Panoramas and More

Posted on May 29, 2013 by rbulson

Life is full of hurdles. Perhaps no more daunting are those that we impose on ourselves. Whether you pursue photography professionally or as a hobby, maintaining that creative spark is difficult. Usually we fall back on our tried-and-true approaches to photographing which can stifle our passion and lead to stale images. What prevents us from exploring the many new techniques that digital photography offers? Mostly it is fear: fear that we won’t understand something; or fear that we won’t be good at it. Yet, when we do find the courage to break out of our confining boxes, we look back at the experience thinking that it was not as hard as we originally thought and question why we did not venture out sooner. Well, cast aside your self-doubts as you find out how easy it is to produce high quality panoramas from your digital camera. There is nothing to lose and everything to gain.

Advantages

What is a panorama, how is it created, and what are its advantages? Essentially a panorama is an elongated, unobstructed view of a landscape that can emulate or exceed the field of view of the human eye (about 160 degrees). This can be a vertical image, although most panoramas are laid out in the horizontal, or landscape, mode. In technical terms, it is creating an image that has a higher aspect ratio (i.e., width-to-height) than your camera sensor. Generally, to reproduce the field of view of a human eye requires an aspect ratio of 2:1 or greater. For a full-framed DSLR, or for those people shooting 35 mm film, this means exceeding a 3:2 aspect ratio. For example, 4:2, 5:2, 6:2, and so on, all capture a wider field of view than a single frame and would be considered panoramic. If you are shooting with a point-and-shoot camera that has an aspect ratio of 4:3, then 6:3, 7:3, 8:3, etc., are panoramic relative to the single frame.

In the days of film cameras (isn’t that beginning to sound quaint?), creating panoramas required a special camera and lens to record an image on film, like a Linhoff, Horseman, Noblex, or Fuji. Lacking that, photographers would cut and paste together several single-frame prints to create a panorama. Consequently, it was only as good as the skills you learned in kindergarten. As you would expect, today the process of cutting and pasting several images is done using software and is called photo stitching. Two techniques are used. The first is by stitching together a single row (or column) of images, called single-row (or single-column). The second is by shooting/stitching multiple-row horizontal images (or multiple-column vertical images), called omni-directional. As you can imagine, the omni-directional technique is more complicated and time consuming, and for this article we will restrict the discussion to single-row horizontals.

Photo stitching can be done on aspect ratios other than panoramic, but regardless of the number of photos used – single- or multi-row layout, or the aspect ratio of the final image – they all share one thing in common. That is, they significantly increase the amount of information that is captured of the scene. In other words, they effectively increase the resolution of your camera, something most of us desire without the investment of a new camera. Let’s look at a simple example. Assume we are using a full-frame DSLR. To create a single-row panorama the camera is rotated to the vertical, or portrait, position. Now the aspect ratio is 2:3. If three images are stitched together without any loss of pixels, then the final image has an aspect ratio of 2:1 (3 x 2:3 = 6:3 = 2:1) and, in theory, there are three times the pixels. In practice, however, some pixels are discarded and you end up with something less, depending on the overlap. For the sake of argument, let’s say we end up with twice the pixel count. Then, for a DSLR with a 21 MPix sensor, that means capturing an image with about 40 MPix, or the equivalent of a $20,500 Hasselblad H5D-40 (40-MPix) medium format camera!

If you think that this is just an academic exercise, then the “proof is in the pudding,” and for photographers our pudding is the print. When I saw my first inkjet panoramic print created from the aforementioned 21 MPix DSLR, the same “Wow” factor was there as when I saw my first print from a medium format film camera and compared it to a 35 mm film camera print. Others agree, that for all intents and purposes, a panoramic print made from a DSLR camera is indistinguishable from a print made with a single-frame, high-resolution medium format digital camera. Some even claim that it rivals 4×5 film¹. I’ll let you be the judge. For the first time in years, I have found a technique that captures the grandeur of the Alaskan landscape, and for me, panoramas take my images to the next level and that is why I find this so exciting.

