Sunday, December 16, 2018
Shoot or Help? A Moral Dilemma.
I recently read, and posted on Facebook, a joke that goes something like this - "If you come across a drowning man and have time to either take a picture or save him - what shutter speed do you use?" I was thinking about that this morning and decided to update and re-publish this post from March 2017, originally published on a now-defunct blogging community called Niume.
If you've been following me for any length of time you will know that photography is more than just a hobby. For as long as I can remember I have had an interest in the art but I think I can say that age 12 was when it became “important” to me. The thought of a career in photography was omnipresent but I was encouraged to pursue science, mathematics and then computers. Photography was a great hobby but you have to make a living….
I chose a career and started making a living but my desire to become a photographer continued to grow. I knew I wanted to shoot but how was I going to make a living? I gave a lot of consideration to photojournalism. Growing up I saw news images ranging from The Beatles landing in New York City to the horrors of Vietnam. There were images of the joys of victory, the unintended victims of war and the horrors of political assassinations. Most of the photographers were anonymous but their images helped shape the world. Later I would see movies like “The Killing Fields” and “Somebody Has To Shoot The Picture” which re-ignited my fascination.
There are a number of reasons why I didn’t pursue a photojournalism career, not the least of which can be found in the title of this post. As a photographer, this is something I think about a lot. Social media, and televised news, is filled with videos of people in distress and my first thought is, "Why are you not helping?" Watch any news program and you will see someone who has tragically lost a loved one, they are clearly anguished and yet, someone is recording or photographing them. It is then that I wonder why they can’t just have a private moment; do we really need to memorialize this with a photograph?
In early 2017, President Trump addressed Congress; he spoke of US Navy Seal Ryan Owens who had recently been killed during a raid. His widow was there. When the President introduced her, the chamber erupted in applause. During the ovation, the camera was trained on her, her grief still fresh. It felt like an intrusion and, after a short time, it made me uncomfortable. I have had similar situations arise when covering events; participants overcome by emotion turning to others for comfort. I always consider taking the shot but rarely do.
I don’t think I can “get the shot” above all else. I’m quite good at covering the “fun stuff” but feel uncomfortable exploiting someone’s grief. When I see someone in need of assistance my impulse is to help, not shoot. I have witnessed accidents, sometimes close enough to have narrowly escaped being involved, but I don’t have a single photograph, even though the camera has been in the car. I could have quite a collection and made money selling the images to local news outlets but the camera always stayed in the car. I look back at those times, mentally taking the photographs and think of the opportunities lost. Then I think about whether I made the right decision; that is one of the easiest questions I have ever had to answer – Yes, of course I did! It is the right decision for me, that isn’t to disparage those who would make a different decision. After all, somebody does have to shoot the picture. Right?
So, what do you think? Do you shoot or help?
Image: press-1017762_1920 - https://pixabay.com/en/press-journalist-photographer-news-1017762/
Saturday, December 1, 2018
A Brief Hike Along the Appalachian Trail
Delaware Water Gap
Dunnfield Creek Trail
As I mentioned, I had not planned to hike on Mt. Tammany (I also had the beginnings of a sinus headache/congestion) so I decided not to attempt another hike up the Red Dot trail. It was about 10:30 AM, I didn't have any food with me and only 24 ounces of water - certainly not enough supplies for an extended hike here. I parked in the Dunnfield Creek Trail parking lot, grabbed my gear and headed out onto the trail. At the parking lot there is a sign board with maps, notices, etc...; the notice that jumped out at me was about bears and what to do if you encounter one. I know there are bears in the area and there have been fatal attacks along the trail but it was still a little unnerving at first. I am always quite attentive on the trail - never listen to music and always have my head on a swivel but today I was going to be twice as attentive. I didn't get a hundred yards before the trail turned into a small stream - November was a very wet month - and I had to walk around water many times along the way. After hiking about a half mile I came to a fork in the trail, to the left you get on the White Blaze which is the Appalachian Trail and leads up or the Blue Dot which takes you down by the Dunnfield Creek. Both, ultimately take you up to the summit of Mt. Tammany and Sunfish Pond where they connect to the Red Dot Trail. I wanted to keep my feet reasonably dry, so I went to the left and up the AT. When I had hiked about a quarter mile up the trail I stopped in a small clearing to have a drink. I looked to the east and spotted a wooden footbridge spanning the creek, on the bridge was a photographer setting up a shot of the water flowing over the rocks and the small waterfalls. I decided to backtrack, brave the water and muddy Blue Dot trail and check out the area myself. That was my second good decision of the day!
All photos are copyright Joseph S. Valencia All Rights Reserved They may not be used in any way without express written permission of the photographer. If you wish to use any of the photos you may contact the photographer at valencia32photo@gmail.com
Sunday, November 18, 2018
And into the forest I go, to lose my mind and find my soul. - John Muir
As a regular reader of this blog - you are a regular reader, right? - you know that I collect quotes and frequently use them as inspiration for my posts. This is one of many John Muir quotes that I have collected.
I love being in the woods, if I could, I would spend a good part of every day hiking along a wooded trail. There is no other place where I can get totally lost in my thoughts, or lack thereof. You will never see me with headphones on or playing music, the only sounds I am looking for are the singing of the birds or the leaves rustling. It's all about nature and recharging my soul.
