Waiting a year for the Morro Bay Women’s Workshop didn’t stifle any of our fun. We spent four fantastic days photographing the ocean, wildlife, harbors, and of course, Morro Rock. We spent four days capturing sunrise, sunset and everything in between. Don’t worry, I always offer a little down time and image critiques. We managed to schedule three image critiques throughout the four days.
A highlight to many photo workshops (and definitely the Morro Bay Women’s Workshop) is the time bonding behind the camera and in social settings like meals. For example, we found many great restaurants to taste local seafood and baked goods. We had a blast! If you haven’t been on a women’s workshop, here is a photo gallery of our trip. To learn about our next workshop visit ahps.org.
Every spring we remove those pesky dandelions from our yard. This year, before the weed & feed came out, I picked a dandelion to photograph.
As a child, I enjoyed blowing the dandelion seeds everywhere, not grasping why it upset my parents. As an adult, when I look at a dandelion, I imagine myself wandering through those tiny seed pods; maybe it comes from reading The Borrower’s or Dr. Suess’s, Horton Hears a Who. So, I spent a few days photographing dandelions from my yard and I thought I would share my process with you.
I started with a perfect, fluffy dandelion. But the image was busy and I struggled seeing into the seed pods, so I removed some of the seeds to gain a better vantage point. Using my macro lens, tripod and a Raynox DCR250 close up lens, I captured the above image at approximately 2.5x magnification. The off camera flash units were at 1/64 power with diffusion (copy paper). At this magnification, I chose to focus stack so that the closest seed pod would be in focus.
Next, I moved in closer keeping my exposure and flash settings the same. By adding extension tubes to the macro and Raynox lenses, I isolated an individual seed pod achieving almost 4x magnification. When using the Raynox, I use a plastic container on the end of my lens to diffuse the flashes. Anyone that has taken our Arizona Highways PhotoScapes Super Macro workshop (ahps.org) has used this diffusion technique. For these next images, I included my super macro setup and the single seed pod image.
Then, I continued to play with the dandelion seeds, pulling some away to reveal less seed pods drawing me to different compositions. The colored paper background added variety and I chose to capture single images with varying depths of field.
While setting up the next shot, I added a continuous light to the background and loved the silhouetted dandelion. So, I turned off my flashes and captured silhouettes with and without extension tubes. Much to my surprise, I found a bug crawling around in the dandelion. It took a lot of twisting and positioning in front of my lens, but I finally captured the bug in the seeds. The final bug image expressed my original intent – as if I was that bug within the dandelion.
So, if you are looking for a project, find something simple around your house and keep “working the subject” by changing settings, lighting, backgrounds, etc until you achieve what you want. These images were captured over the course of three days. When I take on new projects, I like to review, reflect, and then reshoot several times. Regardless, have fun and I hope you enjoyed reading about my process.
Some days, I just need to play in Photoshop. After spending a couple of hours at Lake Mary with my son and his new dog, Ryder, I had many fun images, but, the lighting was harsh. We went in the middle of the day and to compensate for the harsh light, I used center weighted metering to expose for the shadows. The images were okay, but I decided it would be challenging and different to create a high key image.
After making basic adjustments in Lightroom, I pulled the image into Photoshop. Here I opened the Silver Efex Pro plugin and chose the high key preset. That gave me the basic look but I felt it needed a few finishing touches. So, I added a dodge/burn layer to lighten and darken areas at whim. If you haven’t created a dodge/burn layer, it is very easy.
Hold down the Alt/Opt key while adding a new layer in Photoshop. change the blend mode to Overlay and then check the box to fill the layer with gray. Now, use a white brush to dodge and a black brush to burn in details. You will want to drop the opacity of your brush to 10-15% so that your dodging/burning is subtle.
That’s all it takes to dodge and burn in Photoshop. Next time you are working on images, take a few minutes to try something different – maybe you will like it?
Paper – check; off-camera flash – check; flash gels – check; macro lens – check. Grab those supplies and you are ready to capture abstract art. My YouTube video isn’t ready yet, but I couldn’t wait to show you how to capture these images.
Let me take you step-by-step through capturing these images:
Grab white computer paper and roll or curl it to a desired shape, then either staple or paper clip it so the shape holds in place.
Place two off camera flashes facing each other pointing toward the paper (see image). A good starting point to the flash power is 1/32.
Add a gel to each flash. I used a red and a blue.
Set your camera on a tripod and focus on the front edge of the paper. I used Manual exposure, 1/60 sec, f/5.6 to f/10 and ISO 200.
Take a photo.
Review your image checking the histogram and composition. Adjust camera settings as needed.
Now, modify your shape or change gel colors. The images below represent some of these changes.
Image A: For this image, placed one flash with blue gel on the background (wall) and a green felled flash on the paper. Olympus OMD1 Mark III, 60 mm macro, 1/60 sec, F/10, ISO 200, 2 off-camera flash.