Equipment

Before taking the individual panorama images you need to have the proper equipment. Starting with the basics, a good, stable tripod is a must. Some people have successfully made panoramas by hand-holding the camera, but you want the sharpest images possible to make your work stand out. If you are not using a tripod for most of your images, why not? Despite the advances in image stabilization or vibration reduction, a properly used tripod will always produce a sharper image than hand-holding. Also, since you want to shoot at a low ISO to minimize noise and a high f-stop to maximize depth-of-field, a shutter release (cable or wireless) should be used. If you don’t have a shutter release, then use your camera’s self-timer. Lastly, an L-bracket is needed on your camera to be able to rotate it to the vertical position. L-brackets create a more stable camera/tripod setup when shooting verticals by keeping your camera’s center of gravity over the tripod rather than flipping the ballhead’s stem over into the vertical notch. They can be purchased from equipment suppliers like Really Right Stuff and Kirk Enterprises.

Now for the specialized equipment. As we will discuss in more detail in the next section, creating panoramas requires having a level tripod so that your horizontal (or vertical) images are straight. And it requires eliminating parallax error. This means that as you create images by panning left to right, foreground objects need to stay in the same relative position to background objects. Otherwise, the finished panorama will show ghost images of foreground objects. To eliminate parallax error, the camera must rotate about what is called the nodal point² of the lens. This necessitates being able to shift the camera body behind the center of rotation of the tripod. The best equipment I have found for doing this is the Pano Elements Package from Really Right Stuff for $360. Despite the high cost, I’m partial to RRS because not only is their equipment rugged (bomb-proof is more like it) and functional, but it is also beautifully designed. The Pano Elements Package provides a precision panning base (with a spirit level) and a nodal slide bracket, also with a spirit level. I also recommend getting the PCL-DVTL dovetail ($30) so that you can quickly attach the panning base and nodal slider to your existing ballhead clamp, rather than having to remove the clamp and attach it to the ballhead with a screw every time you want to create panoramas. The Pano Elements Package is only for making single-row or single-column panoramas. RRS’s Ultimate-Pro Omni-Pivot Package ($795) is needed for making Omni-directional panoramas.

Two other options exist for making panoramas. In Outdoor Photographer³, George Lepp discusses use of the GigaPan Epic and Epic 100 ($300-450) which are robotic camera holders for small DSLRs and point-and-shoots used to automate the process of taking dozens or hundreds of photos. The composite image contains billions of pixels hence the name GigaPan. Since that article was published, Gigapan introduced the Epic Pro ($895) for full size DSLRs. The other option is tilt-and-shift lenses, particularly the Canon 17 mm T/S and 24 mm T/S. These lenses allow you to rotate the tilt mechanism 90 degrees so that panning can be achieved in the horizontal direction. However, the range of movement is rather limited so you would still have to pan the camera body to cover a panorama.

Setup and Taking the Photos

Three steps are required for setup⁴: a) leveling your equipment, b) finding the nodal point, and c) adjusting camera settings. First, attach the panning base to the tripod head and mount the nodal slide to the panning base. Level the nodal slide using the spirit level. It helps if you start with a reasonably level tripod to begin with, if anything for the security of your equipment. Once the nodal slide is level, tighten down the ballhead and mount the camera in the vertical (portrait position) with the L-bracket to the clamp on the end of the nodal slide. Make sure the centering index marks on the L-bracket and nodal slide are aligned.

Second, to determine the nodal point of the lens find two objects, one in the foreground and the other in the background, and line up the objects in your viewfinder. Position the approximate center of your lens (if you are using a zoom lens then make sure the lens is zoomed to the focal length you want) over the tripod’s axis of rotation by sliding the nodal slide forwards or backwards. Now pan left. If the background object shifts left relative to the foreground element you are ahead of the nodal point. Move the nodal slide forward and repeat panning left. If the background object shifts right relative to the foreground element you are behind the nodal point. Move the nodal slide back and repeat panning left. When the nodal point has been located, the foreground and background objects will not move relative to each other when panning. Really Right Stuff has also tabulated known nodal points for specific camera/lens combinations⁵.

Third, choose your camera settings prior to taking the photos. Shoot raw for maximum flexibility in post-processing. Use a low ISO, preferably ISO 100, for minimum sensor noise. Decide the depth of field desired. Since most panoramas are of landscapes and a maximum depth of field is desirable, a high f-stop is appropriate. That does not mean automatically set your lens to the maximum f-stop, like f/22. Remember that the sharpest aperture of any given lens is not necessarily the highest f-stop, but one or more f-stops open from the maximum. Another way is to use the hyperfocal distance for the f-stop. Set your camera exposure system to manual. This will assure that your exposure is consistent across the entire scene. However, since panoramas can cover a wide range of light values (or EV), set your camera exposure to manual and determine the shutter speed that will keep your histogram as far to the right as possible for the brightest part of the scene. You may need to use a graduated neutral density filter if the exposure exceeds the dynamic range of your sensor. Turn off auto white balance and set white balance manually so that, like exposure, white balance will be consistent across all the photos. If you get the white balance wrong you can adjust it with your raw converter. Finally, use Live View (how did we ever do without it?) to set your focus on the appropriate part of the scene. Shut off auto focus and image stabilization (or vibration reduction). If you have mirror lockup, then activate that function.

