Showing posts with label Gallery. Show all posts
Showing posts with label Gallery. Show all posts

Contents


Photo: Desert Dunes

Photo: Blue Orchid

Photo: Life On The Farm

Photo: Morning On Mount Rainier

Photo: Enchanted at Proxy Falls

Photo: The Long Bridge

Photo: Portland Nightscape

Photo: Looking Up

Photo: Beachcombing

Photo: Waterfall Flowers

Photo: Desert Dreams

Photo Series: Sea Foam Swirls

Photo: Sunny Mountain Meadow

Photo Series: Golden Morning

Photo: Crater Lake Sunrise

Photo: Nostalgia

Photo: The Ghost Forest of Neskowin

Photo: Waterlogged

Photo: Sunflower Petals

Photo: Curve of the Earth




Sunday, April 13, 2014

Photo: Desert Dunes

Desert Dunes
Copyright Laura A Knauth, All rights reserved.
Please contact me for any usage or licensing options.
Desert patterns of the Mesquite Flat Sand Dunes just before sunset.

Location
Death Valley National Park, California

Technical Info
Canon 50d
Tokina 11-16mm Lens, 16mm
f/13, 1/125s, ISO 100

Playing around with the "Diffuse Glow" filter in Photoshop (Filter => Distort => Diffuse Glow) really gave me the stark, desaturated look I had been hoping for when I took the original image. In real life, the sun reflected off of the sand ripples and across the background mountains really giving a harsh desert feel to the environment. The camera captures whatever it can, and then it's a huge process to infuse the image with original feeling of being there on the day. The Diffuse Glow filter option seems to work well when there is sufficient contrast in the image, so I did some work on the Midtone contrast first before using this filter to achieve the results you see here.

For reference, this was the original image out of Bridge (I tweaked a few knobs here from the original image, but do most of my work in Photoshop):
Copyright Laura A Knauth, All rights reserved
Original Image for "Desert Dunes"
Hope these ideas help you too!

Blog Post by Laura A Knauth

Tuesday, April 1, 2014

Photo: Blue Orchid

Abstract image of a mysterious blue orchid glistening in the sunlight.

Blue Orchid
Copyright Laura A Knauth, All rights reserved.
Please contact me for any usage or licensing options.
This is a blue orchid dendrobium I purchased at my local supermarket. I have seen whole plants of these available in the past year or so (both at the hardware store and grocery store) under the name: Blue Mystique

Someone did some strange science to the orchids to make them grow this way. Ordinarily, I'm all about appreciating the amazingness that is pure nature, but the colors here were just so striking, I had to take a picture!

I don't have the technical details for this image because it was taken on slide film back in the day. (The automatic feature of digital cameras to record the metadata with the image is so nice!)

Equipment:
50mm Macro Lens
Minolta 600si Camera
Slide Film

Blog Post by Laura A Knauth

Sunday, March 30, 2014

Photo: Life On The Farm

Appreciating green pastures and a little red barn.

 Life On The Farm
Copyright Laura A Knauth, All rights reserved.
Please contact me for any usage or licensing options.
I relied heavily on the RAW file for this one to recover the detail in the sky (which would have been completely blown out white otherwise). That's just the start for me though these days, as I've been playing quite heavily with some Photoshop darkroom-esque techniques along with some LAB color tweaks. I'm still learning all about what you can do with LAB color, but I'll post the techniques I've had the most success with in a later post.

For this image, I spent quite a bit of time working on the midtone contrast, and sorting out groups of nearby tones (evening out local unexpected dark patches after applying adjustments to larger regions like the foreground or the sky). When doing this sort of thing, I've been filtering any black and white specific edits (like midtone contrast, dodging and burning), to dedicated luminosity layers to avoid adding funky colors. For those interested in seeing what kind of steps it took to arrive at this image, I included a snapshot of my Photoshop Layers window down below along with the image out of Adobe Bridge. It's not the most streamlined of flows, but hey, it's what I did. I'm still working to speed up the process so I have more energy to process more pictures!

