My journey to the Fujifilm X-T2 wasn’t exactly straight and narrow and it definitely wasn’t conventional by any stretch of the imagination; but 8 weeks into the switch, here I am writing about the whats, the hows and the whys of why I started down this amazing path. 

Let me start by saying that I had honestly never even considered switching back to an APS-C format camera or even to Fujifilm for that matter until a few months ago. The limited technology of the sensors in the APS-C cameras always turned me off for a number of reasons. The main reason being the lack of Dynamic Range, (ability to pull detail from shadows and retain detail in slightly overexposed regions of the image) followed by the lower megapixel count and the noisier high ISO files. I was determined to stick to a full frame system because I wanted more DR, more megapixels and more technology, plain and simple.

So why the change in heart?

My Love-Hate Relationship with Sony

I was in a bit of a weird situation when it came to my photography gear. I had moved on from my trusty Canon 5D Mkii to a Sony a7R with a Metabones Mkiii Adapter and Canon L glass to save weight, increase dynamic range, increase megapixels and to improve the overall Raw file quality. That was all well and good but there were a few things that I started to realize after shooting with that franken-system for a few years:

• The already mediocre weather sealing of the Sony a7R was further compromised by the use of a lens adapter
• Waterfall mist and rain literally caused my camera to shut down on multiple occasions
• Autofocus is useless when pairing Canon lenses with the a7R (this was mostly remedied with the a7R ii, but still limited)
• Shutter shock will ruin your life and no I’m not kidding
• The battery life was atrocious
• The menu layouts could have been better

All in all I loved my system, don’t get me wrong, but it did have some serious shortcomings and they began to become even more evident as I started to work with longer lenses.

Enter shutter-shock. In all honesty the a7R should have never left the manufacturer floor with how bad the shutter-shock issues were… and yes I’m being serious. Whenever I shot with anything longer than, say, 100mm with a longer lens I always had to take at least 10-15 shots to ensure that I had one useable file. Yes you heard that right; 1 in 10 images were useable when using longer lenses on the a7R. That’s unacceptable. That problem alone gave me serious pause and it really made me re-evaluate my equipment.

Let’s face it; time is money. Let’s say you’ve got a 10 second window to capture ‘that’ moment and you fire off as many shots as possible only to find out, upon reviewing your files, that none of them are even useable. That shot could have landed you a cover, could have sold a ton of prints or it just could have meant a ton to you. It could have been something that you had been chasing for a very, very long time and now that moment is gone. 

Additionally, anyone that tells you that Sony doesn’t have a weather sealing issue is either paid by Sony or is the luckiest person on earth when it comes to their gear. When I say that a camera has a problem; it’s not taken lightly and it’s not a brash or off hand comment. The a7R had some serious weather sealing issues. If rain, water fall mist or anything of that nature even so much as blinked at the a7R it would literally shut down. It shut down in hot weather, in extreme cold weather and in any sort of wet or damp environment. The battery life was down right atrocious. I treat my gear like gold, because frankly, I don’t have the money to replace it (yes I have insurance) and if I felt like a situation was too severe for the camera; I just put it away. That shouldn’t be the case when you’re spending $2k plus on a camera. The bottom line is that we should expect better and Sony needs to step it up (supposedly they have with the a9, but that is yet to be seen). 

Not to get too philosophical here; but photography companies owe it to their customers to do better and to improve. We spend a lot of money on equipment and often promote the use of said equipment for free because sponsorships are few and far between. I’m glad to see that many companies are moving in that direction, but it’s been a long time coming. As the market continues to shrink I really do hope that these companies will start actually listening to guys like Rishi over at DPR and folks that aren’t sponsored, but do spend a lot of hard earned money on equipment.

End rant.. sort of.

My Goals for the Switch

Okay time to come down from that pedestal. All in all I was frustrated, and I was in a situation where I had the perfect opportunity to move on and to explore my options in terms of what I really wanted to achieve in photography and what gear I would need to purchase to make those achievements possible.  

I had four major priorities in mind:

1. No more adapted glass
2. Better weather sealing and battery life 
3. Improved autofocus capabilities 
4. Comparable Raw image quality and DR
5. Incredible lens quality and selection

I was looking at three different options. The 5D MK IV, the Sony a7R ii and the Fujifilm X-T2. I had Canon mount glass that I was quite fond of, so I wasn’t too keen on getting rid of it and I still had the a7R and my Metabones adapter.

The a7R ii was definitely a strong second choice, but three things really held me back from making the commitment. The price tag, adapted glass and the weather sealing issues. The a7R ii’s image quality is the best on the market IMO, the only thing that beats it currently with respect to DR is the Nikon D810 at ISO 64. That being said, the thought of using adapted glass made my stomach churn (diminished AF capabilities w/ adapted glass despite all of the AF improvements in the a7R ii) and the weather sealing issues gave me straight up anxiety. There’s no reason that you should have to be worried about using a $3k camera in inclement weather conditions.  

The Canon 5D MK IV was something that I did consider for a while, but again the price tag and the fact that it didn’t perform quite as well as the a7R ii for almost $1,000 more really put me off. The DR in the 5D MK IV is definitely improved, but if I’m spending that kind of money I would just assume by the a7R ii. The AF performance with the Dual Pixel technology is definitely a huge leap forward for Canon.

With all of that in mind; why Fujifilm?

My Journey to Fujifilm

So, with out the way let’s move on to why I ultimately decided to go with the X-T2. Fujifilm wasn’t always on my radar, but after working at DPreview for a little over a year I got to experience the X-T2 with my own two hands and I fell in love with it. The simplicity of the twin dials, the relatively intuitive menu system and the quality of the lenses immediately captured my attention, but what about the files and the DR? After all that’s just about the only thing that folks in the landscape field care about, right?

Have a look at this DR chart from Bill Claff:

Convinced yet? Yes, yes I know the X-T2 still falls behind the 5D MK IV and the a7R ii, but keep in mind that you’re looking at an APS-C sensor versus two full-frame sensors. That’s downright impressive. I’ve been able to pull 2-3 stops of shadow recovery from my files with no banding or loss of color and detail. Do you really need more than 3 stops of DR? If you know the limitations of your system, you can learn to work within it. If that means firing off an extra exposure in super dark conditions , then so be it. It’s not that big of a deal. Too often folks get so bogged down by the technology that they forget the basics of photography… if you know your camera you can adapt it to any scene; no matter how much DR is present. 

As you can see, the DR is more than acceptable, but what about the overall Raw image quality? The Uncompressed Raw files are impressive if you know how to deal with them. The X-Trans platform makes post processing a bit of a challenge. There have been several articles discussing worm like issues in trees and foliage thanks to some compatibility issues with the Adobe sharpening algorithms and these Raw files. 

Fear not! There is a solution! David Kingham was kind enough to let me know about an amazing DNG conversion tool by Iridient. This X-Transformer adds one extra step to my post processing workflow, but it’s so worth the effort! You can try the converter for free to take it for a spin before you decide to purchase it (trust me you’ll want to purchase a license). The files will display a watermark, but you’ll get an idea of how the converter performs. Here are the settings that I currently use: 

Using these settings will enable you to bring these DNG files into Photoshop to process them further. To get the most out of the files use Unsharp masks and High Pass masks for sharpening. Don’t use the sharpening sliders in ACR or Lightroom on these files, they still present some nasty problems… cue Adobe to get that fixed!

All in all the Uncompressed Raw files give you plenty of latitude to play with! 

Lenses, AF and Weather Sealing

So the files look good, but what about everything else? Let’s start with the lenses. The quality of the Fujifilm glass is downright legendary. They have a nearly full line up of weather sealed XF WR lenses. The only lens that they are currently missing in my opinion is the 8-16mm F2.8 XF WR that will supposedly be released in late 2017. 

I currently own the 23mm F2 XF WR, the 100-400mm F4-5.6 XF WR and the 10-24mm F4 XF. All of these lenses are bonkers sharp (keep in mind that the equivalent focal lengths are 35mm, 152-609mm and 15-36mm, respectively). The sunstars that both the 23mm and the 10-24mm produce are exceptional, and that’s something that I don’t take lightly considering that I’m coming from the legendary Canon 16-35mm F2.8L Mkii sunstars. 

I used the Fujifilm XF 100-400mm f/4.5-5.6 R LM OIS WR Lens extensively (I took nearly 1500 images with it) while on my trip to Alaska and I can tell you that the lens is extremely sharp throughout the entire focal range, even when shot wide open. To say that I was impressed by these lenses is an understatement. The quality construction, the weather sealing, the smaller size and the inconspicuous appearance make them a force to be reckoned with and I’m honestly surprised that they aren’t talked about more. I realize that the X-Trans platform makes them difficult to test for companies like DxO, but it’s high time that these lenses start getting the praise that they deserve.

How about the AF? The AF has been improved a great deal over the X-T1 and offers an impressive 325 points, with improved subject tracking. Honestly it’s great for wildlife in nearly every use case and it works extremely well for locking focus on stationary subjects such as landscapes. Check out a more in depth analysis here. 

But is it weather sealed?? The X-T2 sports more robust weather sealing than the a7R ii, but not quite as robust as the Pentax K1 or the Olympus OM-D E-M1 Mk ii. I haven’t had any issues with the camera to date, and I don’t expect to since I’ll be using the native weather sealed lenses along with the weather sealed body. The camera is rated to work in temps as low as -10 degrees C. I haven’t been able to put that claim to the test yet, but I plan to this winter. Rain, waterfalls and snow don’t scare me with this camera in hand.

Did I mention that I only have to carry 3 batteries with me at all times instead of the 6 that I carried with me when I shot Sony? Cue my happy dance.

Final Thoughts

Part of the appeal for switching to Fujifilm for me was to make photography fun again. The control layout, the overall feel and the look of the camera harken back to the film era to some degree and that sense of nostalgia coupled with modern technology just tugs at my heart strings. The camera not only does what I need to do, but it also allows me to have fun doing it!

Fujifilm may not be for everyone, but I don’t think that you need to let the term APS-C or that 24mp number scare you off. The camera is more than capable of capturing every scene you can imagine; you just have to, as in any system, understand its limitations and learn to work within them. After all, a camera is only as good as the photographer behind it.