You are now ready to shoot. Using the shutter release, take a sequence of photos which cover the scene by starting at the left side and panning right after each shot. Overlap each shot by 30-50%. Anything less than 30% and the stitching software may not be able to find enough commonality to create the composite image. The hardest part of creating a panorama is done!

Work-up

It does not matter which raw converter you use to work up the raw images, whether it is Adobe’s Camera Raw, Adobe^® Photoshop^® Lightroom^® 4, Apple’s Aperture, or the camera makers’ raw converters. Use the work flow with which you are most comfortable. I recommend exporting your images as 16-bit TIFF, or preferably PSD, files. This is not the time to compress to an 8-bit JPEG. Even though all photos were shot in manual exposure mode, I have found that light values will range across the sequence. I have successfully changed the exposure value in the raw converter individually for each shot to match up the histograms better. Be careful that you don’t spread out the shadow areas too much revealing the underlying noise.

Believe it or not, the easiest part of creating a panorama is the stitching in Adobe^® Photoshop^® Elements 11 or CS6. You do not have to understand layers or masking to proceed. The following instructions are for a Mac computer. Once you have the converted images saved, from the Photoshop CS6 menu select File > Automate > Photomerge… (In Photoshop Elements 11 select Enhance, Photomerge®…, Photomerge®Panorama…) In the dialog box under Source Files, Use: select Files. Press the Browse button and locate the place/folder where your exported images reside. Select all of the image files taken for your panorama. Press Open. You should see all of your image files in the Source Files window. On the left side of the dialog box under Layout are seven choices: Auto, Perspective, Cylindrical, Spherical, Collage, Reposition, and Interactive Layout. Auto works best for most panoramas, although you might need to try Perspective, Cylindrical, or Spherical for problematic panoramas. Lastly, at the bottom of the dialog box, Blend Images Together is selected by default. If you have not corrected for vignetting in your raw converter you may want to select Vignette Removal. The Geometric Distortion Correction option is probably for panoramas of buildings and other architecture. At this point you are ready to let the computer do all of the work so press OK. Depending on your computer processor speed and useable memory, it could take several minutes for the composite panorama image to appear.

When processing is done you will have an image with the same number of layers as photos taken. Each layer will have a layer mask associated with it. If you have leveled your camera and found the nodal point, the resulting composite image will mostly fill a rectangular box. Otherwise, the individual layers will either bow out or in at the top of the frames leaving blank space. This means losing some of the image to crop it to a rectangular shape. Initially you may be disappointed with the stitching process because there appear to be jagged lines, like pieces to a puzzle, where each layer mask butts up against its neighbors. Some claim this is a flaw in the software, however, I think Adobe left it in the software to show you where each stitch is so that you can assess the quality of the compositing process. I’ve created over a dozen panoramas and have not found a matching problem yet. Once you flatten the layers (Layer > Flatten Image) the lines disappear and you will likely never be able to find the seams again. After that, crop the image to suit your goal for the panorama and finish with any additional post-processing.

Figures 1-3 provide three example panoramas. These images don’t do justice to the actual prints, however. Susitna River is a composite of five photos, Eagle River Valley ten photos, and Chugiak Winter nine photos. The prints, ranging in size from 40-61” wide x 22” high reveal detail and three-dimensionality that exceeds what can be achieved with one DSLR photo. You get the sense of being able to walk into the landscape, enhancing the ability to convey to the viewer what inspired you about the subject. Isn’t that what photography is all about – telling a story, conveying an emotion, or inspiring others to action?

Finally, there are other stitching programs available, most notably GigaPan Stitch (comes with GigaPan hardware) and Autopano. The camera manufacturers provide their own versions, and there is even a stitching app for the iPhone’s built-in camera. I can’t vouch for their ease of use or flexibility, but as you have seen with Photoshop, there is no hurdle to overcome in using it.