Location
The Palouse, Washington

Technical Info
Canon 50d
Canon 18-200mm Lens, 18mm
f/13, 1/20s, ISO 100

Filters
Circular Polarizer

Behold the Photoshop gymnastics in my layers window:

Laura Knauth's Photoshop workflow for "Life On The Farm"
... and these are just the layers left over from what ended up working. The ultimate goal is to have only adjustment layers (the lines that have the down pointing arrows) until the very end so any subsequent tweaks would propagate to the final image. The big break in the middle is where I copied over adjustments made to a copy of the image in LAB mode. Then I realized I wanted to make a few more adjustments and piled on another group of layers for the final product.

Image right out of Bridge:
Intermediate state of post-processing "Life On The Farm" : Copyright Laura A Knauth
I've been importing the picture in 'Neutral' mode to remove all camera color processing with the intention of having more color options as a later step in Photoshop (a default camera setting like Landscape mode would have had punchier colors at this point).

I always am curious to see people's before and after images. Hope this is a helpful comparison!

Blog Post by Laura A Knauth

Wednesday, May 29, 2013

Photo: Morning On Mount Rainier

Rosy morning sunlight dances over beautiful Mount Rainier with Edith Creek and purple lupine wildflowers in the foreground.

Morning on Mount Rainier
Copyright Laura A Knauth, All rights reserved.
Please contact me for any usage or licensing options.

I played around with some Orton Diffusion to evoke a more peaceful morning effect.

Location
Mount Rainier National Park, Washington

Technical Info
Canon 50d
18-200mm Lens, 20mm
f/11, 0.6s, ISO 100

Filters
Circular Polarizer
3stop Reverse ND Grad (probably ... forgot to take filter notes)

I'm a huge fan of digital RAW mode after this. The golden morning light surprised me, and I was so rushed to whip out the right filters and setup the shot that I ended up accidentally taking this with -2 EB from a previous experiment. Doh! The glancing light on the peak was done by the time I noticed what happened, but I was able to salvage the photo by adding back the +2EB in DPP. Whew!

Blog Post by Laura A Knauth

Tuesday, May 28, 2013

Photo: Enchanted at Proxy Falls

Incorporating unexpected elements of the landscape can add unexpected delights!

Enchanted at Proxy Falls

Copyright Laura A Knauth, All rights reserved.
Please contact me for any usage or licensing options.

Proxy Falls has so many different cascades; the volume of sound from this place was amazing! I remember being drenched standing anywhere near the main blast, but off on the sides the spray wasn't quite so aggressive.This particular location was particularly enchanting since you could be fairly close and still look up at the water as it was pouring over the rocks and mingling with the sun.

I thought the unexpected droplets on the lens helped convey the moment. Kisses from Proxy Falls :)

Technical Info
Canon 50d
18-200mm Lens, 18mm
f/16, 6sec, ISO 100
Circular Polarizer

Blog Post by Laura A Knauth

Monday, May 27, 2013

Photo: The Long Bridge

The Astoria Bridge towers over the remnants of an old dock one foggy morning.

The Long Bridge
Copyright Laura A Knauth, All rights reserved.
Please contact me for any usage or licensing options.
Technical Details
Canon 50d
Canon 18-200mm Lens, 18mm
f/11, 1sec, ISO 100

This was one of the first images where I started paying close attention to dedicated luminosity and color layers when post-processing in Photoshop. I find this technique very useful for reducing unexpected artifacts and allowed for more control. More details are available in the article.

Thanks for stopping by!

Blog Post by Laura A Knauth

Thursday, May 23, 2013

Photo: Portland Nightscape

Love that blue hour just after sunset. The longer exposure times combined with that lighting really help to reveal some incredible sky color that is not immediately apparent to the eye in real life. It's one of the rare times where differences in the camera's vision compared to your own can work wonderfully in your favor. Combine the quality of this lighting with some water reflections, and it's hard to go wrong. :) 

Portland Nightscape
Copyright Laura A Knauth, All rights reserved.
Please contact me for any usage or licensing options.

At the time I took this photo, I didn't know about the six stop ND filter (which I now use for most water-related shots), but the naturally low lighting just after sunset naturally allowed for a surface blur across the water and helped reveal long colorful reflections. (I hadn't expected the blurred boats near the dock (they were barely moving to my eyes), but love that it adds a subtle impression of movement in the scene.