A few years ago I was interviewed by a fellow blogger, one of the questions he asked was "What do you think about when you’re by yourself?". My answer, in part, was "When I am out for a hike in the woods I try not to think but to listen." My hearing is very poor but I am fortunate that the "sounds of nature" are of such a pitch that I can hear much of it. I can hear the birds, I can hear the leaves or a twig snap under foot. This is the Earth's music and nothing is more soothing.
Autumn is, for me, the best time to lose myself in the stillness that is the forest. The beauty of the changing leaves is just a part of the allure - during the fall, deer go into rut and are far more visible while out on the trail - including the elusive buck. If you pay attention you will also find squirrels and chipmunks busily preparing for the cold winter months but it is the smell of autumn that is the biggest draw. There is something wonderful about the smell of the woods when the ground is covered in leaves; this is when the urge to go camping becomes almost unbearable. You know the smell, don't you? That "earthy" smell of dirt, mixed in with wet, decaying leaves. I've also recently learned that things smell differently when the temperature lowers so maybe the smell is there year round but only noticeable in the cooler weather. Eh, who cares? If I could bottle it and use it as cologne I would.
November 17th is National Take a Hike Day and I usually try to find a way to spend time in the woods somewhere but this year it came and went without a hike. This year I simply forgot. It's been that kind of year, especially the last couple months; it seems that I have been focused on other things lately. I am going to have to try harder to make time to get out and visit my favorite trails.
I'm going to keep this post short, I wanted to share this quote with you along with a couple of my favorite self-portraits shot along the trail. Do you enjoy the forest as much as I do? What time of year do you like best? Why? Where is your favorite woodland hike? I'm always looking for somewhere new to explore. I would love to hear from you - leave a comment below.
All photos are copyright Joseph S. Valencia All Rights Reserved They may not be used in any way without express written permission of the photographer. If you wish to use any of the photos you may contact the photographer at valencia32photo@gmail.com
Wednesday, October 3, 2018
Slow Exposures at the Beach in Ocean Grove
Slow Exposures at the Beach
Ah.... Autumn is here and that means I get to start going to the beach again! Yes, I know, most people go to the beach in the summer. That's why I wait until after the summer - the crowds are gone and, often, I can have the beach to myself. I'm also not one to "sunbathe" - I go to shoot. I like shooting long exposures, especially when there is moving water, but here I am talking about "slow", not "long" exposures. These images were shot between 1/3 and 1/13 second; I will give exposure information at the end of the post.
The Fishing Pier
I recently took some vacation time and my wife and I went to Ocean Grove late one afternoon. The day was hazy and hot with a rather strong breeze - the landscape was flat and dull but I had my gear with me and was determined to shoot. In my years as a landscape photographer I have learned to make lemonade from lemons; when the grand landscape is unphotogenic, it is time to look small and get tight. The tide was rising which was to my advantage, as was the strong breeze. If you are familiar with the pier at Ocean Grove, you may remember the shack at the end where the fishing club met and fished. (You can see a couple images of the old pier in my blog post titled, God's Square Mile - Ocean Grove, New Jersey) The pier was destroyed in 2012 when Superstorm Sandy blew thru; most of it was rebuilt but they stopped short at where the shack was located. Today there are some of the original pilings and a few broken ones. I decided to concentrate on a broken one that was being hit by incoming waves. It seemed as though Mother Nature knew what my plans were and decided to have some fun at my expense. As soon as I got my gear set up and decided on my composition, the breeze subsided a bit and the waves lessened in their size. The water was still getting to the broken piling but there was nothing dramatic. I have been playing this game too long to think it was going to be easy - one of the first things you learn about landscape photography is that conditions are always changing and there are no guarantees. It didn't take long before the wind picked up and waves started coming in a bit bigger. Still, I wasn't getting the violent crash with a great amount of spray that I was looking for. It took 10 or 15 minutes of nothing and "near misses" before I got the shot labeled "Fishing Pier #1". It looked good on the back of the camera but I took a few more, just in case. I liked that particular piling but wanted to try a different composition so I moved back a bit towards the end of the pier. My original idea was to frame the broken piling with new ones on either side - it wasn't a bad composition but I think the image labeled "Fishing Pier #2" is better. You can see shadows of the other pilings and tell that it was quite late in the day.
The Jetty
Just to the north of the pier is a small jetty - you can see some of it in Fishing Pier #2. I tried a few images after I finished with the pier but wasn't happy with the way the water was playing with the rocks. I went back a couple days later to re-focus on the jetty and came away with the images presented here. The wind wasn't blowing nearly as hard as previously and the tide was a bit higher and still rising. My goal was still to get crashing waves and dramatic spray but I also wanted to capture some fluidity in the water. I wanted some flowing over and around the rocks. In some ways shooting the jetty was easier and in others it was harder. It was easier because the conditions were better and I had far more compositions to choose from. It was more difficult because it was a more complex subject and that made predicting how the water would act a lot more challenging. There were times when I caught a nice splash but the pooling water didn't look quite right or water spilling over the rocks completely obscured them. Other times I had some great flow but there was no splash. The images shown here were shot on the north side of the jetty, I moved to the other side before leaving but there were no images to be had; the water was breaking from the north and so the waves were not crashing over the rocks on the south side of the jetty. I did a few test shots of the rocks at the south tip - the ones you can see in "Fishing Pier #2" - but there was nothing, nor did I get any good images when I got on top of the jetty and shot out to sea.