Updates

Well, it’s been nearly 8 months in and I’m still very happy with my decision to switch. Since writing the original post, I picked up the 35mm F2 XF WR lens (which is amazing to say the least) and I’m planning to add the 16-55mm F2.8 XF WR and the 8-16mm F2.8 XF WR (when it finally comes out) to my collection as well. Enough GAS; how’s the camera holding up? I’ve used the camera in rain, sleet and snow and I haven’t had ANY issues with the weather sealing to date. The lenses and the camera body have both held up impeccably in adverse weather conditions.

The battery life in cold weather seems to be markedly better than the a7R as well. I only carry three batteries with me at all times, as opposed to the 6 or 7 I would have to carry with the a7R. As a whole, I’m loving the menu layouts and the control dials more and more. It’s extremely easy to make changes on fly and I’ve found that the exposure metering tends to be very accurate. The firmware updates that are released on what seems to be a continual basis keep improving upon the camera’s already amazing features. I’ve noticed improvements across the board with the updates so far.

The AF works very well. Once in a while you can miss focus (especially with the 100-400mm lens). It happens, but for the most part the AF is very accurate and a lot of the error falls back on the user (me). It’s been a bit of a learning curve, but I find myself nailing focus more often than not. The majority of the time I find myself using single point and recomposing if need be. Later this month I’ll be shooting some wildlife (owls) and I plan to write a blog post on how the camera performs. Yes I know that birds shouldn’t be that difficult to nail focus on, but owls tend to hide out in wooded areas and tall grass, so it should present a nice challenge. 

As far as post processing goes I’m still using the Iridient Converter and I haven’t run into a file that I can’t work with yet in terms of DR. I have yet to find myself in a situation where I’ve needed to blend exposures to recover shadows and/or highlights. I’m planning to migrate to the creative cloud at some point, so it will be interesting to see how ACR handles the RAF files. From what I’ve heard, the Iridient Converter still works better than trying to work with a RAF file in ACR. In terms of high ISOs; I haven’t pushed the camera a ton, but the files up to an ISO of 3200 are very useable and I don’t foresee myself ever needing to go beyond that. 

So what’s on the horizon? I don’t ever foresee myself leaving Fujifilm. I may eventually purchase the medium format GFX 50S (or whatever the next iteration will be), but for now I am very happy with my purchase and moreover I’m happy sticking with Fuji. I’m definitely looking forward to seeing where this journey takes me next, so stay tuned!

The post Why I Switched From Full-Frame to the Fujifilm X-T2 appeared first on Chris Williams Exploration Photography.

Check it out here: https://fstopandlisten.podbean.com/e/009-chris-williams/

The post F-Stop Collaborate and Listen Podcast appeared first on Chris Williams Exploration Photography.

Let’s face it; we live in a world of saturated colors. In recent years it seems that the popularity of a photo is dictated by the ‘wow factor’. Saturated colors, composites and over the top scenes are what currently drive much of the landscape photography that we see on social media sites like Instagram, Facebook, Flickr and yes even 500px. When it comes to popularity those are the images that go viral and sell like hot cakes (at least for some people). It really begs the question; is black white landscape photography dead? I realize that this might be a bit of a bold question, but I think that it’s relevant. Stay with me.

Black and white photography got it’s start long before color photography was even possible. It was essentially the father of modern day photography, but ironically, many people treat it as more of a novelty today in landscape photography. I think part of this is due to the fact that we only see the world in color through the camera’s viewfinder, image preview or in the Raws that we capture. Seeing the world in color forces us into a creative corner, so to speak. There are a handful of cameras on the market that offer black and white film modes (Fujifilm and Olympus) and even one camera that currently shoots solely in black in white; the Leica M Monochrome, but outside of that you’re really left to your own devices as far as imagining what a composition could look like in black and white. That’s where the major road block hits most photographers; when you’re out shooting you don’t typically take the time to think “Hey this would look amazing in monochrome!”. Let’s face it, that just isn’t a reality for most folks. Most of that realization occurs when you’re in the digital dark room editing your images and you realize that the colors don’t work or the light is begging for a higher contrast edit. That’s when the lightbulb kicks on and you think to yourself “Let’s try a quick mono conversion!”, and bingo you just fell back in love with the image that was causing you so much processing grief (admittedly, I’ve been guilty of this at times).

I’m going to make a bit of a blatant statement here, but I think that black and white photography largely comes as an after thought for most landscape photographers today. Sure, there’s a handful of us out there that shoot almost exclusively for black and white, but I would venture to guess that we’re in a small minority. So with that said, what can happen if you start to solely shoot for the purpose of producing black and white imagery?

Color Management Issues Become Irrelevant

I think that most of the landscape photography community can agree that saturation has gotten a bit out of hand over the past few years. Color bombs are everywhere and they’re an endless source of frustration for many of us. By eliminating the color in the image, it really forces you to pay attention to the subject, the lines, the contrast and the light. Color can, in some cases, really
take away from the overall appeal of the image, especially if you over-do it (everyone seems to have a different opinion of how much is too much and they aren’t afraid to tell you in most cases). Color theory and color management can become a huge point of frustration, especially if your monitor calibration is off, but these frustration become largely irrelevant in black and white photography. Even though the color issues may disappear, luminosity becomes more important than ever.

Luminosity Control is Key

It’s important to point out that colors will present themselves in a variety of shades when converted to black and white and luminosity plays an even more important role in your photos. Maintaining the luminosity (the perceived brightness of a color) of the colors present in your image during a black and white conversion is extremely important. The luminosity effects how the grays are perceived in your image. Red, green and blue will all present themselves differently when they are converted to Greyscale.

Red (left), green (center) and blue (right) are converted to their greyscale equivalents in the above image. This is roughly the way our eyes interpret those colors; 30% Red, 60% Green and 10% Blue, where the Green lightness is double that of the Red, much like our eyes see; there are double the number of Green color filters on a camera’s Bayer array as compared to the Red and Blue. As you can see luminosity, or perceived brightness, is much more important in a black and white image. The bottom line is that if you’re going to remove color from your image, you need to know how the greyscale tones relate to each other and how to control how they are presented in your image. The nice thing about this is that it really comes down to personal preference and how you want your image to look. Changing the luminosity of the above shades of grey can dramatically change the look and mood of your image. It’s important to keep this in mind when you’re in the field because the colors in your composition can and will shape how your image will translate to black and white. 

Presentation of light becomes critical 

One of the most important aspects of black and white landscape photography is the presentation of light and shadow; it can dramatically change the overall impact of the image. The key is to emphasize the light that is already present in your image. When you’re in the field pay attention to how the directionality, the quantity, the quality and the brightness of the light impacts the overall scene. It’s equally important to look at how the shadows and dark regions in your composition effect the overall image as well.
Placing an emphasis on light and dark, while maintaining a level of detail is really one of the best ways to give your monochrome photos a more dynamic and three dimensional feel and that process really begins the moment you take the image. When you start to pre-visualize your images in black and white, you really start paying attention to how light and shadow are presented throughout the scene. This can be difficult to do in the field, but with practice it almost becomes second nature. If done correctly; the presentation of light and shadow can really take your black and white imagery to the next level. 

Black and white landscape photography really lends itself to more dramatic post processing. In a sense the realism of the photo is changed dramatically once color is eliminated. This allows you to become much more flexible than you otherwise might be with respect to post processing. The photography of Ansel Adams is a great example of this in that he used fairly dramatic post processing in the darkroom to emphasize light, lines and the overall composition. Don’t be afraid to push your artistic limits in the black and white medium to really emphasize the light that is present in the scene.   

Lines, shapes and patterns are emphasized

When color is eliminated, the lines, patterns and shapes that are left behind are emphasized and can be emphasized even more through post processing. Repeating patterns and textures can add a great deal of visual value to your black and white imagery. With that in mind; black and white photography and abstract/intimate scenes can compliment each other quite nicely. Subjects that have repeating patterns like stands of trees and succulent plants provide an amazing starting point for a black and white conversion. Subjects like water can work extremely well as leading lines in a composition; think of the water as a bright line carving through the dark regions in your composition. Anytime that you notice a pattern or a distinct line in your composition; chances are that you should be able to emphasize that feature even more though a black and white conversion.

Composition is King

A black and white conversion places strong emphasis on your composition. Since color is irrelevant, you really have to make sure that your composition is fairly strong to begin with. Some compositions just won’t do well in a conversion. If the light is relatively flat or if the image is largely one color with no repeating patterns or shapes a black and white conversion just may not work. Don’t force it. It’s important to not only realize the strengths of the medium, but also the weaknesses as well. If the conversion feels forced, chances are it probably is. Pay attention to your composition and how the light and shadow emphasize or detract from it; this will be critical to the overall success of your image.

Is Shooting Film the Answer?

Pre-visualizing your compositions in black and white can be pretty darn difficult, especially in the field when the light is changing and the conditions are deteriorating. One of the best decisions that I recently made was to shoot my Olympus OM10 (I know not the best 35mm film camera; working on picking up an OM-2n) with Ilford HP5 Plus ISO 400 black and white film. I know this sounds like crazy talk, but shooting with black and white film really forces you to visualize your compositions in black and white. It’s actually helped me a great deal and I’m looking forward to seeing how much this endeavor will impact my shooting with my a7R.

Final Word

I know, I know I still haven’t answered the question; is black and white landscape photography dead? The answer in short is no, absolutely not. In fact I think it’s more important than ever given the direction that the field is headed. In fact I think that black and white photography may actually save the field as we know it today and photographers like Sarah Marino are driving that point home more than ever before. In a sense the medium forces you to focus on the basics of photography, the bare bones if you will. Composition, leading lines, subject and light are all critical to the success of a black and white image. Throw color into the mix and a lot of those factors can take a back seat. I’m not saying that color can make up for a weak composition, but I think that it can distract from a strong one, if it isn’t managed correctly.

Giving black and white landscape photography a chance just might change the way you see photography today. It can be a powerful medium if implemented correctly and it just might be what the field needs to get back to the basics of what makes a photograph truly speak to the viewer. It may not be for everyone and it may not work in every situation, but it can certainly make a huge impact in the way you view photography today given the right conditions.