Location
Downtown Portland, Oregon
Hawthorne Bridge reflection in the Willamette River

Technical Info
18-200mm Lens, 24mm
f/5.6, 83s, ISO 100
Circular Polarizer + 3 Stop ND Grad

This was actualy one of my first shots with my Canon 50d camera, and seeing it reminded me of a particular quirk I had to learn about the camera at the time in order to get this shot. In order to leave the shutter open beyond 30 seconds (the limit of my camera in Aperture or Shutter priority modes), I set the camera shutter time to 'bulb' and use a cable release to manually hold the shutter open. I had to play around with the exposure to find an aperture/time combination that worked well. But on Canon cameras, just switching the camera 'on' isn't sufficient to enable the 'bulb' shutter setting. There's an additional tick on the power dial which is a required setting before the camera can be set to bulb shutter mode.

Hope this helps!


Blog Post by Laura A Knauth

Tuesday, May 21, 2013

Photo: Looking Up

Here's a nature photo taken in an unlikely place — a parking lot — with an unlikely camera — a point & shoot. It's all about perspectives. ;) One of the mantras in many photo books recommends: when the sky isn't particularly compelling (perhaps on solid gray days), then compose shots without the sky. ...So extending that theme: if you are in the middle of a parking lot, try leaving out out the concrete. ;p

Looking Up
Copyright Laura A Knauth, All rights reserved.
Please contact me for any usage or licensing options.

These are springtime flowers on a sunny day from one of my favorite perspectives: the wide angle close up. Contrary to most flower shots, I didn't zoom in, but set the widest angle possible and moved the camera as close to the subject as it could stay in focus.

This was a spontaneous photo moment. I didn't have any fancy gear with me and just was heading back to my car when the lovely flowers in the median caught my eye. I remembered I had a little point & shoot camera with me, and it was nice to find a creative way to reflect on the moment. The camera is essentially touching the ground with the lens pointed back up at the flowers. Needless to say, I had to spam many many shots through trial and error since I couldn't look through the viewfinder, but it was a lot of fun!

Technical Info
Lumix ZS19, 4.3mm  with Macro mode enabled
f8, 1/800, ISO 100
Fill Flash

Fill Flash in Daylight
I wanted to highlight that I overrode the camera settings to force the flash to fire. This is a helpful technique for shooting subjects in the midday sun where the normal camera settings can have a tendency to expose for the background leaving the subject in the dark. The remedy is to force the flash to fire; it acts as fill flash, allowing the subject to shine. :)  It probably looked strange to passersby seeing me use the flash in the daytime, but this shot wouldn't have happened without it!

Thanks for stopping by my blog!

-by Laura A Knauth

Friday, May 17, 2013

Photo: Beachcombing

Searching for treasure on the Oregon coast...

Beachcombing
Copyright Laura A Knauth, All rights reserved.
Please contact me for any usage or licensing options.

I have to say I really love this image even though it is simple. Typifies the cloudy days that are still beautiful in the Pacific Northwest. This is haystack rock near Cannon Beach, Oregon.

Technical Info
Canon 50d
Canon EF-S 18-200mm Lens, 60mm
f16, 1/10s, ISO 100

Filters:
2-stop Graduated ND Filter
Circular Polarizer

Adding Final Processing Sparkle
A processing technique I've recently found and will start incorporating in all my future images is to add a final tweak to boost the brightest whites of the photo. Seems to really make the image sparkle. I started re-opening a copy of the image in Camera Raw and bumping up the Highlights slider in the Tone Curve tab slightly to the right (starting with +10 or so). I also check whether bumping down the 'Dark' slider slightly to the left adds an appealing effect. Sometimes that can really add richness to the tones.

I've been watching what these sliders do to the tone curve in Camera Raw and have started mimicking that recently in Photoshop directly using a final Curves adjustment layer. Doing this step too soon in post-processing might take away more detail then you intended, so I've been saving these final adjustments to the end. Just wanted to mention this technique because I've realized that just when I thought my images were essentially finished, I found I liked the image much more after trying these final highlight or dark tone tweaks.

Hope you find this useful!