In Conclusion
Overall, I would say that both sessions were successful but they left me with wanting more. I can't wait to get back to the beach and explore more possibilities with both the pier and the jetty. There are other jetties along the Ocean Grove beach and I will explore them, too. Other towns have their own piers and jetties, each with their own unique characteristics. There is also the option of using long exposures - 10, 20, 30 seconds or more. The longer exposures will require using neutral density filters and while I do have a set of filters, stacking them to give me exposures of those lengths can cause issues (see my review of the filters - Product Review: Formatt-Hitech Filters) so it may be a while before I can plan the really long exposures. I also want to do some long exposures - in the range of 1 to 10 seconds - during sunrise and sunset. What experience have you had shooting slow exposures? Have you shot at the beach like I did or some other subject? I would love to hear your thoughts and experiences - leave a comment below.Exposure Information
| Image | Shutter speed | Aperture | Focal length |
|---|---|---|---|
| Fishing Pier #1 | 1/13 second | f/16 | 100 mm |
| Fishing Pier #2 | 1/10 second | f/32 | 41 mm |
| The Jetty #1 | 1/3 second | f/22 | 31 mm |
| The Jetty #2 | 1/5 second | f/22 | 21 mm |
| The Jetty #3 | 1/3 second | f/22 | 19 mm |
All photos are copyright Joseph S. Valencia All Rights Reserved They may not be used in any way without express written permission of the photographer. If you wish to use any of the photos you may contact the photographer at valencia32photo@gmail.com
Monday, September 10, 2018
Should We Teach the "Rules" of Photography to Beginners?
To consult the rules of composition before making a picture is a little like consulting the law of gravitation before going for a walk. – Edward WestonThis is one of my favorite quotes and I think it is appropriate here. I'm not saying that the "rules" aren't important - they are, to an extent - but I am wondering about when they should be taught. I have seen many photographs that were technically spectacular and, yet, dull and lifeless. When I say "technically spectacular" I mean they followed the rules. I know, part of the rule is knowing when to break it but do most photographers learn this second part? When do you start to teach them to break the rules? Should we call them something other than "rules"?
The photographs that excite me are photographs that say something in a new manner; not for the sake of being different, but ones that are different because the individual is different and the individual expresses himself. - Harry CallahanBill and I came to an agreement that the rules should be taught but later in a photographers development cycle and maybe not be called rules at all. I think if we teach how someone looks at a photograph, how the eyes scan and are drawn to certain things, how the relationship between light and dark works; then the student will simultaneously learn the rules and the exceptions. They will know the "why" which is far more important than the "what", in my opinion anyway. Photography, after all, is art - right? Art is a means of self-expression and who is to tell us how to express ourselves?
I don’t think there’s any such thing as teaching people photography, other than influencing them a little. People have to be their own learners. They have to have a certain talent. – Imogen Cunningham
You don't make a photograph just with a camera. You bring to the act of photography all the pictures you have seen, the books you have read, the music you have heard, the people you have loved. - Ansel AdamsI think this is a good place to end. What do you think about teaching the rules to beginner photographers? Are you a teacher? What is your approach? I would love to hear your thoughts - leave me a comment below. Until next time, get out, enjoy nature and break a few rules!
Monday, August 27, 2018
Product Review: Vello Macrofier for Canon EOS (UPDATED!)
Vello Macrofier
This review is not sponsored, nor is it commissioned by the manufacturer. I requested, and received, the equipment for the purpose of producing a review on my YouTube channel - you can check out the review here.
What is it?
The Macrofier is a third-party lens accessory made by Vello (http://www.vellogear.com/) for use with the Canon EF/EF-S lens systems. It can be be used as a set of automatic extension tubes or a lens reverse-mount system; both are a means of achieving macro photography with non-macro lenses or to achieve greater magnification with macro lenses1. When you reverse-mount the lens you can get incredibly close, as you can see in the first image. This is a Canon 18-135mm EF-S lens reverse-mounted. The inscription on the lens states the closest focusing distance is 1.5 feet (.45 meters) but with the lens reversed I am just an inch or so away. Extension tubes work in the same way - by moving the lens away from the camera body you can achieve closer focus.
First Impression
When I opened the box I wasn't quite sure what to expect - I had seen the product photos on B&H and the Vello website but, often, the product doesn't necessary live up to it's "image." I was pleasantly surprised to find it was exactly what I saw in the pictures. It appeared to be well-made and sturdy. It comes with seven (7) adapter rings (52 mm, 58 mm, 62 mm, 67 mm, 72 mm, 77 mm, 82mm) to fit just about any lens you may have. The Macrofier, itself, is packaged in a bubble-wrap bag inside the box. The one thing I noticed was that there were now caps for the device - this isn't a big deal but I was a little surprised. I just ordered a body cap and lens cap to put on it when it is stored in my bag. The rings are solid and flat - I mention that because I have purchased other adapter rings in the past that were not quite flat and were difficult to use.In The Field
Extension Tubes
I looked in the owner guide and website but could not find a definitive answer to the question - How much extension do you get? I was able to find a review on the B&H website where a reviewer reported that, by his calculations, it is about 35mm. Using the Macrofier as a set of extension tubes couldn't be easier - using the threaded ends, you just screw the two halves together, mount one end on the camera body and the lens on the other end. You can also mount the Macrofier on the lens, then mount the assembly on the camera - doesn't really matter. When using extension tubes, you can (probably) get away with hand-holding but I would suggest using a tripod whenever possible. Macro photography produces notoriously shallow depth of field and trying to hold steady is difficult, at best. That said, I have successfully hand-held with the extension tubes.