Image B: This image uses an orange gelled flash from the left and a purple gelled flash on the right. I added small curls of paper in my loops to create different shapes. Olympus OMD1 Mark III, 60 mm macro, 1/60 sec, F/10, ISO 200, 2 off-camera flash.
Image C: Here is the looped paper and added curls to create image B.
Gels are transparent colored material placed on the flash unit. Purchase them where you purchase lighting equipment. If you find the Rosco Swatchbook in stock – buy it! The swatchbook gels are sized perfectly for flash units and includes a variety of colors.
Several photographers I follow post “twirling” images. It is a different look, but since I love abstract photography it was worth an afternoon of watching YouTube videos and playing in Photoshop. I won’t say I am a pro at this effect, but I will say it was fun. Below you will see several images, before and after applying the twirl effect. If you are interested in this, I recommend following the tutorial I followed: https://www.youtube.com/watch?v=pwsjgqI4eaY&list=LLUutBD_IesM1vaEiZiWQmgw&index=8&t=0s
Our son, Austin adopted a dog last month. Ryder (dog) is a
great addition to our home and we walked him day and night for the first few
weeks. Most of these walks were to Francis Short Pond, a ½ mile from our house
and easy to maintain social distancing. Here are several photos from these
Spring Break started with the announcement of a pandemic and the cancellation of, well, everything. What was a week of photography, workshops, and relaxation became stressful, instantly. My husband saw my stress and suggested a road trip through Oak Creek Canyon to Slide Rock State Park. Water in nature always calms me and the brisk March afternoon meant we had the place to ourselves.
We hiked down to the creek noticing a waterfall we didn’t remember on our last visit in October. Since it was a cloudy afternoon, I used the Singh-Ray Bryan Hansel Waterfall Polarizer to blur the water. Next, we found moss under the bridge too. The contrasting textures from the exposed tree root and bright green moss drew me in. Therefore, it was time for the macro lens. After several different compositions, I used the 60 mm macro lens for a close-up image instead of capturing a 1:1 macro image.
Next, we walked down the west side of the creek and I noticed the ripples in the water. When photographing patterns like these, it takes me a few attempts to find the right shutter speed. Let me take you through my process. In the images below, number one is with a shutter speed of 1/30 sec., just slow enough to look blurry. Image number two used a shutter speed of 1/3 sec. creating an abstract image about the ripples. That was what I wanted: the right shutter speed to tell my story. Lastly, I adjusted the composition. Image number three used a shutter speed of .4 sec. and the blurred water ripples lead the eye through the frame.
Our short trip to Slide Rock State Park was a success. I walked away with a two photos I loved and two more that I really enjoy. That’s a successful shoot to me and to think the day started out stressful.
After my sabbatical studying water, I spent many days using my variable ND filter. ND filters, otherwise known as “neutral density” filters attach to the front of your lens and darken the exposure. So, on bright days, slowing the shutter to capture “milky” water is possible. My first ND filter was a variable ND filter, allowing 1-5 stops darkening. Recently, I purchased the Singh-Ray Mor-Slo ND filter with 15-stop darkening and love it. These filters do require a little practice since focusing is done before you screw on the filter. Otherwise, the learning curve is short and here are a few examples from my recent Watson Lake workshop.
Image Left: In mid-day light without any filters with exposure f/16, 1/125 sec and ISO 200. Image Right: With the same light, I put on my Singh-Ray Mor-Slo 15-stop filter with exposure f/16, 8 minutes and ISO 200.
Something to try: capture images in black and white to add drama to an image. Check out these two images shooting straight into the sun.
Image Left: In morning light without any filters with exposure f/16, 1/8000 sec and ISO 200. Image Right: With the same light, I put on my Singh-Ray Mor-Slo 15-stop filter with exposure f/16, 8 seconds and ISO 200.
If you are looking for a change with your water photography, consider a neutral density filter, but most importantly, have fun. And, if you are interested in a Singh-Ray ND filter (or any filters), use code Amy10 for 10% off their filters at https://singh-ray.com/.
A clean background can make or break an image. While walking near a waterfall outside of Ouray, CO, I spotted a Richardson’s Geranium with buds just beginning to open. So, I set up my tripod and grabbed my macro lens. After capturing the image on the left with the natural green background, I placed my diffuser behind the bud to block the wind. Then I noticed I could capture an image with a white background as well. Both backgrounds are clean and simple, but express the buds differently.
The image on the left has noticeable backlight on the buds but the image on the right highlights the red balls on the hair of the stem. Which do you prefer? The Olympus OM-D EM-1 Mark II, 60mm macro lens and settings: Left image: f/4.5, 1/180 sec, ISO 1600. Right image: f/4.5, 1/60 sec, ISO 1600 (notice the faster shutter speed due to the white background.)