The post Black and White Landscape Photography: Why it’s still relevant today appeared first on Chris Williams Exploration Photography.

This image was taken in a hidden canyon in Zion, Utah

I love Iceland and Patagonia, but I have to say, seeing the same compositions from famous locations, albeit in different shooting conditions, over and over again is driving me absolutely crazy. In a broader sense, those locations aside, it really begs the question; is creativity dead? I know that some locations are very limited compositionally and I know that there can be other physical limitations as well, but I think that we as photographers owe it to ourselves to do better. I think many of us see those all to famous compositions while researching these well-known locations and we make a subconscious mental note to snag that shot. I think it even goes further than that; even seeing a captivating image from these locations forces us to put subconscious creative blinders on because we have to have that photo in our portfolio.

I’m not saying that we need to write off those ‘bucket list’ shots, because they do serve a purpose from a marketing and sales standpoint. What I am saying though, is that I think allowing sales and marketing to limit us creatively is doing a serious disservice not only to the progression of the field, but to our own personal progression as photographers and teachers as well.

When I first started out in photography I made the mistake of going after familiar compositions because well, it’s easy to do. It’s easy to see an amazing image from someone that inspires you and to gravitate toward immolating it. I think that we’ve all done this to some degree at some point in our careers. The question is; how do we break free from that mindset?

Personally, I have been working a lot harder as of late to shoot scenes in new and creative ways using different focal lengths and creative means to get myself out of any creative slump that I may encounter and to steer myself away from compositionally iconic images. Whether it be using a drone to gain a new perspective or using a super telephoto lens to pick out elements in a scene that speak to us, I think that it’s time to move on from the stereo typical compositions and to seek out something fresh and innovative. 

The best part about pushing yourself to try new things is that you don’t have to fly to Iceland or Patagonia to do it. Many of these opportunities can be found in your own backyard. The Pacific Northwest is an excellent example of this. There’s a never-ending supply of not only iconic locations, but also new and inspiring locations in our region. Seeking something new and different isn’t supposed to be easy. You have to work for it and the path won’t always be straight and narrow, but it’s the journey itself that I find to be one of the most inspiring parts to this whole process. In the past year alone I’ve seen a fairly marked change in the ways that I approach any given scene photographically. I think that forcing myself to move from what’s comfortable has expanded my creativity and has pushed me to move in different directions photographically.  

My challenge to myself, as this new year swings into full gear, is to push myself and to motivate others to push the field to new heights, creatively. Go to familiar locations and diverge from what’s easy, find new locations and explore them. I know that there’s more to be seen beyond the status quo and it’s up to us to push ourselves to find it.       

The post Consumption, creativity and their impact on landscape photography appeared first on Chris Williams Exploration Photography.

Can you believe that 2016 has already come and gone? As the New Year approaches I decided to take some time to reflect on what 2016 has meant to me and just where I see myself heading in 2017. To say that 2016 was a big year for me would be an understatement. I got married, photographed a fairly large chunk of southern Utah, experienced shooting lava on the Big Island, spent a fair amount of time shooting locations around my home in Washington state and started working full-time for DPReview. I definitely have a lot to be grateful for this year and it’s going to be hard to top 2016, although I’m definitely going to give it a run for its money!

Photographically speaking this year was full of ups and downs. Between my career change and the wedding, I had a lot on my plate, which meant that I definitely had to make the most out of every photographic opportunity that presented itself this past year. This meant that I had to buckle down, focus and get creative. Additionally, if that wasn’t enough, I decided to try to reshape my personal image of what ‘popular’ photography is and what it means to me. 

I spent a lot of time this year reflecting on just why we create photos, why we go through the hours of driving, shooting and processing the images that we share. This year, more than ever, I realized just how important it is to shoot for yourself and to really create images that offer not only personal satisfaction, but also a sense of place, a sense of being and a story. Photography shouldn’t be about epic light and who got the best conditions in any given year, it should be about personal progression and overcoming adversity.

As photographers, we often dwell so much on what’s popular on social media or if a photo will sell that we often lose track of why we got started in the first place. I spent a lot of time soul searching this year and really asking myself why I create the images that I do and just what I hope to accomplish with them. My images may not always be ‘what’s popular’ or ‘what’s main stream’, but that’s not my end goal; my goal is to create work that inspires myself and others to try something new and to look beyond the lens.

Looking Beyond the Lens

Looking beyond the lens is something that I think that we all need to do from time to time. Put down the camera and just take it all in. This became even more apparent when I was out on the lava field shooting the ocean entry where new land was being created right before my eyes. My family has a long history in Hawai’i; we immigrated to the islands in mid to late 1800’s. To say that seeing the lava entering the sea was a spiritual experience would be an understatement. My connection with Aina, the land, my ohana and the culture made me realize just how small we are in this world and to really respect the time that we have to take it all in. Photography has opened my eyes to a lot of things this year, but that was one particular thing that has persisted and will for the remainder of my life.  

In order to develop my photographic vision this year and to look beyond the lens, I spent a lot of time behind my Canon 70-3oomm F4-5.6L IS telephoto lens. Minimizing scenes with long focal lengths really forces you to think outside of the box and to look beyond the lens in order to really break a grand scene down into its parts. Many of the grand scenes that we take in are only so because of the sum of their parts. Each portion of the scene can tell a story; it’s up to the photographer to decide how to decipher the story and how to present a portion of the scene that can stand on its own.

This can be extremely challenging and it definitely takes some time and a great deal of trial and error to come up with a methodology that works. This is something that I’m planning to do a lot more in 2017 as I’m looking to expand my reach to around 600mm to really capture some unique compositions.

Setting Goals

As this year comes to a close I find that it’s a great time to not only reflect personally, but to also take in all of the work that your favorite photographers have published as well. Education in photography is a never-ending process. I find myself constantly yearning to learn new things all of the time. In the end your personal progress is only hindered by the creative walls that you put up. You have the ability to do whatever you set your mind to and in 2017 I plan to to push myself even harder in that respect. Have a very happy New Year, everyone! Best of luck to you in 2017!

The post 2016: A photographic year in review appeared first on Chris Williams Exploration Photography.

I’ve been reflecting a lot lately about how much personal style and taste has changed over the years.  I’ve found myself really refining and in some cases dialing back the way I process images.  When I first entered the field in 2012 I was absolutely blown away by the stuff I would see on 500px, Flickr and Facebook.  So much so that I would often try to imitate not only the types of shots but the editing style as well.  The problem is no one can REALLY shoot that type of scene like the person who innovated the process or refined their own personal style.

You can nearly always tell when someone has taken a skype lesson or a tutorial from an artist with their own personal flare; as it resonates with the image.  The problem is what people fail to realize is that these lessons and learned skills are just tools to your own creative process.  Too often I see folks limiting themselves to what they see on 500px or what they’ve been taught.

Something that I wish someone would have told me when I first got my start is to be inspired by others but to also develop your own unique style. Learn from the images you see, but don’t limit yourself to their constraints.  Find your own voice and let your photos speak for you.  It really comes down to is a simple question; who are you shooting for?  Are you shooting for yourself or are you shooting for likes and publicity?  What motivates you?  To find your own voice through your images you have to dig deep into your creative process.

Don’t strive to be different, but strive to be you.  I think too often we push ourselves so hard to nail the shot or to think outside the box that we miss the mark all together.  I’ve said it before, but I think it bears repeating; imitation is a form of flattery, but at what cost to your own creative process?

Personal growth is something that I think never really stops in photography.  I look back at my images from even two years ago and cringe.  I think we’ve all been there.  As much as it hurts my eyes to look back through my work it is rewarding in a lot of ways.  It’s fun to see how far you’ve come not only compositionally but also in processing as well.  We are constantly learning.  As the tools improve our skill sets will shift in an inevitable ebb and flow, but your creativity and innovation will always be your foundation.

The creative process is how we all grow individually as photographers. It’s how we develop the style that sets us apart from the masses and it’s how we breathe life into our images.  Know your shortcomings and work to improve in those areas.  Is there a particular type of scene in landscape photography that poses a weakness to you?  Shoot the hell out of it.  Learn the ins and outs of it and improve where improvement is needed, refine where refinement is needed and don’t give in to your self doubts.  No one can dictate your success.

Egos

One of the things that perplexes me the most about landscape photographers is the sheer volume of arrogance and ego that seemingly go hand in hand with success.  Folks seem to forget that at one point in time no one knew their name, their post processing probably needed work and their images lacked interest, yet those same folks stand a top their soap boxes and intimidate the hell out of anyone whom they feel is wrong or may have crossed the line.  Let’s face it.  In the digital age the lines that define fine art and true photography are blurred.  It’s a very, very messy subject and one that I don’t want to get involved with quite frankly.  Everyone has an opinion on the matter and every social media thread seems to end up in the exact same place; you do you and I’ll do me.  In some cases, yes, things need to be addressed; like when Marc drops a sky and the internet loses their collective minds for instance.

Overall though, I think we owe it to ourselves as photographers to support one another, drop the cliques and help the field progress in a positive manner.  So much of what I read on social media is so toxic; people are bashing and belittling each other left and right.  Is that really what the field has come to?  Instead of spending so much time focusing on negativity how about we work to progress our art and push the field in a positive direction.  Forget your egos and pick up a camera, the field will be better for it.

The post Limitations of Imitation in Landscape Photography appeared first on Chris Williams Exploration Photography.

Developing an eye for composition in landscape photography is something that takes a great deal of time and practice in the field.  Sure, some folks don’t have to work as hard but you’ve got to put the hours in behind the lens to really gain a solid understanding of what elements make for a strong composition.  I can’t tell you how many times early in my career I completely botched a composition or just missed the mark all together.  One thing that I’ve learned over time is that you absolutely have to pre-visualize your shot.  How do you want to process it?  What elements do you want in the scene?  Where are your foreground elements? Leading lines? Focal point? What direction is the light entering your frame?  Does it work?  Does your composition look balanced? Do you have complementary colors throughout the image?  Is there symmetry or are there patterns present? Is the image interesting?  These are all questions that constantly fill my head when I’m in the field.  Now the question I’m sure you’re asking is “How in the world do I do that when everything is changing, the conditions are deteriorating and the good light is slowly burning out??”