Tips and Hints

The following is a list of tips and hints that will make it easier for you to create flawless panoramas from the start. Some of these I’ve learned from the “school of hard knocks.”

If your scene encompasses a wide field of view, avoid using a polarizer since its effect will be uneven across the resulting panorama. For example, if you are shooting with the sun 90 degrees to your right or left and create a panorama spanning 180 degrees, then the polarizer will be most effective in the middle of the panorama and non-existent at the left and right edges.

Create your sequence of images fairly quickly, especially when there is movement in the scene like clouds, shadows, wildlife, people, or water. For example, I created a panorama of a tarn and was not mindful of the effect the wind was having on the surface of the water. As a result, the water was flat and reflective in some areas and choppy and non-reflective in others.

Generally you will find that normal (50 mm) to moderate telephoto (100 mm) focal lengths are easiest to work with. Most of my panoramas have been shot at 40-70 mm. These focal lengths capture scenics with the same perspective as the human eye. Remember, the wider the individual shot the less detail and information you are recording. Compare, for example, detail in a 20 mm shot with that for a 600 mm shot. The idea in a panorama is to capture a wide-angle composite view with a narrower angle-of-view lens.

Even the best laid out panoramas require cropping which is a subtractive process. Be mindful of that by leaving enough room at the top and bottom of your sequence of photos to crop out some foreground and background in Photoshop. Furthermore, since the camera must be level, balancing foreground and background may require moving up or down in elevation. Sometimes this is possible. At other times you may find yourself walking away from a panoramic scene or deleting it after seeing it on the computer screen. This can be solved by using an omni-directional setup which requires an additional equipment expense.
Having the sun directly behind you creates fairly even skies. Watch out for your shadow, however.

If you capture an object that is moving, make sure it is in the middle of only one frame where there is no overlap with the other frames.

Because the nodal slide is graduated, make note of the position and keep a list of nodal points for each lens/focal length so that you don’t have to repeat this time-consuming step.

Panorama images can get quite large, so you may need more RAM in your computer. RAM is the cheapest way to increase the performance of your computer.

Be creative and have fun. Try combining photo stitching with macros, extreme telephotos, high dynamic range, and even extended depth of field (e.g., focus stacking).

Above all, learn how/when to break the conventional wisdom including all of the aforementioned tips and hints.

Resources

“Get 4×5 Quality with a DSLR,” Dennis Frates, Outdoor Photographer, August 2009.
This website provides a technical discussion about nodal points: http://www.vrphotography.com/data/pages/techtutorials/technotes/nodalptalign-tn.html.
“The GigaScape,” George Lepp and Kathryn Lepp, Outdoor Photographer, November 2009.
Really Right Stuff, Panoramas Made Simple, http://reallyrightstuff.com/WebsiteInfo.aspx?fc=108.
Really Right Stuff, tabulated nodal points, http://reallyrightstuff.com/WebsiteInfo.aspx?fc=146.

Figure 1

Figure 2

Figure 3

Nik Software Plug-Ins

Posted on May 13, 2013 by rbulson

“The negative is similar to a musician’s score, and the print to the performance of that score. The negative comes to life only when ‘performed’ as a print.” Ansel Adams

In Ansel Adam’s day, dodging and burning in the darkroom was to the film negative as post-camera processing on the computer is to the “digital negative” (i.e., RAW image capture) in digital photography. Right out of the camera, digital images can be quite flat and lifeless compared to print and slide film. With today’s image processing software, however, the full creative potential of our digital captures can be realized.

Since 1990, the reigning king for post–processing has been Adobe^®Photoshop^®. Using Photoshop, however, comes with a steep price, $699, and an even steeper learning curve to master. Even for professional photographers who regularly use the program, editing an image using local adjustments with selections and masks can be time consuming. In our hyper-competitive world of instant communication via social media and ubiquitous smart phone cameras, a slow workflow to generate media can be a disadvantage. Enter photo editing plug-ins to fill the void. They are essentially niche software products that are easier and faster to use, and in some cases, go beyond the capabilities of Photoshop.