Reverse-Mount
For me, this is where the fun really begins and you will definitely want to use a tripod. To use the Macrofier to reverse-mount your lens, the two parts have to be separated. Mount the one end on the camera body, screw the appropriate adapter ring onto the half attached to the camera, screw the lens onto the adapter and, finally, attached the second half of the Macrofier to the back end of the lens. This will allow you to work incredibly close to your subject - depending upon the lens. You can see in the initial image that I am about an inch (or less) from the mushroom which will give you more of an "abstract" image, as shown in the image to the left. Working outside at this magnification can be more than a bit tricky because you are battling the elements. Your depth of field is virtually non-existent and so even the slightest movement will kill the image; it took a while for this mushroom to stop moving despite a nearly imperceivable breeze. I set up a light tent in my studio to do some macro work. You can read more about this session here - Equipment Review: Vello Macrofier for Canon EOS. Working under studio conditions is much easier because you have full control over everything and can take a long as you need to set up and execute a shot.
Final Thoughts
If you have been wanting to get into macro photography and couldn't justify the cost of the macro lens, spend $99.95 and buy a Macrofier. I promise that you will be happy with your decision. I am very happy with the Macrofier and have a lot of work planned for it. The auto-focus works, though it can be difficult at times which is a function of the lens, and the auto-exposure is good, too. It is well-made, solid and ridiculously easy to use. The only "negative" thing I can say is that I am upset that I didn't get one years ago! Yes, I mean that. I have been wanting a true macro lens for quite a while but the price made them a low-priority. I would, still, like to have a true macro lens (or two) some day but for the foreseeable future the Macrofier is all that I need. I have also used some of my older Canon FD lenses - everything is manual but works just as well. I am able to do this because I bought a lens attachment a few years ago that allows me to mount my FD lenses on my EOS Rebel T3i. If you own a Nikon, or other brand, you cannot use the Macrofier as-is; it is only available for Canon EOS line of cameras. If you do own a different brand, you may want to buy a Canon-to-brand X adapter which should allow you to use the Macrofier as a reverse-mount device - you would need two (2) adapters to use it as an extension tube. If you do this, you do so at your own risk - I have not tested this, nor have I found evidence of anyone else doing it. I have no idea if it will work but, in theory, it should.
For More Information & Where To Buy
So, there you have it. If you would like more information on the Vello Macrofier, you can check out their website - click here. While you are there, check out the other accessories that Vello makes, including their "lens adapters" that may allow you to use the Macrofier with your other brand, as described above. You can also check it out, and purchase it, at B&H Photo - click here.UPDATE
After I wrote this review I recorded a YouTube review, at one point demonstrating the Macrofier. I experienced a bit of trouble mounting and removing the device from the camera. I later discovered that a screw was loose and the head was slightly above the service of the mounting plate. I was able to secure it and it seems to be okay. I reported this to the manufacturer and asked if this was a common complaint - the response was that this was the first instance they had heard of. They offered to replace the device with a new one - since I was able to tighten the screw myself I declined, in part because I want to see if it happens again. I believe this to be an isolated incident and it in no way changes my overall opinion or recommendation of the Macrofier. The YouTube review can be seen here - https://www.youtube.com/watch?v=v-qJJ4Tb0h4&t=1sAll photos are copyright Joseph S. Valencia All Rights Reserved They may not be used in any way without express written permission of the photographer. If you wish to use any of the photos you may contact the photographer at valencia32photo@gmail.com
End Notes
- I have not tested this equipment with "macro" lenses and have no first-hand knowledge of their performance with this accessory.
Monday, August 13, 2018
Sunset in Spring Lake
The weather has been so bad lately - very hot and so humid it was tough to breathe - and I had gone a while without doing much "real" shooting. Last Thursday I caught a break - still not a great day but the best we had experienced in a while - and I decided to go out to catch a sunset. I thought about going to Maclearie Park but then remembered a friend telling me about St. Catharine Church in Spring Lake. I had driven by there a few times in the past but never thought about it as a sunset location but if Dave said it was good, I was going to check it out.
The decision to shoot that night was a last-minute one and it gave me only about 10 minutes to find a composition and set up before sunset. If I were going somewhere familiar, like Maclearie Park, this wouldn't have been too bothersome but I had no idea what I was going to find when I got to this site. Under normal circumstances I would like to have arrived 45 minutes to an hour before sunset so that I can explore the area and find the perfect spot. Heck, even in a familiar spot I get there early because you never know.... Anyway, I got to the lake and parked on the east side of the lake, almost directly across from the church. I knew I wanted the church in the image but struggled to find a composition that I liked. I like to find some foreground interest - typically a tree - when I shoot a sunset but there was just nothing there for me to put in the frame. The trees were either massive, therefore blocking the sunset, or not in a good place. I quickly gave up and decided to get close to the edge of the lake and use reflections as my foreground.
What cloud cover there was turned out to be quite fleeting but it stuck around long enough to get a few good images. Once the sun set I got in a little tighter on the church and it's reflection in the lake. I also started working with some longer exposures to try smoothing out the water. Overall I am happy with the way the church appears, although I wish it had been lighted a little earlier; it is a little darker in the first image than I would have liked.