-by Laura A Knauth

Tuesday, May 14, 2013

Photo: Waterfall Flowers

Waterfall Flowers
Copyright Laura A Knauth, All rights reserved.
Please contact me for any usage or licensing options.
Proxy Falls is a huge waterfall with a thundering roar, but some of the cascades separate from the main deluge to create the opportunity for a more intimate scene. Fortunately on cloudy days or for waterfalls in the shade, there is time enough to spend hours trying different perspectives using various lenses (compared to the rush to catch what optimal compositions may reveal themselves at the quickly changing light of sunrise and sunset).
 
For this shot, I tried a close-up down near the mossy rocks at the base of one of the quieter cascades to capture some foreground detail that might otherwise be overlooked viewing the spectacular waterfall at a distance. Here are some sweet flowers popping up over the bank.
 
Location
Proxy Falls (near Sisters, Oregon)
 
Technical Info
Canon 50d
18-200mm Lens, 35mm
f/29, 3.2s, ISO 100, EB +1.7

Filter:  Circular Polarizer
 
 
 -by Laura A Knauth

Sunday, May 12, 2013

Photo: Desert Dreams

This is one of the four larger peaks of the Mesquite Flat Sand Dunes. The larger dunes are tricky because they are a magnet for hikers and usually are covered with footprints. This dune was the one further away from the parking lot and had a nice ridge for catching sunset rays.

Desert Dreams
Copyright Laura A Knauth, All rights reserved.
Please contact me for any usage or licensing options.

I found the dunes to be a very challenging location - seemed to me an exercise in extreme opportunistic photography. The truly beautiful lighting around sunrise and sunset doesn't last very long; by the time you see how the sunlight will play off of the terrain, you inevitably realize your intended comps have footprints in the way, and it is difficult to move quickly from dune to dune to try again. (Quite a workout!) In the end, I found the most success staying planted in a reasonably promising location and making the most of it, even if my initial comp didn't work. I didn't expect so many fluffy clouds for a desert scene, but there they are. ;p

Location
Mesquite Flat Sand Dunes
Death Valley National Park, California

Technical Details
Canon 50d
Canon 18-200mm Lens, 20m
f/13, 1/80s, ISO 100

Filter
I'm pretty sure I used just a Circular Polarizer for this one.

Thanks for stopping by my blog!

by Laura A Knauth

Wednesday, May 8, 2013

Photo Series: Sea Foam Swirls

You never know what the weather will bring. After a nightlong downpour, and drizzly pre-dawn, the skies began to clear at daybreak to herald a beautiful day for photography, starting with this series of photos from Cape Kiwanda. I played around with different lenses and perspectives, and two different takes on the same location are shown below. 


Sea Foam Swirls
Copyright Laura A Knauth, All rights reserved.
Please contact me for any usage or licensing options.
Location
Cape Kiwanda near Pacific City, Oregon
 
Technical Info
Canon 50d 
Tokina 11-16mm Lens, 11mm 
f11, 6s, ISO 100 

Filters:

General Tip
For the one photo I've sold to a magazine cover (Curve of the Earth), I was very fortunate the magazine was willing to post-process the image to add more sky, extending the horizontal shot vertically, not only to fit the aspect ratio they needed, but also to add more negative space for their magazine content (Title, Article lists, ...). It was a great lesson since I hadn't thought to play around with negative space more often, and many people have a tendency to only shoot landscape shots horizontally.


Quiet Morning Waves
Copyright Laura A Knauth, All rights reserved.
Please contact me for any usage or licensing options.

The tide carried foam patches along the beach in these interesting abstract swirls.

Location
Pacific City, Oregon
Technical Info
Canon 50d 
11-16mm Lens, 16mm 
f/8, 5s, ISO 100 

Filters:

Hope these tips help!