Figure 1

There are thousands, if not hundreds of thousands, of plug-ins for photo processing. All have been designed to address a specific need. The most successful companies have several plug-ins and bundle them as collections or suites, like Topaz Labs, onOne Software, and my favorite, Nik Software. Nik was founded in 1995 as nik Multimedia by German programmer Nils Kokemohr, and began with software for graphic design. In 1998 it changed its emphasis to serve photographers. Nik entered into a strategic alliance with Nikon in 2005 and helped to develop Nikon’s Capture NX RAW converter. Last year, Nik was acquired by Google and is now a subsidiary of Google. Nik’s post-processing software collection consists of six plug-ins: Color Efex Pro 4 (color filters), Silver Efex Pro 2 (black and white conversions), Viveza 2 (selective color and tonal adjustments), HDR Efex Pro 2 (high dynamic range), Sharpener Pro 3 (image sharpening), and Dfine 2 (noise reduction).

To demonstrate the versatility of Nik software, Silver Efex Pro 2 will be used to convert a color image to black and white from within Photoshop CS6. (The software can also be run as a plug-in within Adobe’s Lightroom and Apple’s Aperture.) Once in Photoshop, the software is launched either by selecting Nik Silver Efex Pro 2 from the Google floating palette or under Photoshop’s Filter menu. Nik Silver Efex Pro 2, like HDR Efex Pro 2, has preset categories that can be used as starting points for the black and white conversion, Figure 1.

Figure 2

There are thirty-eight presets, some of which borrow from darkroom processing techniques such as high contrast, push-processed, high key, low key, and sepia. Others are techniques from the digital age. You can even make custom presets. All presets are global adjustments since they affect the entire image. Adjustments are seen real time in single image view, split preview using a slider which can be moved vertically or horizontally, or side-by-side preview, and can also be zoomed from 100-300%. Once a preset is selected, the parameters for the global adjustments are set and can be fine-tuned, Figure 2. Dynamic brightness, amplify whites, amplify blacks, and soft contrast provide advanced tonality control. Black and white film enthusiasts will like the ability to emulate eighteen popular black and white film types, Figure 3. Furthermore, just like shooting black and white film, red, orange, yellow, green, and blue contrast filters can be applied to enhance certain parts of the scene. Unlike film, however, you don’t have to wait until you process the film to find out how well the filter worked! Nik builds on this capability by adding a slider for adjusting filter strength and a hue slider for finer color filter control.

Figure 3

If this were all that Nik Silver Efex Pro 2 did it would still qualify as a great post-processing plug-in. However, what distinguishes Nik Software from all the others is something called U Point^® Technology, introduced in 2006, that provides precise control of local adjustments. By eliminating complicated selections, layer masks, and blending modes required in Photoshop for local adjustments, U Point® Technology removes the learning barrier from using this advanced photo editing technique. For example, if I want to selectively adjust the sky I would place what is called a control point in a portion of the sky, Figure 4. The size of the area affected is defined by the diameter of the circle. Figure 5 shows the mask that the control point has made. In masking, white reveals and black hides so the white areas show where the adjustments will be applied 100% and black 0%. Grey areas mask adjustments between 0-100% depending on the shade of grey. Notice that even though the selection is defined by a circle the mask is not circular. Sliders for brightness (Br), contrast (Co), structure (St, mid-tone contrast), amplify whites (AW), amplify blacks (AB), fine structure (FS), and selective colorization (SC) can be adjusted for the masked area. Usually the masked adjustments blend well with the unmasked areas. In a matter of seconds, selective adjustments can be made to images that normally would require minutes, even hours in Photoshop to accomplish.

Although one could argue that the selections made with U Point^® Technology control points are not as exact as Photoshop masks, there are techniques that allow the control points to be even more precise.

Figure 4

Reducing the size of the control point will reduce the area affected. Blocking areas that you don’t want adjusted is as simple as placing a control point with all the sliders set at zero in that area. For example, when adjusting the sky I don’t want the mountains to be affected so control points are placed in the mountains with the sliders set at zero. For making adjustments to large portions of an image control points can be duplicated (using the Option key on Macs or Alt key on PCs) and then grouped together to form one large masked area.

With all these choices and controls it is very easy to forget the various adjustments made to find the optimum rendition for your black and white conversion. Very similar to Lightroom, all Nik software plug-ins have a history browser that allows you to revisit all the changes made to your image from the moment it was opened to the most recent change. That way you can review and revert back to a previous adjustment. Using the Compare button, two adjustment states can be viewed in a split preview or side-by-side preview.