Once I was done with the church I turned my attention to the north and the fountain in the lake. It was getting dark and I knew I could get some rather lengthy exposures. I liked the addition of the footbridge but wasn't sure how well it was going to stand out - it is a dark color and in an area with a lot of big trees. The image shown here is one of several compositions that I tried - some tighter, some wider. I like this because I was able to get the shoreline to work as a leading line to the bridge and then around to the fountain. I was hoping there would be some traffic on the bridge - bicycles with lights or pedestrians with flashlights, anything to give a little brightness. I am going to try getting back one night with some helpers and have them shine some lights or maybe pop a flash or two to illuminate the bridge.
So, that's it for today and my Spring Lake sunset experience. Have you shot here? If so, how did you like it? If not, I hope I have inspired you to check it out one night. Who knows, maybe we will run into each other.
All photos are copyright Joseph S. Valencia All Rights Reserved They may not be used in any way without express written permission of the photographer. If you wish to use any of the photos you may contact the photographer at valencia32photo@gmail.com
Monday, August 6, 2018
Still-Life Macro Photography with the Vello Macrofier
Macro Photography
I love shooting macro but don't get around to doing much - especially "true" macro. What I mean by "true" macro is that most people believe the final image must be "life-size" (1:1) or better. A true macro lens can be quite expensive and most "macro" zoom lenses might get you in the area of 1:4 - nice but not true macro. I've never owned a macro lens but back in my 35mm days I would use a technique that gave me life-size and better; I would remove the lens, turn it around and hold it against the camera body. When shooting with the lens reversed, you would achieve different levels of magnification depending upon the focal length of the lens. Doing this mean that you lost all camera-to-lens communication and were shooting totally manual and your focusing was essentially achieved by moving back and forth until you achieved focus. A couple weeks ago I received a lens accessory from Vello called the "Macrofier". It allows me to reverse-mount my lens AND maintain full auto-exposure and auto-focus. It can also be used as a set of auto extension tubes. I played around with it right after it arrived and had some fun but over the weekend I decided to do some more serious work. I set up my tabletop studio - light cube and lights - and spent a couple hours shooting some coins and a golf ball. These images were made to support an upcoming YouTube product review I am working on - I will announce it when published.
All photos are copyright Joseph S. Valencia All Rights Reserved They may not be used in any way without express written permission of the photographer. If you wish to use any of the photos you may contact the photographer at valencia32photo@gmail.com
Friday, July 20, 2018
Product Review: Formatt-Hitech Filters (UPDATED - 3 August 2018)
Update
In January 2018 I wrote a post about becoming a Brand Ambassador for Formatt-Hitech filters - I Am a Formatt-Hitech Ambassador! I resigned as a Brand Ambassador in July 2018.
Some background
In July 2017 I contacted Formatt-Hitech to see about getting a filter kit to review on this blog and my YouTube channel. They weren't able to provide me with a kit but did offer to have me as a Brand Ambassador which entitled me to a discount and allowed me to offer discounts to my followers. I purchased my filter set in July 2017 and used the filters, sparingly, over the past year. I am going to write a brief review in the second half of this post. The kit I bought came with .3 to .9 (1 to 3 stop) solid and graduated neutral density filters. I also bought 1.2 (4 stop) solid and graduated filters. The filter holder is aluminum and I bought 2 rings - 67mm and 58mm. The filters I bought are resin filters and not glass, the glass filters are considerably more expensive. As I mentioned, I didn't use them a lot but was happy with most of my results but when I tried to use the 3-stop solid filter I realized I had a second 2-stop filter. This was the case for both solid and graduated. I wrote to the company and the filters were immediately replaced with the proper 3-stop. Their customer service is quite good and they were very responsive - I don't know if this is because I was an Ambassador but I don't think so. Everyone that I have dealt with at the company has been very helpful and friendly.The Review
How I Tested
So, I know all about scientific methodology and controls but I don't have that kind of time. I wanted to put the filters thru their paces in somewhat "real world" conditions, with my main concern being "color cast". Neutral Density filters should be just that - neutral. I wasn't overly concerned with how accurate the "density" was - I wasn't measuring to see if the 1-stop was, indeed, a full stop. I wanted to keep the number of variables to a minimum so I picked a cloudless, windless day and shot under full sun at noon. I taped a white card with the density of the filter onto a piece of white foamcore. The camera was mounted on a tripod and all exposures were at f/16, ISO 100 and "auto" white balance. The only thing that changed from exposure to exposure was the shutter speed. The camera was a Canon EOS Rebel T3i with a Canon EF-S 18-135mm lens @ 95mm. I set to "manual focus" and turned off image stabilization - the image quality was "RAW+L" - I wanted to shoot both RAW and JPEG. The images shown here are the JPEG images and are all "out of the camera" with no post-processing whatsoever.The Test
The idea was to test each filter separately (solid and graduated) and then "stack" them to achieve greater densities. The filter holder has three (3) slots, so that was the maximum number of filters for any given exposure. I started with the 1.2 and worked down to the .3, each a single shot with a single filter. Next, leaving the .3 in the holder, I paired it with each of the other filters - .6, .9 & 1.2. The next step was to test combinations with the .6 and I tested it with the .9 & 1.2, finishing up the initial round of tests with the .9 & 1.2. After running through all of the combinations with the solid filters, it was time to try the soft graduated - I did each separately and then paired them with the corresponding solid filter, ie .9 soft grad with .9 solid. I didn't bother to run thru all of the combinations. The last test I did involved only the .9 filter - I wanted to see if there was a "right way" to put it in the filter. I put it in with the engraving facing the lens and then facing away from the lens - there was no difference in the resulting image.The Results