-by Laura A Knauth

Saturday, May 4, 2013

Photo: Sunny Mountain Meadow

Sunny Mountain Meadow
Copyright Laura A Knauth, All rights reserved.
Please contact me for any usage or licensing options.
After sunrise in Mount Rainier National Park, light began streaking through the trees on the Skyline Loop trail and striping the meadows in these interesting patterns. The sky had been completely clear for days until just before this shot, when low fog suddenly rolled in and promptly covered the mountain top completely. At least I got off a few snaps of cloud effects before then. :)
Location
Mount Rainier National Park
Paradise, WA
Technical Info
Canon 50d
18-200mm Lens, 18mm
f/11, 1/6s, ISO 100
Filters:
Circular Polarizer
3Stop Rev ND Grad

The dreamy light right around sunrise or sunset usually means much less time spent repairing the dynamic range in post-processing. Sunny daylight is comparatively so high in contrast that the increased dynamic range starts wreaking havoc on digital images. (I don't ever remember having blown highlights in my slide film days. Sigh.)  I still have yet to streamline my post-processing workflow for smoothing out the harsh shadows and highlights in shots like this. My eyes think the scene is beautiful at the time, but I have to jump through hoops to recover any sense of the real life perspective. 

For this image, I adjusted the exposure of the RAW file to produce two images that I manually blended in Photoshop - one image with details in the shadow areas and one with details in the highlights. I remember I had to play around with this one quite a bit in order to balance the saturation appropriately across the shadows and highlights. (When you darken lighter areas, the colors become more saturated; and when you brighten shadow areas, they loose saturation.) This was such a fun scene though in real life that I had to make the effort. It's another world up there near the mountaintop! It felt like I was in some storybook alpine adventure. :)

by Laura A Knauth

Saturday, April 27, 2013

Photo Series: Golden Morning

These two photos were taken only minutes apart in roughly the same location. It is incredible how quickly the light, and impression of the landscape, changes at sunrise!

Morning Glory
Copyright Laura A Knauth, All rights reserved.  
Please contact me for any usage or licensing options.

An early morning glow just before the sun blasts though the clouds to start a new day. This image is more subtle than the version below, but I love it for that quiet sense of expectation. It's the image I'm currently using as my desktop background. :)

Location
Mesquite Flat Sand Dunes at Sunrise
Death Valley National Park, CA

Technical Details
Canon 50d
Tokina 11-16mm lens, 11mm
f/13, 1/3s, ISO 100
Bracketed exposure for the sun detail + a Rev 3Stop ND Grad filter


Golden Morning
Copyright Laura A Knauth, All rights reserved.  
Please contact me for any usage or licensing options.

Sunrise shots are tricky because after the investment of an early wake-up, you largely have to compose in the dark and then scramble to adjust when the light starts to change. (Pre-scouting locations would definitely help.) This was unfortunately one of the days when it was a mad dash from ridge to ridge we spotted these ripples and a promising vista. All of my shots from this angle had strange lens flare artifacts, but thought in the end a few were interesting, so left them in!

Location
Mesquite Flat Sand Dunes at Sunrise 
Death Valley National Park, CA

Technical Details
Canon 50d 
Tokina 11-16mm lens, 11mm 
f/13, 1/30s, ISO 100

Bracketed exposure for the sky. 
No Filters - they were really scratched up by this point in the trip :\ Without direct sunlight (as in the first shot), you can still use scratched filters without causing too much trouble, but once direct sunlight hits, they really start producing messy artifacts.

Thanks for stopping by my blog!

by Laura A Knauth

Sunday, April 21, 2013

Photo: Crater Lake Sunrise

Crater Lake Sunrise
Copyright Laura A Knauth, All rights reserved.  
Please contact me for any usage or licensing options.

Location
Discovery Point in Crater Lake National Park, Oregon. 

I can only imagine what it must have been like for someone to climb over the rim of the crater and see this view without knowing what was here. :)  The plaque marking the discovery of Crater Lake is on the far right of the image. Wizard Island is a volcanic cinder cone poking out of the lake on the left.

Even thought the morning was freezing cold, there is something so warming and revitalizing about watching the sun rise from the frozen darkness. This was my first snowshoeing experience in recent memory, and it definitely is an unusual experience to clamp on snowshoes in the wind and darkness and then walk through the forest for an hour or so to reach this point. Well worth the effort though! What a beautiful location.

Technical Information
I took this image in three panels. The six stop neutral density filter added to the rich warm colors this morning. In order to help balance the sky with the ground, I also used a 3-stop reverse neutral density filter. Even though I have a filter holder, I find it too cumbersome to use when I'm playing with different filters while the lighting is changing so quickly. I invested in the largest size of the Singh Ray filters so I could hand hold it and have some margin of error. (These filters are also usually available through Adorama, B&H Photo, or Amazon as well.)