Figure 5

There is a levels and curves adjustment similar to what you would find in Photoshop or Lightroom, although I can’t imagine they get much use with all of the selective controls. However, in deference to Ansel Adams, there is also a Zone System map that overlays colored hashmarks on your image to indicate where the various zones of tonality are. That way you can balance and expand the range of tonality much like Ansel did in the darkroom with dodging and burning.

After global and local adjustments are completed, numerous finishing tools are available, many of which originated from traditional film printing techniques. Toning and split (or duo) toning can be applied including sepia, selenium, and cyanotypes as well as custom colors. There are controls for applying vignetting, that is, darkening of the edges to draw attention to the center of the image. In addition to the amount of darkening, and size and location of the vignette center, the vignette shape can be adjusted continuously from a circle to a rectangle. Extensive controls for burning of the image edges and a selection of image borders complete the finishing touches.

No doubt, practitioners of black and white printing in the traditional darkroom will feel at home with Nik Silver Efex Pro 2 software.

Once the user is satisfied with the black and white conversion, there are two options for closing the filter plug-in and returning to Photoshop. The first option is to press OK to apply the filter. The black and white conversion is then recorded on a layer labelled Nik Silver Efex Pro 2 which is placed above all the other layers in the original PSD file. Since no mask is associated with this layer, the only thing that can be done with it is to change the opacity of the layer to let some of the colored image in the layer(s) below to come through. The other option when closing the plug-in is to press Brush to apply the filter selectively to the image. Again, the black and white conversion is then recorded on a layer labelled Nik Silver Efex Pro 2, however, this time a black mask is attached to the layer. Since black hides, the black and white conversion is hidden and the image retains the characteristics of the layer(s) below, in this case color. By using a white brush and painting on the black mask, the black and white portions of the image can be selectively revealed. This is one way to make a hybrid color/b&w image.

Neither of these options allow you to go back and re-edit the black and white conversion. However, there is a way to do this. Before you first launch the filter plug-in on your PSD file, flatten the layers down to one background layer. Next, make a duplicate copy of the background layer. With the duplicate copy of the background layer selected, select Filter, Convert for Smart Filters from the Photoshop menu. This converts that layer to a smart layer so that when you launch the Nik Silver Efex Pro 2 plug-in it will become a smart filter on that layer once the conversion is completed. Double clicking on the filter icon in the layer relaunches the filter for additional adjustments.

With extensive and powerful features, intuitive and easy to use tools, and the U Point^® Technology control points for making precise selective adjustments, Nik Silver Efex Pro 2 is widely regarded by photographers as the leading black and white conversion software on the market today. Users include such well-known photographers as Art Wolfe, Vincent Versace, Jennifer Wu and others. Since all of Nik’s software plug-ins use the same control point technology for selective adjustments, they are well worth exploring for other aspects of advanced photo editing. For example, Nik HDR Efex Pro 2 for high dynamic range photography is considered on a par with the leading HDR software, Photomatix Pro. Color Efex Pro 4 and Viveza 2 are also popular for color enhancements. Nik’s website (www.niksoftware.com) contains many videos for quickly getting up to speed on how to use their various plug-ins. In March, several months after being acquired by Google, the price of their complete collection (all six plug-ins) was dropped to $149 from $499. In addition, customers who bought one or more plug-ins in the last five years are entitled to receive the remainder of the collection for free. So there isn’t a better time to try the Nik Collection.

Digital Photography Simplified Workshop in February

Posted on January 3, 2013 by rbulson

I will be offering the Digital Photography Simplified workshop on Saturday, February 2, 2013 for $99. This 7-hour seminar teaches you how to creatively use your digital single lens reflex camera (DSLR) through classroom instruction and hands-on exercises. Designed for the beginning photographer, the course also covers the basic concepts of digital photography. For more details and to register, visit my workshops page on my website.

Adobe Lightroom 4 Workshop

Posted on December 14, 2012 by rbulson

I will be offering a workshop on Adobe^® Lightroom^® 4 on Saturday, January 5, 2013 for $99. In this 7-hour workshop, participants will learn how to use Lightroom 4 for post-processing of RAW files to extract the full potential from their photos. For more details and to register, visit my workshops page on my website.

The Art of Digital Nature Photography seminar

Posted on November 28, 2012 by rbulson

A two-hour seminar on “The Art of Digital Nature Photography” will be held, Friday, December 7, from 6-8 p.m. in the Lyla Richards Conference Room, UAA Student Union, 2921 Spirit Drive, Anchorage (map - parking is free on Fridays. Once inside the Student Union, proceed straight down the stairs to the basement level. The conference room is on the left just past the glass offices and opposite the elevator). Admission is $20 at the door (cash and checks only).

