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The Other Grand Masters: The Influence of Art on Photography

by Frank Serafini

Each year, I wait enthusiastically for the Outdoor Photographer Landscape Masters issue to arrive. The Grand Masters of Landscape Photography - Ansel Adams, Edward Weston, and Elliot Porter – provided the classic images of landscape photography for a generation of photographers. Building on their legacy, the images of contemporary landscape photographers - Jack Dykinga, David Meunch, Tom Till, James Kay, Freeman Patterson and Carr Clifton - inspire me to try new perspectives and techniques to improve and expand upon my own creative processes.

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Ask Before You Shoot

by David Middleton

Wildlife photography is a pretty straightforward process, almost cookbook-like in its simplest form. It is one of those things that is easy to get the hang of but hard to master. A vast majority of the wildlife photos that are published are shot the same way: with the aperture close to wide open at a high shutter speed with a moderate to high ISO setting or a sturdy tripod and using a telephoto lens. This tried and true combination allows the best chance to get sharply focused, frame-filling photos.

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Review: Lensbaby Composer

by Moe Witschard

I have been a fan of the Lensbaby and the look it generates since I bought my first one four years ago. With the latest permutation of this lens, the Lensbaby Composer, Lensbaby has really hit a home run.

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Spring Training

by Gary W. Stanley

Baseball season is just around the corner and the boys of summer are somewhere warmer than where we are, and are working hard to get in shape before the start of this new season. They call it "Spring Training."

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Macrophotography - Photographing Little Critters

by David Muse

Spring is in the air, and you are itching to get out and photograph something. That's great! You say you have a bee in your bonnet to try shooting something different; that you want to sink your fangs into a new subject. Even better! Let me suggest you explore macrophotography of insects and spiders.

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Developing Your Own Style

by Rod Barbee

Photography is fun. At least it should be. Learning composition should be fun too. Some seem to want to turn it into a dry subject full of jargon and theory. This, to me, is about as exciting as accounting (no offense to all the accountants out there). I recently read an essay on composition aimed at beginning photographers wherein the author delved deeply into an artistic theory having to do with relative size and perspective of objects in a landscape photo, citing numbers and ratios and no end of “inversely proportional”. All this to say that an object that’s closer to you appears bigger than an object that’s farther away. Huh? Even my dog knows that. After about the fifth interminable and repetitive paragraph of this, I was ready to either nod off or just give up photography all together.

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Useful Keyboard Shortcuts in Lightroom

by Scott Rouse

Efficiency is what really makes Lightroom shine. In order to take full advantage of what Lightroom has to offer, you'll want to learn some of the most commonly used keyboard shortcuts. It's much quicker to navigate through all that Lightroom has to offer using the keyboard rather than the mouse, in most cases.

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Locations

  • When was the last time you did something for the very first time? Do you remember how exciting and overwhelming it was? Do you recall feeling exquisitely alive? Me neither. That is until my first trip to the Triple D Game Farm in Kalispell, Montana with PAW leaders David Middleton, David Muse and Jeff Wendorff.

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Teaching Articles

  • In the field, things can happen that will leave you unable to photograph. Cameras dropped from a height, cameras dipped in salt water, bears. Or maybe you’re trying to protect your camera from a fall or a dipping (or bears) and end up breaking something on you instead.

    While these occurrences are rare, things can and do go wrong in the field; things that will make you panic and swear at your camera. You may even have a mysterious camera death on your hands, but the overwhelming majority of apparent camera disasters aren’t really disastrous at all. Usually it’s nothing more than a switch improperly switched or a setting improperly set.

    So to help quell that queasy feeling in the pit of you stomach whenever the camera isn’t working like you’d expect, here’s a list of symptoms and possible cures to check out before a panicked trip to the repair shop.

    When the camera won’t fire

    This is probably the most common problem I see at workshops and it can have several causes. So here are a few things to check.

    1. Check the auto focus setting on the camera body. On most cameras, when you’ve set the auto focus for Single Servo, or S Mode, something has to be in focus before the shutter can be tripped. This is called focus priority. If the active AF point isn’t over something in focus (say you’ve focused on a subject and then moved the composition) and the camera is in the S AF mode, then the shutter may not fire.

      Simple solution: put the camera in Manual Focus mode. Also be sure to read up in your manual about custom settings for auto focus modes.

    2. Are you using a remote cable release? There are a couple of possibilities here. First, is it plugged in all the way? If the remote release isn’t working but the shutter release is, then the cable release may not be completely plugged in.

      If the cable release is plugged in and you can’t fire the camera, check to see if the release is in the locked mode. There is usually a slider on the release that holds it in the closed (activated) position. Unlock it and try again.

      (If you’ve set the motor drive to continuous, the camera will just keep firing until the buffer is filled or you run out of film.)