I know it sounds complicated but I promise you; it’s not nearly as bad as it seems.  Pre visualizing the shot starts with four key elements – the direction of the light, the focal point, the foreground and the leading line(s). The focal point is often the first thing that your eye gravitates toward.  It could be a waterfall, a mountain or even a stand of trees.  If your eye gravitates toward it chances are it may serve as a good focal point to build your composition around.  The next step in the process is to look for a leading line that guides your eye through the scene to your focal point.

The ‘line’ is figurative of course.  It can be a rock formation, a river, a series of interesting trees, vegetation or foliage, flowers, or even a trail.  Choosing the correct leading line can have a large impact on your image.  It is important to note though that the leading line may not work depending upon the direction of the light in the scene.  All of the elements need to work together to form a pleasing composition. Let the light guide your eye to the focal point in the image.  Shadows and light play a huge role in guiding your eye through the scene and, when used correctly, can add a great deal of depth and interest to your photo.  Choosing the correct foreground (FG) can have a large impact on the success of your image.  I always try to choose a FG that offers a complementary color palette to the other elements in the scene such as the sky or mountains. Ted Gore published an excellent article on color theory so I won’t get too far into it here.  It’s safe to say that utilizing color theory correctly can really have a profound effect on the outcome of your image.

Texture and Layers

Texture is not something that’s often discussed in composition but I think that it’s crucially important to strengthening your composition.  Water texture is a solid example of this.  In some cases, soft water texture will work extremely well to give an image full of elements with an abundance of harsh textures such as rock and sand a more dynamic and ying/yang feel.  Texture can also convey a nice sense of movement as well.  Taking a shorter exposure of water for instance can add a great deal of movement to the scene. Balancing texture can be tricky but very useful.  I personally like to include elements that offer a variety of textures that work well together.  For instance; if you’ve got a series of jagged mountain peaks with clouds that lack interest try using a long exposure to convey movement and add a soft blurred look in the sky to contrast the sheer rock and ice. 

Utilize vegetation such as ferns, flowers or trees to add a contrast in texture to elements such as smooth rock, sand, fog or snow.  One of the reasons that foggy tree shots tend to work so well is the play on not only contrast but textures as well.  The jagged trees jutting out through the smooth rolling clouds and fog add a ton of interest to the image.  Texture can also be useful in setting up leading lines in a photograph. It can add depth, help with framing and ultimately solidify an already strong composition. Pay attention to the textures that are in the vicinity of where you’re shooting.  Look for ways to bring them into the scene to add balance and interest. The addition of texture, if used correctly, can draw your viewers into your image and ultimately help to shape the overall delivery of your work.

Layering on the other hand is a very popular theme in landscape photography- composing an image to bring layers and depth into the frame can add a lot of interest to your photo and can make it stand out from the crowd. I always try to add a bit of layering in my composition- even clouds and fog can add depth and interest. One way to go about doing this is to shoot in portrait mode. Shooting in portrait mode can compress the composition and can add depth by compressing the foreground, middle ground and background into ‘layers’. The other way to do this is to use longer lenses and telephoto work can often compress the scene and achieve some of the same things goals mentioned above.

Go wide or go home, right?

In truth this is a very loaded discussion, but if you’ve been paying attention to trends in landscape photography you will have seen a slight shift toward subtle, intimate and sometimes abstract scenes shot at longer focal lengths.  Shooting landscape images with long lenses (focal lengths that range anywhere between 70-400mm+) can be very challenging but a lot of the same aspects of shooting grand scenes can still be applied in many ways. Layering, light, leading lines, patterns, color profiles and a focal point all play a huge part in making a smaller scene seem grand and inviting.  Balancing these elements can be tricky given the constraints that a longer focal length can impose but the rewards can be plentiful!

When shooting scenes such as this, one of the first things I look for is depth followed by layering, framing and light.  If you see a focal point or a subject that looks amazing but lacks a solid foreground or is minimized a great deal by a wide angle lens, then you may want to switch things up and go for a longer focal length.  Zooming in on your subject can dramatically change the way the scene looks i.e. the presentation of light and contrast, the depth and the overall feeling that the image may convey.  Shooting longer focal lengths can also take a well known scene and transform it into something that almost renders it unrecognizable even to frequent visitors.

In the field I often mount the telephoto lens/camera combo on my tripod and pan throughout the scene using your viewfinder as a guide.  If you see something that really captures your eye or that you find yourself going back to snag an image of it! Don’t be afraid to experiment; play with the different focal lengths available to you.  Zoom in and out on a subject to see what looks best.  Take multiple images of the same subject at different focal lengths; you may find that one works overwhelmingly better when you begin your editing process and trust me you will kick yourself if you don’t have options to look at.

Information Overload

Personally, I think that one of the biggest issues that landscape photographers face in the field is information overload.  I think it’s happened to everyone at some point in their photographic careers.  It’s the point when you arrive at a location that you didn’t have time to scout, the light is going off and you’re completely overwhelmed.  You know you’ve got to nail down a strong composition in a short amount of time but where to do you even start? No pressure at all, right?  First things first; breathe! Take a deep breath and take in the scene.  Where’s the light coming from?  What focal point does your eye focus on?

Break down the scene and put it back together; does it have nice flow?  Does the sum of the parts contribute to the whole?  Don’t get fixated on one solid composition.  Look for alternatives. Take your camera off of the tripod and look through the viewfinder or use live-view.  Move around and get a quick feel for the different options that the scene may provide.  When I’m trying to determine how to put my composition together I look for depth, layering, curves and strong points of interest to guide my eye through the frame.  Remember that there are no rules in art, as in photography.  Placing constraints around your style and vision will only serve to hinder your personal development as a photographer and an artist.

Final Thoughts on Composition

In the end you are the artist and the photographer.  Be inspired by others but also develop your own unique style and eye for composition.  Imitation is a form of flattery but at what cost to your own creative process?  We are bombarded with inspirational content on what seems to be a weekly if not daily basis.  Learn from the images you see but don’t limit yourself to their constraints.  Find your own voice in composition and you will succeed.

The post Composition in Landscape Photography appeared first on Chris Williams Exploration Photography.

Here’s a moody black and white image of a gorgeous sunset at Ruby Beach, WA

Prior to starting this project I had worked with various monochrome techniques (producing photos with one hue of color such as blue) but I had never really, truly worked within the constraints of a true black and white framework.  I’ve always loved traditional black and white landscape photography but for personal reasons I always felt that I couldn’t fully convey the mood, the light and the overall atmosphere that I try to capture in my work.  It turns out that I was completely wrong.  I think that working within the constraints of a black and white medium really forces you to pay attention to the light, the contrast and the tonality in your RAW images.  A lot of folks tend to think that black and white photography is too old school or that you can’t apply today’s techniques to that art form or that it’s just bland. That stigma can largely be attributed to the way we view photography in social media today.  Everyone has become such a mass consumer of images, videos and other media that anything that lacks color or is subtle in nature tends to get overlooked.  I know that folks in the landscape photography community tend to pay attention to those subtle things, but as a whole I think that most folks love seeing the photos that pop and scream “Look at me!!”.

Black and white photography is not easy and it’s not for the faint of heart.  I actually think that working within the medium itself forces you to take big risks since it will only appeal to a select number of individuals outside of the landscape and fine art community.  I think the biggest reason for this is that the market has been saturated by folks that simply click a filter setting in their camera or do a quick change to black and white using Silver Efex or the built in Photoshop or Lightroom plugins that they may not have seen a true fine art black and white image.  I’m not knocking the use of these tools; in fact I think that they are a great starting place, but you definitely have to move beyond those plugins and understand that black and white images can offer just as much complexity in shadows, light, contrast and tone as their counterparts do in color.  Shifting your mindset and artistic vision is critically important to understanding the complex subtleties that black and white images implore and in doing so I hope that your eyes will be opened to the possibilities within the medium. 

An Experiment in Light

Breathless in Mono, Glacier National Park, Montana

When I first started working within the medium of black and white landscape photography one of the initial challenges that I came across was how to portray light, mood and atmosphere that I look to achieve in color images in a black and white framework.  I took many of the same techniques that I employ in my normal photos over to a monochrome framework and some worked and well some didn’t.  I think the toughest thing to accomplish is giving your monochrome images the same depth and dynamic range that you see in color images.  In order to do this I utilized luminosity masks, various high contrast layers, dodging and burning and my own version of a black and white conversion.

My process is a bit drawn out but my first steps always involve editing an image in color first to really get a feel for the light play, the shadow complexities and the overall mood and atmosphere of the image.  I then try to gain the same results within the black and white medium.  I think that first editing the photo as you would in color really allows you to breath more life into your monochrome or traditional black and white images.  Ansel Adams, Sebastian Salgado and even the painter Albert Bierstadt all utilized techniques to emphasize light and to show contrast and light play between the sources of light and darkness in the medium they were working in.  Putting emphasis on light and dark while maintaining a level of detail is really one of the best ways to give your monochrome photos a more dynamic and three dimensional feel.

What Photos Work Well in Monochrome?

Beauty Within in Mono, Mt. St. Helens, WA

This is honestly a pretty loaded question.  I think that all photos can work well in monochrome, to a certain extent, dependent upon how you process them and what your final artistic vision is for the photo. I think the ones that work the best though are photos that are dynamic in light, shadows and contrast.  Photos that achieve a great deal of depth through layering and photos that may not have that dynamic color range that you’re looking for.  Typically we are used to seeing extremely long exposure seascapes or just images that involve water in general portrayed in black and white because the soft tones and exposure settings really lend themselves to portrayal in monochrome.  That stigma has definitely begun to shift as folks like Luke Austin, Marc Adamus and Alister Benn present their fine art images within a black and white framework and I think that we may start seeing a resurgence in the treatment itself.  Many of their images depict that photos of all types can work well within the medium and that portrayal of light, mood, atmosphere and detail can be just as effective in a world without color.