This seminar is geared towards outdoor nature photographers interested in learning the elements of design and composition. Topics are reinforced with over 250 images and include light, color, isolating your subject, framing, rule-of-thirds, perspective progression, symmetry, patterns, power shapes, abstracts, b&w, and creative techniques like dodging and burning, focus stacking, artistic blurs, panoramas and more. Anyone who wants to improve their landscape, wildlife, and macro photography will benefit from the information provided. Send me an e-mail (rb@wilderness-visions.com) to reserve a spot or call me at 907-952-2679 for more details.

Digital Photography Simplified Workshops in December

Posted on November 22, 2012 by rbulson

One-day photography workshops, “Digital Photography Simplified,” are now scheduled for December 1 & 2 (Saturday & Sunday). The regular price is $250, but we are offering a Groupon special price of $99 (60% off). The classes will be held from 9 a.m. to 4 p.m. at:

UAA
Edward Lee Gorsuch Commons, Rm. 106
3700 Sharon Gagnon Lane
Anchorage

This seven-hour seminar will teach you how to creatively use your DSLR through classroom instruction and hands-on exercises. Designed for the beginning photographer, the course will teach the basic concepts of digital photography. Emphasis will be on getting away from programmed and automatic modes and learning how to control your camera in shutter priority, aperture priority, and manual modes. If you have ever struggled with the endless screens, dials, and buttons on modern cameras and wanted it simplified into the essentials, then this course is for you. If you are interested, please let me know and indicate which class you would like to attend. I can be reached by e-mail (rb@wilderness-visions.com) or call me at 907-952-2679.

Lowepro was there…

Posted on October 25, 2012 by rbulson

Photographers are particular about their camera bags. Some people might even say obsessed. Often, when I acquire another camera bag a common response from my spouse is, “don’t you have enough bags, what’s wrong with the other bags you have?” Well, in most cases, there is nothing wrong with the others except to say that one bag does not fill my equipment needs for every outdoor situation.

Brown Bear and Pink Salmon, Admiralty Island, Alaska

Is that a shortcoming of the bag manufacturers? Perhaps for many of them, but in the case of Lowepro I think not. Lowepro’s strength lies in recognizing different bags for different needs and listening to photographers’ needs, whether it is a sling bag for the urban street photographer or a backpack for the outdoor adventurer.

So when I was asked to write a blog about a Lowepro bag, I had difficulty deciding which one, not only because I have so many, but because Lowepro bags have been with me for so long that they seem a natural extension of my camera equipment: they are there when I need them, and they work so I don’t think about them much. Like Forrest Gump, who serendipitously showed up at history’s pivotal times, Lowepro bags have helped me capture the photographic moments of my career.

Lowepro Dryzone 200

The Lowepro Dryzone 200 was there on Admiralty Island in the Inside Passage of Southeast Alaska to photograph a brown bear feeding on spawning salmon. Because water and camera gear don’t mix, especially saltwater, the Dryzone bag kept my gear dry among the salty marsh grass of the tidal estuaries. And what was protecting the Canon 600 mm f/4 lens used to capture this shot? The Lowepro Lens Trekker 600 II AW Lens Case, of course. When you are not worried about the integrity of your expensive photo gear you are free to concentrate on the subject matter. Plus it helps to have a shotgun available just in case the locals get ornery.

The Lowepro Pro Trekker 400 AW Backpack was there at the Maclaren River Valley in Alaska to hold the gear needed to photograph the Maclaren Glacier flowing down from the majestic Alaska Range. Despite all the gear, the bag was comfortable to carry. I like this bag especially because I can travel with food and water in addition to my camera equipment. This allows me much more time in the field. On this same trip one night around midnight I noticed the Northern Lights shimmering over the mountains. This was unexpected given the forecast for auroras. I quickly packed my camera body, a Canon 24 mm f/1.4 lens, and cable release into my newest bag, the Lowepro Photo Sport 200 AW Backpack. With this bag I can travel light yet still be able to bring the essentials for photography in the field. In a matter of minutes I had ascended a hill overlooking the valley and had my equipment set up to capture the beautiful colors of the aurora not only in the sky, but reflected in the pond and the Maclaren River. When you are in a hurry, having a camera bag where the zipper doesn’t hang up or snag and gear is easily accessible is critical. Wildlife and natural phenomena don’t wait for unprepared photographers. To turn an old photography phrase, with Lowepro, I know I’ve got the shot in the bag.