The results were a mixed bag - some of the filters were truly "neutral" while others were not. The .9 (3-stop) solid filter was the least neutral of them all, in fact, it really wasn't "neutral" at all - there was a distinct magenta cast to the image. This was more pronounced when stacking filters with the .9. This was true of the .9 soft grad, too.The Bottom Line
If you are looking to open up your lens by 1 or 2 stops to get shallower depth of field, you can get by with these filters. The same can be said if you need to tame a sunset (sunrise) sky a bit - 1 or 2 stop soft grad should do well for you. If, however, you want to be able to use the filters for long exposures or need to open up the lens by more than a couple stops - my recommendation is that you look elsewhere.Epilogue
I contacted Formatt-Hitech about my findings and gave them access to the JPEGs - this is when I was told the resin filters are not suited for stacking or exposures greater than one or two seconds. I have done some longer exposures in the past - 15 to 20 seconds - in lower light situations and didn't notice a strong color shift when using a single filter but did notice some when stacking. The factory did offer to put my filters thru tests to determine if they were faulty but the packaging and shipping was to be at my expense. The factory is located in Wales. It seemed a fool's folly after learning about the limitations of the filters; from what I had learned thru our emails, even a 100% flawless filter in this series was not going to produce the desired results. The company does produce a line of glass filters called "Firecrest" - they are quite expensive. I don't know anything about this line, other than what is written on their website but would suggest you look into this line if you are interested in Formatt-Hitech and long exposure photography. As I mentioned earlier, this was an informal test to see how the filters perform in real life. Your results may be radically different than mine and I cannot vouch for how the filters perform under different lighting conditions. I also based my opinions on the "out of the camera" JPEG images. I decided to bring some of the images into Photoshop and use "Auto Tone" to see how the images would look - most of them were acceptable after applying "Auto Tone" but any combination of filters that included the .9 soft grad still had a distinct color cast on the area covered by the graduated ND. I took five of the test images, brought them into Photoshop, made a duplicate layer, applied "Auto Tone" to one layer and left the other "as-is". Using a layer mask, I created a side-by-side composite - the left side of the image is the edited side while the right is "out of camera". You decide which is more suited for you. I tried using "Auto Tone" on the RAW file using Adobe Camera RAW - the results were not as pleasing and would have required much more work to get a pleasing effect. When I finished writing this review, I sent a copy to the company asking them for input. I wanted to make certain that I properly represented what they had told me. I have included their feedback below.from Formatt-Hitech
The following is an excerpt from an email I received after sending them my review:I have attached a screenshot from our website below, you can reach this page yourself using the following link: https://www.formatt-hitechusa.com/neutral-density This section of the Learn area of our website deals specifically with ND’s and their relative uses. Under Popular Uses we state that; 4-6 stop ND filters create a moderate lengthening of exposure time to create a misty effect in moving water. Usually around 1 second. (Unless I have missed it, you have not included in your blog or any earlier emails how long an exposure you were attempting, but as I said in my earlier email, anything up to 2 seconds should be ok, anything over that will give a colour cast). (Authors note – as stated above, the exposure ranged from ¼ to 1/500 sec, well within the 2 seconds mentioned here.) The second thing to notice from this section is, under Choosing a ND; Standard ND are professional quality resin ND filters available between 1-4 stops of ND. Standard NDs don’t block infrared, but they only go up to 4 stops of density, so infrared is not an issue because there is not enough filter factor to overwhelm the digital sensor. With standard NDs, you get a professional quality ND at a really low price. So we do make it quite clear that the resin filters do not block infrared. This would make them unsuitable for long exposure work. (Authors note – while it does, indeed, state that it doesn’t block “infrared”, I had no idea up until now what that meant. I also don’t know the relationship between that and exposure length. It does state that a 4-6 stop ND will give you an exposure “usually around 1 second.” But doesn’t warn against longer exposures.) With that being the case, as the results of your blog are that you are experiencing a “distinct colour cast”, I would appreciate if you could refer to this section of our website (maybe include the link) and advise what length exposures you were trying. With anything over 1 second being beyond the bounds of the recommended use. (Authors note – as stated above, the exposure ranged from ¼ to 1/500 sec, well within the 1 second mentioned in this paragraph.)
UPDATE - 3 August 2018
Formatt-Hitech offered to test the .9 ND filters - both solid and graduated - to see if they may be defective. I was going to send them back but there was some initial confusion and then I decided to sell the set so I decided not to return them for testing. If you are interested in purchasing the filters, leave a message in the comments below with contact information or send me an email at valencia32photo@gmail.com and use the subject line "Formatt-Hitech filters". I can also give you the contact information for the people I was dealing with and you may be able to get the filters tested and replaced, if faulty.
See for yourself
If you are interested in seeing ALL of the images, you may check them out at this location - https://drive.google.com/file/d/1jI4YgWncegz-JQ9sW_lbLtxV4fdNOdDR/view?usp=sharing. I don't know how long I will make them available - if this link doesn't work, let me know and I can reactivate it. I can also make the RAW files accessible, upon request.