I think the bottom line is don’t be afraid to think outside of the box and to try new techniques.  Personally, I find that working outside of my comfort zone forces me to become a more well rounded artist and it also forces me to change my perception on a number of things in the landscape photography field and community.

If all else fails if you’re not happy with how a photo is turning out in color, try editing it in monochrome; you might be pleasantly surprised by the outcome.

The post An Experiment in Black and White Landscape Photography appeared first on Chris Williams Exploration Photography.

Although I’ve touched upon the topic of social media and its impact on landscape photography before in a previous post: LANDSCAPE PHOTOGRAPHY AND SOCIAL MEDIA: A BLESSING AND A CURSE; I felt that it was important enough to add a bit more discussion and depth to the topic.

Mass Media and Consumption

Smoldering Embers – Mt St Helens – This is a perfect example of shot that I just had to get. I honestly love this area so I did this for a number of personal reasons as well.

The world of Landscape Photography is getting more and more crowded by the second.  Facebook, Instagram and several mass upload photography sites have inundated the fine art photography world with mountains and mountains of well for lack of a better word; crap.  Getting noticed and gaining relevance in this day and age is extremely difficult given the current environment we find ourselves in.  With that said the question that really stands to be asked is; why bother? Why bother pursuing a career in a field that has ultimately been consumed by copycat photographers who post the same compositions that have been shot hundreds of thousands of times over?  Patagonia, Norway, Iceland you name it are all being inundated by photographers chasing that one epic shot that everyone else has.  So, why struggle? Why fight? Why take photos at all?

I’ll be the first to say that I’ve been there; I see a photo online and I go ‘I NEED to get to that location, that’s completely insane!’.  I’ve done that more times than I can count.  With that said however how do you separate yourself from the thousands that came before you once you get to THAT location?  Why would you want to add to the never ending flow of comp stomps and stigmas that come with landscape photography?  I think the answer to all of these questions is simple and it boils down to one word; innovation.

Innovation is Key

For me innovation is key; it separates you from the masses and allows your photos to rise to the top.  For many of us photography is our escape. our passion and our way to reconnect with ourselves but I admit that it can be quite frustrating at times as well.  As artists we can all hit mental blocks in our creative process and photographic highs and lows.  Something as simple as changing your lens can open up a huge variety of possibilities. Thinking outside the box in regard to shooting, processing and marketing are all key to forming and maintaining a successful business and keeping the creative juices flowing.  With that said it all boils down to one thing; the photos.  They have to resonate with people; you need to make an emotional impact from the first time a potential client sees your work.  Most of all they have to resonate with YOU and make YOU happy.  The minute that photography becomes ‘work’ is the minute that you need to take a step back and really re-evaluate why you started down this journey in the first place.

Winter’s Embrace- Snoqualmie Pass, WA

The field is crowded and it’s only going to get worse as technology improves and more more people purchase their first DSLR.  I don’t look at this as a bad thing necessarily; I look at it as more of a challenge.  I actually enjoy going to overshot locations in hopes of finding some new way to present a well photographed scene.  Take your camera off of the tripod and play with different compositions; move around! Get excited about the scene!  That’s what photography is all about; feeling the energy of the moment and just having fun.  If you’re not passionate about your work it will show in your photos.  Not every photo is going to resonate with everyone but the key is that you pushed yourself outside of your comfort zone and tried something new.

History and Trends

Although many of us complain about the sheer volume of photos available today and how dilute the market has become we have to realize that this has ALWAYS happened in art throughout history.  Think about the various art movements in landscape work throughout history.  In the 1800’s artists like Brandt, Vedel, Monet and Millet all carved their niche in a very popular field of naturalism which eventually gave way to impressionism and artists like VanGogh.  Tens of thousands of paintings flooded the market during that time in an attempt to imitate the style that was sweeping the globe.  The only difference is that they weren’t nearly as visible as they are today thanks to social media and the internet.  Imitation really is a form of flattery; but directly knocking off someone else’s work is really detrimental not only to the photographer but also the field as a whole.

I’ve learned an absolute ton from photographers like my good friend Ryan Dyar.  He carved his niche in the industry by giving his photos a distinct look and feel in his post processing work along with very strong and unique compositions.  Take one look at the crowded field of landscape photography today and you can see just how much his work still resonates with photographers all over the world.  Ryan first introduced me to several different painters who’s work he really learned a great deal from.  One of those painters was Albert Bierstadt from the Hudson River School (along with other artists like Frederic Church).

The Central Cascades, Snoqualmie, WA

The way Albert portrayed light, atmosphere and mood in his paintings directly influences a lot of what I do today in my work and I think that his work indirectly influences a lot of the great photographers in the field today.  His paintings almost had a cinematic quality to them; like something you would see out of the films adapted from Tolkien’s books.  His style (as well as the style of other painters from the Hudson River School) is still very relevant today and whether photographers realize it or not, still has a huge impact on the field.  There are many imitators out there but only you can take the steps necessary to break away from the trends in photography.

Separating yourself from the crowd in post processing and understanding the fundamentals of photography is key.  I’ve discussed this quite a bit in some of my other posts about abstract photography and intimate scenes but it is very, very important.  Developing your own unique style of presenting, editing, and shooting your images is extremely important to personal satisfaction and overall success in the field.

I think all too often we succumb to trends and patterns that we are exposed to on a daily basis thanks to sites like 500px  but it’s our job as photographers to keep things fresh and to keep the creative juices flowing.

Among the Sierra Nevada Mountains by Albert Bierstadt. You can definitely see his influence of light, mood and atmosphere on modern day landscape photography today.

Avoiding the Pitfalls

Into the Unknown- I definitely channeled Marc Adamus’ For Eternity image in the processing of this one. This was taken at sunset and it’s a single shot at 300mm taken from Snoqualmie Ridge. There’s an airfield near by and I was lucky enough to catch one of the planes taking off into the sunset.

The competition that social media can lead to can stunt the personal growth of a photographer in a big way.  I personally don’t look at other photographers as challengers or as the field as a whole as a competition. I think we tend to get so blinded and frustrated by the success of others that we lose focus of our own creative process.  I think that it’s important to let other photographers inspire you! Inspiration is the key to innovation; you absolutely have to let go of jealousy, animosity or anything else that might be harmful to your own personal growth as a photographer.  I think it’s also important for folks that are just entering the field to realize that sometimes criticism and critiques can be a good thing! I’ve been there.  I’ve had my photos torn apart by Marc Adamus who is practically a God among landscape photographers.  It made me feel sick to my stomach at the time but  I can honestly say that it made me a better photographer.  It forced me to grow out of my comfort zone and to develop my own style and presentation of my work.  Don’t let yourself fall into the trends and styles of shooting that have been made popular by mass media.  Develop your own style and you will succeed.  Nothing is easy; I’m still learning and developing as photographer on a daily basis but I think the key is to stay humble and to keep yourself motivated.  Sometimes my shots turn out and sometimes I’m absolutely kicking myself for not going about them in a different way.  It’s part of the creative process and it’s all part of the journey to becoming that photographer that you’ve always aspired to be.

The post Art, Social Media and the Impact on Modern Landscape Photography appeared first on Chris Williams Exploration Photography.

Predicting the weather is never an easy task; especially when it comes to landscape photography.  We all hunger to capture epic light and 90% of the time it’s just a bust.  The timing is off, the clouds disappear, the weather patterns shift or you just don’t have your gear with you which most of us landscape photographers refer to as getting #debreezied (thank David Thompson for that one)!  On a serious note David’s an amazing landscape photographer; definitely check his work out! In any case getting the forecast right can be tricky and being at the right place at the right time can be even more tricky.  There are a few different groups out there that now have algorithms that can predict with some certainty whether or not there will be epic light on any given day.  Models are great and can be used as a guide, but I find checking traditional forecasts and knowing a few tips and tricks about living in the Pacific Northwest can help a great deal!  In this blog post I’m going to try to outline the methods that I use to capture epic light. Sometimes they work and sometimes it’s a complete bust, but the majority of the time I have found that paying attention to the following small details can help to predict beautiful sunsets and unreal sunrises here in the Pacific Northwest.

Know the forecast

Knowledge is power and understanding the weather forecast is crucial to predicting whether or not the light will be worth a trip to your favorite photography spot.  Understanding how the jet stream works and how it impacts our weather is critical to forming a forecast.  I’m not going to go into too much detail but think of the Jet Stream as an oceanic conveyor belt or river if you will.  Large storms that form over the Pacific Ocean ride along this conveyor belt and make landfall up and down the West Coast. Pressure gradients appear as lines or bars on a weather map.  If the lines or bars are close together that often means a strong low pressure system is in the area.  When the lines or bars are far apart it means that high pressure is present. When high pressure in place it moves the ocean river or conveyor belt north or south of us.  If the Jet Stream moves north we often get warmer weather.  If it moves south we can sometimes get lowland snow events depending upon the Jet Stream’s orientation near our coast.  The bottom line is this: High Pressure in general means poor conditions for sunsets and sunrises (especially on the coast).  Any time you see high pressure present in our area you can almost be certain that no clouds will be present in the sky.  That isn’t always a bad thing! Once in a while a cloudless sky can be beautiful when there are storms off of the coast or if a large atmospheric event is taking place like a volcanic eruption or a forest fire.  Events such as those kick up particulates into the atmosphere and allow for some amazing hazy light.  It should be noted though that pollution and fires can actually subdue colors.  That’s why you often only see reds and yellows when the atmosphere is cluttered with too much particulate.  I’ll go into that in more detail further on. Cloudless skies also offer incredible opportunities for night sky photography such as the milky way set against a stunning foreground like mountains and wild flowers. With that said clouds definitely do add interest to a photograph.

Pressure Gradients during a windstorm event. The closer the lines the lower the pressure is and the stronger the storm.

Cliff Mass is a very talented meteorologist that works for the University of Washington.  He uses a variety of algorithms to help him predict the weather and he’s usually pretty spot on.  I follow his weather blog and often check his extended precipitation forecasts as well.