Lowepro Pro Trekker 400 AW

Aurora over Alaska Range and Maclaren River Valley

Even for the more casual photo shoots back home in Eagle River, Alaska, Lowepro is always with me. The Toploader Pro AW 70 (purchased years ago as the TLZ Pro AW) is great for bringing my Canon 5D Mark II camera with the 24-105mm f/4 lens on day hikes through the Chugach Mountains. It frees my hands for hiking poles on the steep trails, yet provides immediate access to the camera for moments when wildlife, like moose, present themselves. Or my smallest Lowepro bag, what I call the mini-me of top loaders, the TLZ Mini, is great for bringing along a Canon G1x point-and-shoot camera while cross-country skiing for adventure stock photography.

So regardless of your shooting style, or abilities, Lowepro has a camera bag for you. Furthermore, as technology changes, and photographers’ needs change, Lowepro will be there to provide solutions for getting you out in the field to do what you enjoy most – photographing. I would love to hear back from other users letting me know where Lowepro has been with you.

Digital Photography Intermediate workshops in November

Posted on October 9, 2012 by rbulson

One-day photography workshops, “Digital Photography Intermediate,” are scheduled for November 17 & 18 (Saturday & Sunday). The price is $99. Classes will be held from 9 a.m. to 4 p.m. at:

UAA
Edward Lee Gorsuch Commons, Rm. 107
3700 Sharon Gagnon Lane
Anchorage

This seven-hour, hands-on workshop builds on the fundamentals covered in the previous workshop, Digital Photography Simplified. Designed for the intermediate photographer, course topics include flash photography (fill flash, slow sync, front and rear curtain sync, painting with light), exposure (reciprocity, compensation, bracketing, expose-to-the-right), focusing modes, techniques for super sharp photos, and workflow. If you are interested, please let me know and indicate which class you would like to attend. I can be reached by e-mail (rb@wilderness-visions.com) or call me at 907-952-2679.

Digital Photography Simplified workshops in November

Posted on October 5, 2012 by rbulson

One-day photography workshops, “Digital Photography Simplified,” are now scheduled for November 3 & 4 (Saturday & Sunday). The price is $250. The classes will be held from 9 a.m. to 4 p.m. at:

UAA
Edward Lee Gorsuch Commons, Rm. 107
3700 Sharon Gagnon Lane
Anchorage

360 Degrees of Magnificence

Posted on September 19, 2012 by rbulson

Talkeetna Mountains and Susitna River

The 92-mile Denali road inside Denali National Park (DNP) attracts most of the attention of tourists visiting Alaska, and rightly so. The road provides up close views of such awe-inspiring scenery as Polychrome Pass and the Alaska Range including Denali (Mt. McKinley). Add to that big wildlife like brown bears, moose, caribou and wolves and you are witness to a pristine, intact ecosystem that exists in fewer and fewer places in the world. However, unless you have the privilege of driving the park road on a professional photographer’s pass, or the wilderness skills to camp off-road with a backcountry permit, casual visitors are confined to the inside of a bus. At times, Denali National Park can feel too abstract and antiseptic. However, another alternative exists to experience firsthand an alpine, tundra environment. The Denali Highway is a 135-mile road east of DNP that connects Paxson with Cantwell (just south of DNP). The first twenty-one miles of the road west of Paxson is paved, the remainder is gravel. Unlike DNP you can camp, hike, canoe, fish and hunt the vast wilderness surrounding the Denali Highway. Yet, it is as pristine and wild as DNP. Sights like Tangle Lakes, the Maclaren River Valley and Mt. Hays, the Clearwater Mountains, and numerous glaciers, rivers, lakes, and kettle ponds abound. The vista of the Talkeetna Mountains and Susitna River drainage taken in late fall is typical of the scenery. Having the ability to get out of your car, hike, and compose photos with leisure creates a deeper connection to the land; you become a part of it. While DNP feels more like a museum, the Denali Highway is our tundra playground. Everywhere I looked were stunning landscapes – 360 degrees of magnificence. The Denali Highway is a journey worth spending a week or more to explore.

Blog – Fine Art Nature Photos of Alaska

Ray Bulson Photography

Author Archives: rbulson