I line up the darkest band of the filter over the horizon and then shake the filter over the duration of the exposure to even out the effect. I find it helps tremendously for sunrise shots to capture the sky detail along with the foreground in the same image (otherwise, my camera is not able to preserve the sky information at the horizon due to the extreme lighting conditions).

I combine this hand-held filter technique with the 'Live View' mode of my camera to ensure the filter position is aligned properly. Before using this technique, my use of hand held filters was very hit or miss (you could see the edges of the filter or bad reflections). A downside is that Live View uses up a lot of battery juice, but I find the time savings in the field well worthwhile. One other caveat of hand holding is that your fingers can get pretty cold on days like this. ;p

Canon 50d 
Tokina Lens 11-16mm, 11mm 
f/13, 4s, ISO 100

Filters: 
6-stop ND filter + 
3stop Rev ND Grad

Thanks for stopping by my blog!

by Laura A Knauth

Thursday, April 11, 2013

Photo: Nostalgia

Nostalgia
Copyright Laura A Knauth, All rights reserved.
Please contact me for any usage or licensing options.

Remembering the past at the Cedar Creek Grist Mill in Washington.

Technical Details
Canon 50d
Tokina 11-16mm Lens, 11mm
f/11, 25s, ISO 100
6 stop ND filter

The Cedar Creek Grist Mill is such a charming location, but as with many iconic sites that attract photographers from far and wide, it's a place you might actually pass by unless you knew to pause for a moment and really absorb the location. It's actually inspiring for me to realize there are little gems all around; just changing your angle might reveal an amazing new iconic location.

For this image, it was so nice to find a beautiful foreground not only as a frame and help show a sense of depth, but also to show a close up detail of elements that are echoed further back in the landscape. Those big beautiful leaves added not only a rich color, but are a quintessential icon of Fall and the mood that season evokes.

Technical note: A few of those vines were glowing way to brightly and almost distracted me enough to overlook this composition. But all I needed to do was darken them enough in post-processing so they didn't visually impair the view up the river into the rest of the scene. It's the kind of effect your eyes don't see while you are setting up your composition, but is an artifact of how the light is recorded in the camera. Sometimes I look at my compositions when I get home and wonder what I was thinking, and then realize the camera captured the scene differently than my actual experience. That's where learning about various digital darkroom techniques can help reclaim your intention.

Cloudy days are a wonderful time to photograph the forest, and the fog this morning was sublime. Nothing like fog to create depth and atmosphere. It was already dissipating quite a bit by the time our group arrived, but I'm so glad it held on long enough to illuminate the top part of the frame in this photo. My favorite 6 stop ND filter smoothed out the waterfall, the little cascades, and created streaks across the water which rounded out my dreamy, nostalgic intention for this photo.

Hope these tips help!


by Laura A Knauth

Sunday, April 7, 2013

Photo: The Ghost Forest of Neskowin

The Ghost Forest of Neskowin
Copyright Laura A Knauth, All rights reserved.
Please contact me for any usage or licensing options.

An ancient forest is slowly revealed and consumed by the tide in Neskowin, Oregon.

Technical Details
Canon 50d
18-200mm Lens, 28mm
f/11, 4s, ISO 100, EB +1
6 stop ND Filter

My concept for this photo started with the name of the place 'The Ghost Forest of Neskowin'. It is a place along the Oregon coast where trees were buried in sand thousands upon thousands of years ago; all that time, you could walk across the terrain and have no notion of what was buried beneath. But as the sands slowly erode into the ocean, the ancient trees are finally revealed … for only a brief moment. For as they are revealed, the sands no longer hold them in place, and the ancient logs are swept out to sea; eventually, you could walk along the sandy beach and there will be no hints the ancient forest ever existed. The thought was so haunting and poetic. While I was there, I was so appreciative to see these beautiful ancient trees, but realized it also meant they were now exposed to the elements - a visual reminder of an immense and ongoing process. I suppose their story is to cherish the moment, and then cherish what new mysteries might be revealed the next moments, and on, and on.