I often use apps to help me predict the forecasts on the fly as well.  As you know most of the time we landscape photographers are on the road so predicting the weather can get tricky.  Luckily there are some pretty good apps out there for that!  I use the NOAA Radar App, AccuWeather, Star Walk and Tides Near Me to help me predict star forecasts, weather forecasts and where the tides will be when I’m out on the coast. First and foremost I always consult the weather blogs I mentioned above and the National Weather Service-Seattle  website to help plan my trips. Outside of using the current forecast models I rely on a few helpful tips and tricks that I’ve learned over the years.  I’ll outline them in the following paragraphs.

Follow the Cold Front!

For those of us that live up here in the Pacific Northwest we know first hand that we often get some amazing sunsets and sunrises before and after a big storm. Strong cold fronts often leave instability in the atmosphere before pushing on shore and after passing through the region which can lead to some of the most amazing light you can photograph in the region. I always try to plan my trips to the mountains and to the coast around storms and unstable conditions in the atmosphere; sometimes that’s just not possible but if my schedule allows for it I do it.

Generally speaking any time a cold front or a vigorous weather system is forecasted to hit the Pacific Northwest there is a good chance that you will see beautiful light.  It goes along with the old mariner saying: ‘Red sky at morning, sailors take warning’.  The red skies are caused by particulates and clouds in the atmosphere that are churned up by strong storm systems.  The more ‘stuff’ that gets kicked up by the storms the more color you will see during sunrise and sunset.  This occurs because as the sun sits lower on the horizon the angle of the light is such that it enters more and more of our atmosphere.  As light shines through the dust, water and other particles it is scattered and emitted at different wavelengths and we get gorgeous colors as a result.  Pure air often results in a much more colorful sunset. Ordinary sunlight is composed of a spectrum of colors that are graded from violets and blues at one end of the spectrum to oranges and reds on the other.  Air molecules are slightly closer in size to the wavelength of violet light than to that of red light.  Since pure air scatters violet light three to four times more effectively than it does the longer wavelengths the result of this is gorgeous colors during sunrise and sunset light.

The general rule of thumb that I go by is to follow the cold front! If you know a strong low pressure system or storm is approaching set yourself up to photograph the gorgeous light that precedes and follows the system.

Clouds! (in small doses)

Clouds can be a photographer’s dream or their worst nightmare.  It’s all in the cloud type and the timing.  Clouds act like an amplifier for light; they catch it and reflect it in gorgeous colors and tones.  Typically we see that higher clouds like cirrus and altocumulus absorb color the best because the light is unfiltered at higher altitudes; it hasn’t already passed through the dust and dirt in the lower portions of Earth’s atmosphere.  An example of this can be seen in the photo to the left.  The sunset that is photographed here over the Virgin River in Utah was probably the single most gorgeous one I had seen in a very long time.  The higher clouds seemed to glow with rich and vibrant colors as the light began to fade and twilight took hold.  On this particular night I was lucky enough to catch some amazing light on the lower clouds as well which is rather rare.

Low clouds can be a huge pain to deal with; especially out on the coast.  The marine layer that envelops the coast during the summer and late fall can wreak havoc with your plans to chase epic light.  Once the sun dips below the marine layer your chances are next to none for amazing light.  On the flip side lower cloud decks can also provide for some amazing conditions as well though! A lot of the most gorgeous sunsets that happen in tropical areas or out on the coast occur when the sun dips below the cloud deck and hits this narrow strip of clear sky right before the horizon and lights up the underside with brilliant shades and hues.  Skies like this are often associated with the exit and entrance of strong storms in the Pacific Northwest.

If you’re looking for amazing light stay clear of the marine layer and chase the storms.  The instability in the atmosphere before and after a large storm can really add to not only the variety of clouds but also the textures that are created due to wind shear in up and down drafts in the atmosphere.  Look for the high fluffy and feather like clouds proceeding a storm as well as low cloud decks just above the horizon.  If you see these conditions taking shape prior to sunset odds are you’re going to get quite a show.

If you see a marine layer off the coast don’t loose hope but also don’t hold your expectations too high! When I have to deal with a marine layer I often use my time to shoot moody twilight/star images or soft pastels that the winter storms can create.

Chase the Storms

If there’s one thing that I’ve realized over my brief time as a photographer it’s that storms are a landscape photogs best friend.  The thunderstorms and unstable air that follow cold fronts offer up some of the coolest weather conditions that you can find! I’ve found myself in the belly of some pretty nasty thunderstorms a handful of times and my persistence paid off in spades.  If you check the satellite images and see speckled clouds heading into the area proceeding a front grab your camera gear and head to your favorite location because chances are that the instability in the atmosphere will yield epic light, rainbows, lightning or just crazy cloud formations that can add some serious interest to your shot.

One of my favorite storm chasing stories came from an early spring trip to the Oregon coast.  I left fairly early on a Friday morning in a valiant effort to make it down to Cape Kiwanda to shoot the sunset because the weather was looking prime to either be a complete bust or something really special. We had an offshore low spinning in some really unsettled weather in the form of a few nasty thunderstorms and some heavy rain/sleet/hail showers which made the drive down to Portland a ton of fun to say the least. Once I hit PDX a hopped over to HWY 101 to make a few pit stops on the way down the coast. I finally hit Kiwanda in the late afternoon and managed to get about 45 minutes of sleep in before heading out in the late afternoon light to set up for what I was seriously hoping to be some epic light.

I checked my NOAA app and I was elated to see that thunderstorms were everywhere and the rain showers were pummeling the coast as the sun fought through to illuminate the area. I shot a set on the rocks down below the dunes with lightning striking in the distance and then made the climb over the massive sand dune near the haystack to shoot some of the more well known compositions in that area. I shot some moody wave action on the cliffs for a bit before turning my attention to one of more well known comps of the Haystack made famous by guys like Dyar and Noriega when all of the sudden BOOM. Thunder cracked over head and rain started coming down.

For whatever reason I decided to turn around and check out the cliffs directly behind me and they were absolutely going off. The sun had dropped right below the thunderhead and soaked the cliffs in warm ominous light. I scrambled down the slick clay (be forewarned it’s slick as hell especially when wet) shot over to the other side of the bluff and set up shop praying to the photography gods that I could get off a few clean shots. The light lasted maybe 5 minutes before being swallowed up by the incoming weather. It was definitely something I will never forget and it was one hell of a way to start my trip down the coast.

Stories like that are what influence my desire to get out and shoot no matter what the weather forecast is.  I don’t have a lot of free time so I can’t let weather dictate whether or not I make a planned trip but I do let it guide me to a location or a composition that might be made favorable by epic weather conditions.

Here’s another image from the same trip taken an hour or so earlier as the sun was setting. Lightning struck just off the coast and I was lucky enough to catch a few bolts on camera.

Storm chasing can be fun but it can also be extremely dangerous.  One of my more memorable trips came from the Enchantments of Washington State. I was in my 4 season bivvy camped out on some exposed granite slabs above Perfection Lake when one of the most intense thunderstorms I’ve ever experienced rolled through.

Let me preface this by saying I’ve been through some pretty damn intense storms but this one genuinely freaked me out a bit. The thunder and lightning were pretty much right on top of each other and our awesome choice to set up camp was right in the middle of it. Awesome. I seriously contemplated getting out to snag some shots, but quickly realized what a horrible idea that was being that we were so exposed so I decided to hunker down. My next fear was that the stream I was next to was going to overflow and wipe me out; thankfully that didn’t happen but the amount of rain that was coming down sure as hell made me think otherwise. It was pretty epic to say the least and to this day I still don’t know how we managed to get out of it unscathed. Never a dull moment in the Enchantments.

The bottom line is this: take precautions and always listen to your gut while shooting lightning or powerful storms.  If it doesn’t feel right then it probably isn’t and it’s best to get the hell out of there and live to fight another day.  No photograph is worth your safety or the safety of others.

The Take Home Message to Predicting Sunsets and Sunrises:

• Check the forecasts and do your research
• The NOAA radar app, the Cliff Mass Weather Blog and the National Weather Service are all great resources! Use them!
• Follow the Cold Front and pay attention to the jet stream
• High Pressure means CLEAR skies
• Avoid the Marine Layer on the coast (mostly summer/fall)
• Look for unsettled weather patterns and chase them!
• Stay safe and be prepared!!

Most of all have fun and may the light be with you!!!

The post Predicting Sunsets and Sunrises in the Pacific Northwest appeared first on Chris Williams Exploration Photography.

The post Seattle Japanese Garden appeared first on Chris Williams Exploration Photography.

Landscape photography has morphed its way into more of a popularity contest than an art form.  There’s not a day that goes by that we don’t see an in your face, ‘look at me!’ style of photograph gracing the front page of 500px or any of your favorite social media websites.  For me, my perception of landscape photography has changed a great deal.  Sure, don’t get me wrong I LOVE dramatic skies, epic vistas and jaw dropping presentations of the beautiful world in which we call home, but seeing the same areas, presented in the same ways over and over again drives me absolutely crazy.  I don’t think I’m the only one with that mindset. I think that social media has really been responsible for the demise of subtly.  Mass media photo sharing sites push those colorful square crops to the top in no time because as humans, well we love color.  Our eyes are naturally drawn more to colorful scenes; gorgeous sunsets, fields of flowers and starry night skies. We have a tendency to overlook the little things; nature’s footnotes if you will.

Personally I think that we as photographers can easily shift that ideal and find some middle ground by simply not limiting ones self to what’s popular.  That idea seems simple enough in practice, but developing an eye for subtle scenes and natural abstracts is no easy feet.

Seeing the Trees Through the Forest

I know this typically isn’t the way that this idiom is written, but it is quite intentional.  Often times we get so overwhelmed by the vast landscapes in front of us that we over look the subtleties and intimate details that make the landscapes themselves so unique and breathtaking.  The sum of the parts make the whole.  Sometimes it’s worth looking at just what those parts are comprised of and focusing in on the small details that most of us would otherwise overlook.  Finding the trees through the forest can be problematic from time to time; especially when weather comes into play.  I always try to look for patterns in nature.  If a pattern exists; it’s meant to be seen.  I personally look for objects or lines that really catch my eye and lead me through a scene.  From there I really try to focus on those lines, textures, patterns or objects of interest. Sometimes you have to let the weather and the conditions do the framing for you.