Monday, July 2, 2018
Maclearie Park - Small Park, Big Sunsets
Maclearie Park
Maclearie Park is a small municipal park in Belmar, New Jersey. On one side you have a highway and the other side is the Shark River which leads into the Atlantic Ocean. Just east of the park is a marina where many charter boats dock; the marina is another great spot for sunsets but that is a story for another day. You may have already seen some of my images from Maclearie Park, if not check out Sunset and a Peek-a-Boo Moon where I not only got a sunset but the added bonus of a full moon peeking thru the clouds.
My Introduction
I have to admit that I never thought about shooting sunsets at Maclearie Park - I had been there with my kids before and have driven by countless times but, for some reason it never got on my list of places to shoot. It wasn't until Dave Schofield (you remember Dave, he was the subject of one of my most popular interviews - Interview with Sports Photographer Dave Schofield. Read it if you haven't already.) Dave shoots there frequently, as well as the marina, and has set the bar high. It has since become a "go to" spot for sunsets and I am often surprised to find new compositions after I thought I had exhausted possibilities. That is one of the wonderful, and frustrating, things about landscape photography - you never know what awaits you.
Trees
I think one of the things that makes the park such a special place to shoot are the trees - especially in silhouette. I have a favorite little tree at the far west corner of the park by a bench. This is the tree in the panorama at the top of the page and the shot with the great cloud formations on the right ("My" tree). I found this tree the very first time I went to shoot but I have since found others that I can use, depending on the conditions. It is easy to get caught up in the beauty of the sunset and focus on the colors but adding some foreground interest will really set your images apart from the rest. You can also use the trees to block out uninteresting stuff - the image above left (Sunset framed by a tree) is one that I found on my last excursion. The sky has some incredible cloud formations but there was also a large expanse of flat, gray clouds between the horizon and the interesting formations. I used this tree to hide the ugly clouds.
Shark River Hills Beach Club and Marina (HDR)
Look Away From the Sun
If you concentrate on the sun, you may miss out on some of the best light. The marina sits to the north of where the sun was setting, the image here was shot just a few minutes before the sun disappeared completely. I noticed the lights on the other side of the river and put on a longer lens and stopped down to f/22, knowing I would be able to turn the lights into starbursts. I also wanted the longer exposure so that I could smooth out the water as much as possible. This is one of the few "HDR" shots that I have done - I wanted a darker exposure to capture the warmth of the sky and water but I also wanted some detail in the building and shadows. This image has proven to be quite popular. My last image for today is an example of a making lemonade when the world gives you lemons. I was at the park for what I thought would be a nice sunset but it wasn't very good. I started looking around and saw this tree with the pastel sky behind it. I was shooting towards the east, away from the setting sun and was initially struck by the muted colors.
In Closing
I hope I have inspired you to get out and shoot a sunset or two, maybe even at Maclearie Park! If you do go to Maclearie Park, I have a few suggestions:- Get there early! This is especially true if it is your first time there. You want to scout the park and look for your composition. I have been there in each of the different seasons and a composition that works in the winter, may not be there in summer. It is also a popular place for people to watch the sunset so you want to stake out your territory.
- Bring insect repellent! Obviously, this doesn't apply year-round but definitely during spring and summer. The gnats and mosquitoes can be quite a nuisance and you will spend more time shooing them than shooting. I have been using "Deep Woods Off!" the last couple times I was there and it made a big difference.
All photos are copyright Joseph S. Valencia All Rights Reserved They may not be used in any way without express written permission of the photographer. If you wish to use any of the photos you may contact the photographer at valencia32photo@gmail.com
Tuesday, June 5, 2018
Improve Your Photography: Event Photography, Part I - An Introduction
If you think about it, just about anyone who has picked up a camera has done event photography. The event might be a baby's first birthday or a special Mother's Day brunch. They are small, personal events but they are events nonetheless. I have done some work as an event photographer over the years and find the work to be quite exhausting and very satisfying. I have done everything from a surprise birthday party to the National Frisbee Festival in Washington, D.C. and the New Jersey Folk Festival. Weddings and sporting events could be included in this article but I think they are such big topics they should get their own treatment. I also believe that the objective of weddings and sporting events are different. Those events are all about the subject - the bride, the groom, guests, the star player, the winning goal, etc.... When I think of "event" photography the result should be greater than a sum of the photos - you should be telling a story. Wait! Isn't that photojournalism? Yes but not necessarily. The following snippet from Wikipedia explains (read the entire article here):
So, you see, while event photography and photojournalism can be thought of as being essentially the same thing they are not. The event photographer can use his photos to tell whatever story he wants and shoot however he wants. He can also manipulate the images and subjects - ask them to pose, perform a certain action, etc.... He is not constrained by journalistic integrity or rules. While working as the official photographer for the New Jersey Folk Festival back in the mid-80's I struck up a conversation with a photographer covering the event for a local newspaper. During that conversation he gave me the best advice ever - the shots that sell are children, pets, women and veterans/active military. He told me that if I shot with that in mind I would do well. Those words run through my head every time I shoot at an event. If you take away nothing else from this post, remember those four (4) things and you will do well.
Photojournalism is distinguished from other close branches of photography (e.g., documentary photography, social documentary photography, street photography or celebrity photography) by complying with a rigid ethical framework which demands that the work is both honest and impartial whilst telling the story in strictly journalistic terms. Photojournalists create pictures that contribute to the news media.
