is often a “min. ISO” option, you should set this to the lowest available option (usually 50, 100, or 200). This lower ISO will ensure you get as sharp an image as possible, but this usually means a longer exposure time. This of course goes back to Rule #1 about tripods. If you follow that rule, this one will be cake.

OK then, tinker around with your cameras, get those ISOs down and start getting better shots. See ya next post!

Infrared photography is an excellent option for getting intriguing shots in the middle of the day. Infrared light is defined as a band of frequencies of the Electromagnetic Spectrum that is invisible to the human eyes. Cameras, however, are highly sensitive to IR light. So much in fact that camera manufacturers go to great lengths to create sensor filters that block this light. But, like most devices, there is no real 100% solution, and therefore some IR light is able to pass through the filter. All you need to try this out is an IR filter for your lens. The filter blocks all visible light from passing through to the camera sensor, so yes, it IS supposed to be completely black. Laugh if you like, but I have actually been asked if a IR filter was “defective” because it is opaque.

IR photos generally require longer than normal exposures, amount of time is dependent on the camera and the amount of IR available. At this point it is strictly trial and error to get the right image. Be advised that the picture will come out of the camera very red, this is just the nature of how the camera reads the light. Cameras can read IR light, but obviously LCDs cannot display it, and even if they could you wouldn’t be able to see it. Therefore the camera CPU pushes the image back into the visible spectrum, and since Red is the first frequency in the visible spectrum, the image comes out red. Don’t worry though, this will be fixed in Photoshop.

Traditionally speaking IR Photos are Black and White, which makes post processing very easy if this is the look you’re going for. If you want the “false color” effect, bring up the Channel Mixer in Photoshop and invert the Blue and Red channels. Then with some slight tweaking you can produce an amazing set of outcomes that is bound only by your imagination. Get Creative! Below is one of my personal IR shots. The IR look can make otherwise mundane shots into something spectacular.

Other options include going inside to get images that shows the mid-day light spilling into the interior in interesting way. Another, is to shoot in the shadows, this too can show some interesting play between light and shadow. So what if there is no light at all? While most people put the camera away, or fire up some harsh on camera flashes, were going to try our hand at time lapse photography. Time lapse is a method where light is minimal, and works best after dark or in a dark room. It requires very long exposure times, sometimes in excess of 1 minute.

Your camera will need to have a “Bulb” mode (be aware that many times DSLRs require some sort of remote trigger to activate the bulb mode) which allows you to open the camera’s shutter for as long as you require. Long exposures allow you to pick up very faint light, or to capture light in novel ways. One such way is “light drawing,” below is an example of a light scribble made with a Nikon D40 and a LED mounted on a finger.

So, there you have it, a great tip and two new ideas on how to push the boundaries of your photography outside the basics. Stay tuned for more information and new tips!