Fog, mist and low clouds can not only add some serious mood and atmosphere to an image but they can also help to frame and add depth to an image as well.  Let the clouds and fog help to guide your decision.  Look for breaks in the fog to emphasize a particular feature that you’re drawn to.  It could be a layered ridge line, a small stand of trees or even a mountain peak.  I think too often we get discouraged by crappy weather and low visibility when we should be looking at it as not only an opportunity but a challenge as well.  I love shooting in questionable conditions.  Some of my most memorable shots and experiences have come from shooting in some really challenging and for me evocative situations.  Don’t ever let less than ideal weather conditions discourage you from breaking out your camera.

Limitation is the Demise of Art

Limiting yourself to a certain style or preferred composition can seriously hinder personal development as a photographer.  I struggled a great deal with this early on.  I remember the first time a stumbled upon 500px and I was blown away by the gorgeous mountains surrounded by in your face wildflowers loaded with color and detail.  Don’t get me wrong.  I LOVE shots like that.  I have several in my portfolio, but sometimes it is nice to take step back from them to look for inspiration in other places.  Compositions don’t always have to blow the viewer away by the sheer ‘wow’ factor.  Subtle is good.  

Corn Lilies are an excellent example of this; there are intricate patterns and beautiful compositions to be found if you take your eyes off of the mountains and look to the slopes below.  Pay attention to the curves and turns in the leaves.  How can you best exemplify them?  When I put this image together I looked for symmetrical features that would make the central lily stand out from the rest of them.

I found several lilies that I really enjoyed but framing them appropriately just didn’t feel right until I stumbled upon the one that you see featured here in this image.  The light was perfect, the symmetry was there and the framing helped to exemplify what I was trying to convey.

Water can be an excellent source of inspiration if you know where to look.  Take a waterfall or a turbulent aqua blue glacier fed river.   Your initial inclination might be to find a way to represent the entire scene in a manner that evokes emotion or captures your eye in a unique way.  I find myself drawn to that mindset as well from time to time but I challenge you to look further into the scene and dissect it.  What section of that river do you find most attractive?  Is there a rock formation that catches your eye?  Does a certain tier in a massive waterfall lead your eye through the scene?  Instead of finding a way to work those features into a vast landscape let them take center stage.  Let those features speak for themselves.  After all there is a reason that your eye found them; they’re unique to the area and really epitomize the beauty of the sum of those parts.

The next challenge that you face is how to best represent the intimate scene you wish to capture.  What settings and shutter speed should you use?  Landscape or portrait?  What crop?  These are all questions that circulate in my mind while I’m out shooting in the field.  For waterfalls and any moving body of water in general I find myself drawn toward methods that enhance water texture and lines.  I look for patterns in the flow of the water; the ying and yang of the currents, the balance of the flow around rocks and the light play on the water itself.  I try to evoke a feeling of being there from that small sampling of that vast gorgeous landscape.

I think capturing a variety of textures in a single exposure can be a very powerful thing.  Smooth lines combined with circulating pools and turbulent rapids frozen in time can add a great deal of depth and layering to an image.  It can really make a photograph come to life.  The shot to the right could have been taken on the coast, in a river, near a glacier etc.  That’s the beauty of abstracts; they can really captivate one’s imagination.

Capturing abstracts of waterfalls can be fairly tricky; especially when the water flow is extremely high.  Looking for features in the rocks surrounding the falls, the vegetation in the area or the various tiers in the falls themselves can offer up a variety of different composition.  Focusing on the falls themselves can be another method to capturing an intimate and more unique scene.  Water texture and framing are the big keys to shooting something of that nature successfully.  How much texture do you want?  Do you want to focus on the water itself, or frame it with a bit of the surrounding terrain?

I recently challenged myself to shoot an abstract of one of the most photographed waterfalls in Washington State.  Snoqualmie Falls. Compositionally speaking the falls are extremely limited.  There are really only three terraces to successfully capture the falls from (including the base) and although conditions can change upon every visit; the composition remains the same.

For this trip I put down the wide angle lens and broke out the telephoto.  This shot is one example of the several that I attempted that evening.

I decided to frame the falls by centering the bottom portion in front of the large cavern that sits directly behind them.  I played with a variety of different shutter speeds but ultimately settled upon the one that provided enough water texture and overall movement to lead the eye through the frame.

Abstract or Abstract?

Intimate scenes like the ones described above can be extremely challenging to shoot.  With that said; what happens when you go into the digital darkroom and discover shear disappointment in your efforts?  Fear not! Not all is lost.  There are creative ways to recover disappointing or lack luster shots to some extent.  Motion blur either in camera or in the digital dark room can be extremely rewarding if done correctly.  It may not be everyone’s cup of tea but it can add a lot of creativity to what might be a bland original shot or it can take an amazing shot in a completely different direction.   The panoramic stand of trees that you see here was shot during one of the better years of fall color that we had up here in Washington.

The shot itself lacked a lot of interest so I decided to take a more artistic approach in presenting it.  I utilized motion blur in Photoshop to achieve this effect.  You can achieve this in camera as well by shooting a long exposure shot while slowly tilting your camera up or down to blur the image (hints the title; MOTION blur).  Like I said this isn’t everyone’s cup of tea but it can be a fun creative exercise and it’s not a bad tool to have in your back pocket when your artistically stalled or just want to get the creative juices flowing a bit.

As I mentioned before ‘limitation is the demise of art’.  Don’t limit yourself to the conventional techniques.  Think outside of the box and don’t be afraid to try new techniques with different compositions that will set you apart from the field.

The post Nature’s Footnotes: The Abstract Side of Landscape Photography appeared first on Chris Williams Exploration Photography.

Preface

I’ve only been in the field a short time; I started this journey in 2012, but the changes that I have seen over the past few years have really inspired me to write a opinion piece on the state of the field and the direction in which things are headed.  I’ve had some amazing interactions with some outstanding photographers on multiple platforms and I’m very privileged to call a number of the people I’ve met over the years friends.  In the content below I’ve outlined some issues that I, as well as other photographers have noted in recent years.  Sarah Marino encouraged me to write a post on the subject.  She has already published a post about 500px and the direction in which landscape photography is heading.  It’s very inspirational and worth a read: Photo Consumption, Conformity and Copying in Landscape Photography

The Social Morphology and the Death of Originality 

There’s really no question that social media has shaped and is continuing to shape and influence landscape photography today. For better or worse the majority of us desire to get noticed and for our work to be appreciated by the masses. This desire has really unequivocally damaged the field in my opinion. Day in and day out I see the same locations shot in the same way over and over again, with no credit given to the person who found that original winning composition.  I can’t tell you how many different copies of one of  Marc Adamus’ shots I’ve seen with little to no credit given to him.  Originality may not be dead but it’s definitely on its way out. Photographers now flock to these locations over and over again to get ‘the shot’ for their portfolio. They don’t bother to look for other compositions or different perspectives, no they just want that number one spot on the front page of 500px and they’ll do whatever it takes to get it. Crank the saturation to 150 throw some Orton on the frame, run it through HDR software and you’re set! I’m the first to admit that I’ve done this in the past and I would be a hypocrite to say that I haven’t. But! Things have definitely changed for me personally; especially as of late. Originality is king and less is more. Unfortunately it seems that originality is being rewarded less and less while imitation goes viral. 

It’s so discouraging to see the direction the field is going in. Photographers are fighting on social media outlets over the representation of areas that have been shot countless times. Vote scamming and playing follow the leader are running rampant throughout the media world and thoughtful, constructive feedback is all but dead. There really are very few healthy communities in social networks today that feed off creative and positive forward thinking and feedback. If I were a budding photographer I would be intimidated as hell by all of this nonsense. The field isn’t going in a positive direction right now and to be honest it’s really quite sad. 500px has been an amazing way to expose others to your work but it’s also become a very stressful and, quite frankly, a hostile environment for budding photographers.

Social Media Alternatives

So, where does that leave us? What other outlets or choices do we have? In order to answer that question I think some light needs to be shed on the problems with some of the other social media outlets currently available on the market.

Facebook has become one of the worst choices available. Personal pages are now limited by newsfeed regulations and friend limits and I can’t tell you how many times I get asked if I’m even still posting photos by people who follow my Photography Page. In addition to those problems Facebook has been severely limiting how many of my followers actually see my photos. Out of the nearly 7k followers that I have currently following my page only a few percent are actually seeing my posts. If I want everyone to see them I have to pay and if you do pay they then limit subsequent posts to get you to pay more. It’s like a giant money pit that leaves you broke in the end. What’s even more concerning is the fact that they generate fake likes with zero engagement on the page itself. So you essentially pay for your content to be seen by your current followers and click farms outside of the U.S., sounds like a great deal, doesn’t it?  I can understand limiting the reach of major corporations in an effort to turn a profit on their end but they do it equally across the board. In addition to the above stipulations any posts that have links, any mentions of commerce or anything of the sort are penalized even further and reach less people. This makes it extremely difficult to maintain any sort of a photographic community on your Facebook page. Facebook groups can be beneficial but from my experience constructive conversations can be hard to come by especially since Facebook even limits who sees what you post in groups as well due to newsfeed regulation and the like.

Instagram (which is now owned by Facebook, go figure) severely lacks in the community aspect and it has honestly become much like 500px in the sense that hubs only feature content from the same photographers over and over again in an effort to gain followers of their own much akin to the editors choice category in 500px (which has improved as of late drastically thanks to a handful of talented photographers with a great eye for outstanding content). It’s essentially a giant popularity contest. I’ve heard that Instagram can be a very productive, lucrative and positive environment but I have personally yet to experience many of those aspects. One positive is that post engagement isn’t currently regulated so it’s an excellent way for your content to get seen once you’ve obtained enough followers to do so, although I’m sure that that will change in the future.