So, you see, while event photography and photojournalism can be thought of as being essentially the same thing they are not. The event photographer can use his photos to tell whatever story he wants and shoot however he wants. He can also manipulate the images and subjects - ask them to pose, perform a certain action, etc.... He is not constrained by journalistic integrity or rules. While working as the official photographer for the New Jersey Folk Festival back in the mid-80's I struck up a conversation with a photographer covering the event for a local newspaper. During that conversation he gave me the best advice ever - the shots that sell are children, pets, women and veterans/active military. He told me that if I shot with that in mind I would do well. Those words run through my head every time I shoot at an event. If you take away nothing else from this post, remember those four (4) things and you will do well.
Preparation
The first thing you need to do in advance of the event is to make a plan. Research as much as you can ahead of time so that you know what to expect and determine what the important shots are. Some questions to ask yourself are:- who are the event VIPs?
- what are the most important aspects of this event?
- what will the photos be used for?
- where is the event being held? indoors? outdoors? both? large area? small area?
- when is the event - daytime? nighttime? both? season?
- why is this event being held?
- why do people come to this event?
Friday, June 1, 2018
Product Photography - a new venture
Product Photography
I have decided to try my hand at product photography and have found that it can be both frustrating and fun. It is also something that can be done virtually anywhere, any time with very little equipment. I got into it almost by accident, really. I had done some self-portraits in the woods - some of which showed me hiking with my Tamrac camera backpack. I saw some ads on Instagram that were similar and thought, "Hey! Why not?" I then set out to try to get some work shooting products for social media. It turns out, Tamrac used one of my self-portraits in their Instagram feed, with my permission, of course! (You can see it here - https://www.instagram.com/p/BhwxRV7FMxD/?taken-by=tamracphoto)
Swiss Army knife
The first image of the Swiss Army knife was shot, handheld, with the knife resting on the hood of my car. The car is white with metallic flakes and this was shot a little after noon on a cloudless day. There was a little bit of editing but it is pretty much out of the camera. I then took the knife over to a post and took the next image. This, too, was handheld and had minimal post-processing. I used white foamcore to bounce a little light into the shadow and remove some of the distracting reflections - if you look closely, you can see it on the blade. Most of the post-processing involved the background - I decided to darken and de-saturate the background so that it wasn't competing with the knife. I have used this technique a few times, as you will see in some of the other images in this post. I like the effect, what do you think?
Leatherman
This was my first "paid" job, I received the multi-tool (Juice® CS4) directly from Leatherman in exchange for a negotiated number of images for them to use in their social media campaigns. I had a lot of fun with the Leatherman shoot and learned even more in the process. The original idea was to shoot it in a light tent, which I did, but I was looking out my backdoor and saw a tree limb had fallen. This is when I got the idea of shooting outside, too. I found this log, stripped of it's bark, laying just beyond my fence - I grabbed it and used it as the surface to lay the tool. I used some white foamcore to bounce a little light into the shadow and keep the camera from being reflected in the metal surfaces. I like this one but next time I think I need to get a little more light in the shadow - they might be just a little too dark. What do you think? I set out to create "catalog" shots and maybe one image of the tool "in-use" but in the end didn't do the "in-use". I had just received a table-top studio outfit from a friend - a 20" cube tent, two lights, a tabletop tripod and some backgrounds - so I set that up in my kitchen and spent the afternoon. The second image was done in the tent with lights at 90° and a white foamcore between the camera and the tent. I used the black "seamless" background that came with the studio fully intending to have the black just disappear. As much as I tried, I couldn't get the background smooth and so I decided to use the irregular background almost like "leading lines" by having the light lead to the products. This may have been a happy accident that lead to a more powerful image. It also helped to show off the black leather case a little better.
Ledlenser
When I was arranging the deal with Leatherman I learned that they were somehow affiliated and I could also work with them under the same deal. I received this MH30 rechargeable headlamp. I had been wanting a headlamp for a long time and this one was perfect for me. The first image was shot in the light tent with the black cloth background but I kept the background to a minimum by getting in tight on the product. Working with the headlamp proved to be a bit more challenging than the multi-tool, in part because of the elastic headband. It was very difficult to get everything to stay where I wanted it and to position everything exactly as I envisioned. The second shot was taken outside with the headlamp and case sitting on the hood of my car, just like I did for the first Swiss Army knife shot. I didn't use any light modifiers or reflectors for this shot - it was strictly available light. The car, itself, was acting like a large reflector.
In closing
I am going to leave you with one of the images that set me down the product photography trail, one of the self-portraits I shot wearing the Tamrac backpack. This is not the same image Tamrac used in their Instagram feed but it was shot during the same session. While writing this post I decided to do a follow-up showing my "in-use" images featuring the Tamrac backpack and some other products I have done along the way. I like the "in-use" shots but they present a special challenge all their own and I will get into that in the next post. Until next time - be kind to Mother Earth and get outdoors! As always, I welcome your comments and feedback below.See my Product Photography Facebook - https://www.facebook.com/JoeValenciaProductPhotography/ Instagram - https://www.instagram.com/valencia32studio/ Twitter - https://twitter.com/Valencia32Stdio My website - https://valencia32studio.wixsite.com/products
If you are a company looking for a product photographer, I would love to talk to you about your photography needs. Send an email to valencia32studio@gmail.com.
All photos are copyright Joseph S. Valencia All Rights Reserved They may not be used in any way without express written permission of the photographer. If you wish to use any of the photos you may contact the photographer at valencia32photo@gmail.com
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