When I was processing the photo, a standard color image did not evoke this sense of history, or what will be, so I tried black and white. But a standard grayscale seemed too stark and emotionless, so I kept playing with a few monochrome presets (I was using Canon's Digital Photo Professional software at the time). The blue selection was an instant choice. Those bluish tones evoked the ghostly sense of the place that I was trying to convey.

I also had several different compositions to choose from especially since the ocean surf varied with each shot, leaving varied impressions. I liked this image with well defined rings around the ancient trunks. It seemed to echo the both the sense of a unique moment in time, and yet because of the nature of waves, a moment in transition as well. The line of the surf led back to the large haystack rock in the distance (called 'Proposal Rock').

Once I had properly adjusted the exposure for the rest of the image, this rock was way too dark - not only distracting, but a lost opportunity. So I spent most of my processing time trying to recover and balance the light values and details of the rock. I wanted it to be properly integrated as a compelling focal point of the image. It's intriguing that there is a forest of living trees growing atop this haystack, overlooking the remnants of the ancient forest on the beach. I also love the random sea gull walking along the sand, slightly ghostly itself as a result of the longer exposure. All in all, this was one of the more poetic images I've taken & loved that it captured a kind of story beyond a frozen moment in time.

by Laura A Knauth

Sunday, March 31, 2013

Photo: Waterlogged

Evoking an immersive photo experience usually entails getting very close to your subject when you actually take the picture; and in the case of large waterfalls, that usually means dealing with a large blast of water spray. Stocking a healthy supply of lint free cloths is pretty much an essential accessory. Maybe even full rain gear might be appropriate. :)  Wiping the front of the lens will be a necessity after every shot and longer exposure shots further increase the likelihood of spots showing up on your final image. Sometimes adjusting the angle of the lens or finding another path where the air currents are taking the spray in another direction can help.

In the case of my shot of Proxy Falls below, I do have quite a few compositions without water droplets, but there is something about showing an extra element of really being there that can add to the overall effect of a photo. In this case, I kept being drawn to a few of my shots that were the most covered in water spray. After all, if you were to really visit that location, it would be part of your experience!
Waterlogged
Copyright Laura A Knauth, All rights reserved.
Please contact me for any usage or licensing options.
Stopped fighting the water spray and let nature take over ;p

Location
Proxy Falls, Oregon 

Technical Details
Canon50d
Tokina 11-16mm Lens, 16mm
f/22, 8sec, ISO 100
Circular Polarizer

Additional Links for My Photography
Caveat: Many cameras will run into problems if they are exposed to water spray or rain. I used a Canon 50d for this shot which has a moderate amount of weather protection (sturdier materials, sealing, …) compared to earlier models, and was fortunate that I didn't experience problems this day. I think it is a bit like playing roulette though; two other photographers in our group had fancier cameras (featuring enhanced weather protection) that stopped working due to water issues. Fortunately, once they let their cameras dry completely (I think it took a whole day of air drying), they came back to life. There is a limit somewhere though, and it is definitely a risk to let your gear get drenched. I take at least a plastic bag with me at all times to cover the camera if need be. I am also usually using some kind of attached filter to protect the lens.

As a side note: So far, it hasn't been water, but sand that has mangled my gear the most. Between getting in the gears of telescope-type lenses (and messing up my autofocus) or scratching my filters to smithereens, sand has been my biggest environment-related challenge. If sand is on your lens or filters, definitely avoid rubbing them or storing them unprotected in a pocket or something. I found dousing the filter in clean water helped get the sand off without scratching. If your filter doesn't have weather sealing though, something like Giottos Rocket Air Blaster might be your safest bet.

More Waterfall Tips
Cloudy days or shady locations make for beautiful waterfall lighting. A circular polarizer can add even more magic: try turning the filter until the greens are vivid, or the rocks are black. Even without direct sunlight, the subtle water spray from the falls adds thousands of small reflective surfaces that can dull the potential colors in the waterfall scene; it's amazing to see the effect of the circular polarizer in these shots. You might play around with spinning the polarizer through the different angles to see if you like some reflections more than others. And for just about any moving subject in a landscape, I'm a huge fan of the 6-stop ND filter. (I didn't use it here though.) It's fun to see the effect of different shutter speeds on the water.

by Laura A Knauth

Monday, March 25, 2013

Photo: Sunflower Petals

I love that macro photography opens up a whole new world to explore without requiring a car or any long travel times or expense. Pure creativity! I actually realized when posting this how much I miss macro photography, which used to be my mainstay back in high school. My photo 'Sunflower Petals' was taken with a 100mm macro lens which is essentially a specialized lens (could also be good for portraits), but I carried around a 50mm macro lens for many years which was a great all-purpose alternative. One caveat: 50mm macro lenses (vs a 100mm macro) require you to be much closer to your actual subject, so it might not be ideal for creature photography (bugs, pets, ...). 