    3. Is the camera turned on? (Maybe this should be number one…)
    4. Check your memory card. Is it full? Is there one in the camera?
    5. Check your batteries. A low battery can prevent the shutter from firing.
    6. Is the self timer set? On some cameras it can be easy to inadvertently engage the self timer. If it happens to be set for 10 or 20 seconds or more it may seem as if the camera isn’t working at all.
    7. Is mirror lock up set? On many cameras, when mirror lock up is chosen, you need to press the shutter button once to lock up the mirror and again to take the picture (you really should be using a cable release here—it’s one of those image quality things). If you have mirror lock up activated and only hit the shutter release once it will seem as if the camera isn’t working right.
    8. Do you get any error codes on the camera? Try taking the batteries out and reinstalling.
    9. Are you using a vertical grip/battery pack? Check the contacts and clean and reseat if necessary.

    When auto focus isn’t working right or at all.

    This is probably the second most common problem.

    1. If AF isn’t working at all be sure to first check all the settings on the camera and lens. Are you even in AF mode on the camera? Is the switch on the lens set to AF?
    2. Still no AF? Try cleaning the contacts on the lens. The best thing to use is a lint free cloth and isopropyl alcohol. Not many of us carry those items with us in the field. I’ll often us a lens cloth or my shirt.

      (Note: some cameras are more susceptible to moist conditions than others. If it’s rainy or even foggy, moisture can get on the lens contacts and affect functionality of the lens.)

    3. Check to see if the lens is properly seated on the mount. Take it off and put it on again, making sure it mounts all the way and you hear the click.
    4. If AF is sort of working, that is, the lens is focusing on some things, check to see if your lens has a limit switch. If it’s in the “on” position this will limit the range of auto focusing. It’s there to improve AF speed when you know the subject is going to be a certain distance away. Basically, it keeps the lens from having to search through its entire range to obtain focus. But if accidentally set, this feature can also keep the lens from focusing where you need it. This happens a lot because it’s usually pretty easy to move the switch by taking the lens in and out of the camera pack.
    5. Are you too close to the subject? All lenses have a minimum focusing distance. Inside of that the lens won’t focus.
    6. Do you have an extension tube on? Extension tubes allow you to focus closer but at the expense of distance focusing.
    7. Check batteries. Low batteries can hinder AF performance.

    Miscellaneous confusions and conundrums

    1. Can’t adjust the aperture (or shutter). On Canon cameras make sure that the camera is not only on, but that the on/off switch is in the upper position that activates the Quick Control Dial (what I call the “On with Benefits” setting). That allows you to make settings adjustments.
    2. Meter isn’t showing in viewfinder. Check your metering mode. On some cameras, when you’re in an auto exposure mode the analog meter in the viewfinder won’t show. You may need to go to manual exposure mode.
    3. Can’t make the analog meter change. This usually appears to happen when the meter is pegged to either side: under or over exposed. You need to make sure you’re making your setting corrections in the right direction. Let’s say the meter is pegged on the under exposed side (meaning it’s showing you’re underexposed by more than two or three stops). If you change the shutter to faster and faster speeds then you’re just increasing the under exposure and you won’t see the meter move. Move the dial the other way until you get movement in the analog meter.

    Those are the main mysterious maladies I encounter on workshops. I’m sure there are more. The thing to remember is that the vast majority of seemingly disastrous problems actually aren’t. They usually can be attributed to pilot error, an accidentally flipped switch, or a low battery.

    Feel better now?

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Editorials

  • Grinds, manuals, and rock to fakey. Do you know these terms? If not, there is no need to feel ignorant, it only means you haven’t spent nearly as much time at the skate park as I have. Due to the passion of my youngest child, I found I was spending more and more time in the concrete and metal world of the skateboarder. Prolonged exposure caused me to accidentally stumble onto my current photographic obsession.

    I will grant you that the skateboard park is a funny place to be if you think of yourself as a nature or wildlife photographer, but as my other favorite song says, “If you can’t be with the one you love, love the one you’re with.” Although poured concrete and steel rails are not part of the natural environment, you can make the case for sk8rs (aka skate boarders) as wildlife subjects in their natural environment and you can use the same techniques to photograph them as you would a wild animal.

    Let’s review those techniques: Pick the most photogenic subject in the best light; select your background; and learn the movements of the animal (or skater) in the environment so you can anticipate when they will be in the ideal location for the strongest shot. Easier said than done, but if you practice on a weasel or another quick moving animal an adolescent boy on wheels will be a cinch.

    What initially amazed me was the fact that as I spent more hours at the sK8 park my perception of the people and the environment underwent a radical change. I was gradually less and less bothered by the graffiti and pants that magically stay on even though worn well below the buttocks; and I was increasingly more aware of the beauty and true grace of the skaters and their preferred environment.