There are other choices outside of the world of Facebook, but they too have their share of issues. Google+ was once touted to become the next Facebook but better. Well truth be told it’s essentially become a ghost town with very little user interaction and post visibility. Once in a while one of my posts will catch fire and go ‘moderately viral’ for a brief period of time but that’s honestly fairly rare. The hubs and pages do a much better job of sharing content but the reach is fairly limited. One of the old dogs in the fight is Flickr. I only recently joined Flickr but I’ve been told that it used to be a budding community with plenty of user interaction and fairly nice photo reach but that has since disappeared. The new platform has severely limited photo reach and the groups are essentially useless. Personally I’ve experienced very little interaction with new users on that site and my exposure has been minimal. There are also a handful of other platforms on the market such as 1x, Ello and Pinterest but they all have fairly big gaps in one way or another.

Social Eb and Flow: The Demise of Whytake

The death of Whytake was a huge blow to the field in my opinion. I had only discovered it a year or so ago but it had already made a huge impact on my work. The site featured a curated inspirational photography catalogue that exemplified the essence of modern landscape photography. Anything from intimate nature abstracts to sweeping vast landscapes and powerful wildlife images graced the home page of that site and gave visitors a much different and more broad look at the field than other sites provided.  The name didn’t determine the content and the images spoke for themselves.  Many of the images that graced the galleries were from photographers whom I had never heard of and many of the more subtle images from those that I was aware of but had never seen.

Whytake may not have had much user interaction, but it made up for that in sheer original and inspirational content. The same can’t be said for many of the other alternatives on the market today. I never got to experience the Nature Photography Network or NPN in its heyday as I began my photographic journey in 2012, but I’ve heard that it was a lot like Whytake with the addition of excellent user interaction, constructive feedback and a positive learning environment.

500px is King 

Unfortunately at the time of writing this 500px is king. Many photographers strive to get to that top spot at the expense of creativity and in some cases self respect (in the case of photo theft through composites or outright re-posting someone else’s work). Intimate scenes are often overlooked, subtle yet creative and original content often goes unnoticed and many of us sit behind our computer screens shaking our heads in disbelief at the content on the front page. Thoughtful comments are often replaced with ‘great shot v+f take a look at my latest work!’ Or in some cases really destructive dialogue between fellow photographers which is laid out on the table for the masses to see. The site has essentially become a massive popularity contest run by consumption with little appreciation for the amount of work that actually goes into the photographs themselves. The site’s crop can utterly ruin a photo’s chances of making it; especially in the case of panoramic work.  Up Voting, cliques and fairly un-original content now run the site for all intents and purposes. The superficial and sometimes damaging dialogue that permeates the site has really damaged the community as a whole and has substantially culled what could otherwise be a fantastic learning environment.

Where do we go from here?

With Whytake on its way out, Facebook dictating what we see, Flickr failing to form a community setting, 500px with so much potential yet so many problems and many of the other social networks coming up short.  The question can be asked; where do we go from here?

The truth of the mater is I don’t have a solution or a fix for social media as a whole but I think that we as individuals owe it to ourselves to strive to do better. Think outside of the box and really strive to form a community that feeds off creativity and constructive feedback.  Instead of going for ‘the’ shot investigate other perspectives and less seen scenes.  Get away from the familiar and immerse yourself into the unknown.  Creativity knows no bounds but your own limitations.

Lastly we need to remember that in the end you will never be remembered for your pulse, the number of followers you have or how many likes you get.  When all is said and done the photos are what really matter.  We need to remember why we started photography to begin with and why we continue to do it today.  After all is said and done the journey to each photo is often more important than the image itself; we grow and learn from each step forward and the occasional stumble backward from time to time.  I think social media has really diminished the value of the art of photography itself and getting that back might be the single most important thing we can do at this point in time.

The post Landscape Photography and Social Media: A Blessing and a Curse appeared first on Chris Williams Exploration Photography.

This was probably the hardest I’ve worked for a photo in a long time.  Mt. St. Helens seems to be one of the most stubborn mountains I’ve ever had the privilege to photograph.  It seems to shy away from the photographic spotlight, well at least for me anyways.  This photo was taken on my third attempt this month at photographing this gorgeous area.  In the previous two times I was promised gorgeous conditions by amazing forecasts only to be socked in dense fog on the ridge line near the mountain.  With my dreams and hopes dashed I had all but given up but decided to try desperately one more time and man was the reward sweet.  I literally ran to my car after work and left as soon as I could in hopes of avoiding the rush hour commute toward the mountain (it’s an almost 4 hour drive one way).  I arrived just in the nick of time; 30 minutes before sunset and scrambled around like a crazy man trying to find a good composition.  The sunset was one of the most intense I had ever seen; it burned and lingered for almost two hours.  The intense reds and oranges faded to soft magentas and purples.  As an added bonus the clouds broke up just enough to allow the super moon to rise up just to the east of the mountain.  It was a memorable sunset to say the least.  I also ran into two local photographers I had never met in person before.  We chatted and snapped away as the glow faded and the stars began to shine like tiny diamonds in the sky.  The sunset was still lingering and a light pink glow illuminated the western side of the mountain while the bright moonlight from the super moon enveloped the eastern side of the blast zone.  It was at that point that I decided to put together one more photo to end the night and this was the result.  It was a very long and tiring drive home but well worth all of the effort in the past three weeks.  It was a night that I wont soon forget.

I set my camera up maybe 6-8 inches or so from the flowers with the lens pointed down at a slight angle and took 6 separate exposures to ensure that all of the foreground flowers were in focus.  I then followed that by taking an additional photo of the mountain, the moon and clouds to ensure that it was in focus and at the correct exposure for dynamic range.

Technical information:

6 photos focus stacked at 16mm, f/2.8, 1/4 sec, one more for dynamic range

I used the auto-align action in Photoshop CS6 to align all of the photos and then used the auto-blend action to blend the photos by selecting the sharpest pixels.  I had to go back in and fix several areas due to wind blown flowers not blending correctly.  I then blended in one more exposure for the mountain, the moon and the stars and clouds.  This sounds like a lot of work but it is what is needed to see exactly what the eye sees.  Many folks say this is “photoshopped” the bottom line is your camera can’t see everything in focus in one shot at certain focal distances.  In order to get everything in focus you absolutely have to use multiple exposure blending techniques. I then applied several post-processing techniques to maintain details in the shadows while giving the photo a dark and natural look in Photoshop.

Gear Used:

Camera: Sony a7r, MetaBones Canon Lens Adapter

Lens: Canon 16-35mm f/2.8L II

Tripod: MeFoto Road tripper

If you have any questions feel free to message me: cwexplorationphotography@gmail.com

The post Super Moon Rebirth appeared first on Chris Williams Exploration Photography.

Star trails photography can be fairly overwhelming to beginning photographers and veterans alike.  Here I will be outlining some of the key elements needed to produce exciting star trail images.  Feel free to follow me on Facebook as well for more updates.

So you ask how is it done?

To produce a star trails image you need to take several 30 second exposures in a row (no breaks in between as they leave gaps in your trails), on the order of 50+ images to really start to see the desired results.  You can read my Landscape Photography 101 posts for more detailed information on long exposure photography.

What you will need:

• A DSLR Camera
• Remote shutter release (a must for star trails)
• Tripod (a very sturdy one with no shake or movement)
• Clear skies with limited light pollution
• Post editing software (Adobe LR4 and Photoshop CS6 are my tools of choice but there are a number of third party apps)
• Time (lots and lots of time)

How to Prepare

The most important step in this whole process is finding a great location with limited light pollution and clear skies.  I often use the National Weather Service to check regional forecasts.  Finding dark skies can be very challenging (especially in Washington) but they are a must for star trails.  The go-to website that I use to locate dark night skies with limited light pollution is called the Dark Sky Finder.  This website is extremely useful and very easy to navigate. The brighter the color is on the map, the worse the conditions are for shooting the stars.  Look for locations that have no color or are blue/green in color.  These areas will provide the best viewing of the Milky Way and the stars in the sky to make for an optimal star trails photograph.

Getting the Shots

1. Set your camera up on your tripod and then set your lens to the widest possible zoom and the focusing ring to infinity.  Doing this will allow for your widest field of view (more stars) and also it will ensure that your photo is in focus.
2. Connect your remote and take some 10-15 second test shots to determine how high your ISO needs to be and where you would like your camera to be positioned.  Remember to set your aperture to the lowest possible number to let the largest amount of light in (f/2.8, f/1.4 etc.), you really need to have a very fast lens to do this type of photography.
3. Use a Star Finder app or map to look for the Milky Way or your object of interest.  If you are able to see the North Star point your camera toward it if composition allows as you will obtain complete star circles in the compiled star trails photo (think of it as a central point of rotation).
4. After making your adjustments make sure to adjust your exposure time by using the rule of 600.  I typically shoot my photos using these settings: 16mm, f/2.8, ISO 1600-2500 (depends how much light pollution is present) and 30 seconds.
5. Now comes the fun part; waiting.  You need to take a minimum of 50 photos to gain the desired effect, so patience is a must!

Editing

LR4

Editing can be a very grueling process, you need to make absolutely sure that every photo is edited in an almost identical manner (compensating for light on the earlier images at the beginning of your shoot).  You can do this using batch editing techniques in Adobe LR4 by simply selecting a number of photos by holding down the shift key and then using the Paste feature.  After you are done editing you can export the photos (jpgs) to your favorite stacking app or program (I use Photoshop CS6).  You can literally do all of this in CS6 but I like the ease and simplicity of Lightroom 4 for post processing.

CS6

To bring your photos into CS6 choose ‘File’ then ‘Scripts’ and then select ‘load files into stack’ and browse for your files then click ‘open’.  Don’t bother aligning them as they should be perfect.  The images will load in the bottom right column of the screen.  Select the top photo, scroll down and click the last photo to highlight all of the desired layers.  Now select ‘lighten’ and let CS6 do its magic.  After the photo is produced you can select which layers you would like to eliminate and polish the final product.  To finish flatten the image and save and export it as a jpeg.  Check out Youtube for some awesome tutorials.

Feel free to follow me on Facebook as well for more updates, email me at cwexplorationphotography@gmail.com for questions and print inquiries.

The post Landscape Photography 101: Star Trails Tutorial appeared first on Chris Williams Exploration Photography.