Some wide angle lenses can also work for nice close-ups (my Curve of The Earth photo is one example) and also show the distant scenery. My little point & shoot camera has a macro feature that works well at the widest angle (counter intuitive). You just have to physically get a lot closer to objects then you might be used to with a telephoto lens (we are talking centimeters away), but they do fill the screen and stay in focus.

For the photo I'm featuring in this post, the focal plane is very specific (lower/larger aperture), so the background becomes a beautiful blur to highlight the foreground subject.


Sunflower Petals
Copyright Laura A Knauth, All rights reserved.  
Please contact me for any usage or licensing options.

I planted a vegetable garden last year, and this was my first sunflower. :) After the rains stopped, I grabbed my macro & went out to take a few shots. Thanks for looking!
Location:
Backyard Garden

Technical Details:
Canon 50d 
100mm Macro Lens 
f/5, 1/30s, ISO 100

Additional Links for My Photography:

by Laura A Knauth

Wednesday, March 20, 2013

Photo: Curve of the Earth

Fun with a fish eye lens! Here's one of my photos showing the possibilities with a wide angle close-up. I love how it combines a macro effect in the context of a broader landscape. In order to achieve this effect, try putting your wide angle lens unusually close to a foreground subject. (Depending on the lens, you might try taking two photos without moving the camera position: one focused on the foreground, and one for the background to make sure everything is sharp.) Depending on how close you can get, the foreground object will fill a large part of the frame and yet the wide angle view will also show the surrounding landscape.

A fish eye lens is just an extreme version of a wide angle lens, and dramatically curves your perspective. In my case, I used an 8mm Fish Eye. (Without a crop sensor camera, I think that is essentially a 180 degree view.) Any lens less than 22mm or so is considered 'wide angle'.

The starburst effect around the sun is achieved by setting the aperture fairly small (around f/11 or higher), and then obscuring the light source so it is as small as possible. In this case, the clouds covered the sun enough so a starburst could form (sometimes you might notice this effect with a well-placed branch or leaves, ...). The configuration of elements in the lens determines the number of rays and shape of the starburst.

Be careful when shooting into the sun, but playing around with starbrusts can add some fun interest to your photos! Wide angle lenses don't magnify the light as much, so they are safer to start off with, and  you can also use your LCD screen instead of the view finder unless you are very sure the sun isn't too bright for your eyes.

Curve of the Earth
Copyright Laura A Knauth, All rights reserved.
Please contact me for any usage. Also Available on Getty

These are Balsamroot flowers in full bloom, overlooking rolling farmlands with fields of wheat. The flowers may look inviting, but it turns out this whole region is full of ticks, so I was really nervous getting so close to the leaves for the wide angle close-ups. It must be done though for the flowers to fill the foreground - so I risked it for art. :p I think I managed to avoid picking up any stowaways ... but at least two made it back to our car over the course of the trip. Yikes! Safe to view through a photograph though ;)

Digital Photo - September IssueLocation:
Steptoe Butte in the Palouse hills, Washington
en.wikipedia.org/wiki/Steptoe_Butte

Technical Details:
Canon 50d
Rokinon 8mm Fish Eye Lens
f/11, 1/50s, ISO 800 (to freeze the flowers), -1 EB
Multiple TIFFs manually blended from the RAW file to even out the sky exposure

Published!
By some miracle, the editors of Digital Photo selected this photo for their cover back in September 2011 . Yay! I saw the issue in Barnes & Noble and bought three copies. ;p What a huge surprise. I'm so grateful.

This is certainly encouragement to keep posting. So nice to know an image can still be noticed after the first couple days when all of the main traffic vanishes.


Additional Links for My Photography:
by Laura A Knauth