    Spending lots of time at the skate park is crucial to getting good images. You have to know your subjects: how they move, their favorite patterns, and how confident they are. Even more important, they have to know and trust you.

    It’s not easy to show up as a middle aged mom in a mini van and try to integrate yourself into this world. You have to leave all your mothering impulses in the car. Yes, I hate it when they don’t wear helmets, and most over the age of 12 do not. And yes, I had to learn to refrain from asking, “Oh my God, are you ok?” when someone slides or slams their exposed flesh into the concrete. It’s their world and you need to play by their rules. Or at least try.

    One rule of the park is that good skaters generally like to perform. There is a big element of showmanship involved. If you approach a skater with your camera and a promise to email them some photos that they can post on their Facebook page you are more than half way home to getting the shot.

    The last, and arguably most important, step is to know where to place yourself to get a good shot, and not get yourself or anyone else hurt. Generally the best place to shoot is from right along the bowl coping, at the foot of a rail, or from down in the bowl with the skater moving past you. Always, always, ask before you place yourself – especially down in the bowls! You need to be aware of all the other skaters in the park and their line of travel. It’s your job to get out of the way and watch out for lose boards.

    When you ask permission to move into your desired position don’t use too many words; nod, point, or grunt “is it ok”. Most skaters don’t want to visit, they want to skate and listen to their iPods and do a few other things moms don’t usually condone. Once they learn that you are not there to bust them, lecture them, or expect them to clean up their colorful language, they will reveal to you a world of unexpected grace and beauty.

    I know that grace and beauty are not words generally associated with the often tattooed, and sometime pierced, crowd found lurking at the skate park. But just like in other areas of life, if you are willing to look past the stereotypes and your own preconceptions you’ll find a surprising reality.

    I’ve discovered that the good skaters are part athlete, part dancer, and part social rebel. The very best riders possess the reflexes and agility of a cat combined with the fearlessness of a Samurai warrior. They have their own code of conduct, and although they are an often taciturn group, you’ll hear the communal bang of board decks on concrete as the skaters acknowledge a good trick skillfully accomplished by a peer.

    I hope that these images convey my delight at their gravity defying feats of balance and speed; and yes, the untold grace and beauty of the sk8 park.

    Brenda

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Equipment Reviews

  • PAW reviews the latest products from Lowepro.

    Lowepro has some great new products and, since all of us have been using their products for years, we are particularly happy to review some of their latest gear. You’ll be happy, too. We'll have some gear giveaways courtesy of Lowepro!

    In the next few weeks you will see reviews of these new products. Sign up for our newsletter or follow us on Twitter, and we’ll keep you up to date about the reviews and, of course, the giveaways.

    Photorunner 100

    It's a beltpack. It's a shoulder bag. It's a camera bag that works with your every move. The Photo Runner 100 delivers a fast-access, convertible and multi-functional carrying solution in a lightweight and thoughtfully constructed design. A slim profile offers freedom of movement and practical features like adjustable dividers and a tuck-away waistbelt keep things flexible.

    Download the product PDF here.

    Pro Trekker Backpack

    What a bag! Inspired by Lowepro's legendary Trekker series of backpacks, Pro Trekker AW is essential for outdoor photographers, extreme sports shooters and serious enthusiasts who need a workhorse backpack that travels well—in any environment. It's lightweight yet rugged, hydration and expedition ready. Plus it offers superior protection and comfort with Lowepro's premium suspension system.

    Download the product PDF here.

    Classified Sling

    They’ve updated the classic sling bag too! The Classified Sling AW series is a new breed of DSLR sling bags, providing maximum access and premium features. The slim profile moves naturally with the body—navigating a busy street or crowded event with ease.

    Download the product PDF here.

    Outback Belt Pack

    This is an awesome modular system from Lowepro. Outback modular beltpacks provide protection and freedom of movement. Unzip the fast-access lid and immediately “work out of the bag” plus grab memory cards from the built-in pockets.

    Download the product PDF here.

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Computer Software

  • I was surprised to find out that I had been running Lightroom in 32-bit mode and so even though I have a fancy computer with tons of ram and multiple cores, Lightroom was puttering along just like it did on my old 2GB core duo machine, YIKES. How did I know? It seems that Lightroom will actually tell you on the opening credits screen if it is running in 64-bit mode. When you open Lightroom the credits screen shows for a few seconds or you can bring it up manually by clicking, Lightroom>About Lightroom.

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Computer Hardware

  • Here's another article courtesy of TheLightroomLab.com:

    Adobe Photoshop Lightroom is already a very efficient software program. It has greatly increased my productivity, especially when dealing with large numbers of images from a single shoot. One of the ways to increase this productivity even more is through the use of a tablet.

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