How adding motion to a static Winter landscape image can make it more dynamic

Pancake ice and sunrise clouds on Lake Champlain in Burlington, Vermont

Landscapes don’t move

Generally when we are talking about or viewing landscape photography we are really looking at subjects that do not move or are static in nature.

Good landscape photography is always compelling and adding some motion into them  is a way to stretch our creative brains and make something that is static much more dynamic.

Typically we don’t want motion in a landscape as it can leave undesirable blur but it’s a whole other thing when we introduce it intentionally.

Combining static elements with movement can make our landscapes come alive and make the viewer pause and wonder about how the effect was achieved.

We can use motion to out advantage even when it is not the original intention of the image like today’s example above. here in fact I embraced the motion in my image as the sunrise was just phenomenal.

Difficulties in capturing motion at sunrise

There are a number of ways to add motion into a static landscape image but they all require some conditions to be met to achieve the effect in camera. Add in the challenge of quickly changing sunrise light and Winter weather and you have the recipe for disappointment unless you can think quickly on your toes and embrace the conditions you have been given.

In this image I had different ideas for what I wanted to capture but I had little time to find a good foreground due to changing conditions so I had to act fast. How can I capture this scene without losing that excellent light from the sunrise? This scene presented a number of challenges immediately which I used to my advantage….

  1. Overhanging clouds – I knew this sunrise was going to be good but I wasn’t quite sure from where. There was a lot of low cloud coverage and I though maybe that the color would not materialize but the clouds opened up just enough to get some stellar reflected light of the clouds. My initial exposures at the beginning of the sunrise were quite long because of all the clouds around.
  2. Melting ice – Originally I wanted some foreground ice images but due to a warm snap what little ice we had in the area was melting and breaking apart. With the weather conditions and wind there was a lot of movement on the lake ice which in the end made for a much stronger image due to the added motion.
  3. Long exposures – There was just no way around this one. The low and plentiful cloud cover reduced the available light so my exposures were going to be long no matter what. If I waited for the light to become stronger than I would miss the color in the sky and the sunrise would have ended.
  4. Foreground interest – The light was changing fast and I had no time to move to another location so I went with what I could find. I focused primarily on the channel between the two large pieces of ice as a leading line into the image with that spectacular color beyond. There was just enough chunks of ice in this channel to reflect some light and give some interest for the eyes.
  5. Waves – The waves were an issue because as the waves would come in the ice would move all over the place. In fact the ice in the middle ground was moving in different directions to the foreground ice which would have made getting a really sharp image in these areas impossible anyways.
  6. The sky color – This light at the end of the sunrise really did not last long. In  total out of all the images I shot the good color was around for maybe about 15 minutes and about 8 minutes of that was when the really excellent color showed up and then vanished. Too short of a window to hike around for a better composition and just long enough to hunker down in place and shoot frames. Up until the last ten minutes I wasn’t really sure if anything would happen but I stuck it out and was rewarded.

Shooting a series of images

In the end I shot a series of 25 images which I would need to use to make an exposure blended image. I chose three for my final blend, Two images were for the foreground ice blocks and middle ground and one for the ice and water movement in the channel and for the background.

The three images were necessary due to the ice moving all over the place. I had to wait for a good moment when the ice had the least amount of movement to get a nice, sharp foreground shot.

The water movement was a different story as each incoming wave was at a different speed so getting the right amount of movement in a frame was crucial to the image.

The background image for the sky was the least troublesome and easiest to shoot as the there wasn’t much movement there at all. The raw files did not capture the full range of color that was present but easily remedied in post….

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First capture original raw file used for foreground sharpness in the ice.
Vermont-Lake Champlain-Winter-sunrise-landscape photography technique
Second capture original raw file used for foreground sharpness in the ice.

Here I used these first captures for sharpness in the giant blocks of ice in the foreground. I wasn’t as concerned about the middle ground simply because there was so much movement that there would be motion blur in this section anyways. I did manage to get one capture where the foreground ice was still enough to get a nice, sharp image for blending.

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Third capture original raw file used to blend in the motion of the water and ice in the foreground as well as the background sky.

The third image here was the most important one as out of several frames I shot to get the motion just right in the water this one was by far the best. This coupled with the sharp foreground ice is what would draw our viewers into this image.

Remember as well that these three images are raw files so they are a bit flat and didn’t capture the range of color that was present when I shot the image. The final image better represents exactly what I was seeing when capturing images.

To sum up my captures for adding motion I shot two images for sharpness in the foreground and one final image for the movement of the water and for sharpness in the background sky. With the short time that I had this was the best course of action so that later in post processing I could blend all three together.

The blending was complicated by the foreground and the sharp contrast between the blocks of ice and the moving water. I needed to do some more intricate brushwork to get the images to merge together seamlessly.

An image is the sum of its parts

Adding motion into your images can be complex as there is a lot more to think about than what you would find in a static shot. With some quick thinking and patience we can however make our images more dynamic. Here are my tips for adding more movement into your images….

  • Look for static elements – By this I mean that once you spot some type of motion that you want to add into your image visually an image will be more compelling if there is a static element in the shot. Above for example in the final edited version the ice is very sharp and appears still while the motion in the water is clearly visible. Something static for the motion to move around is a great visual trick for a more dynamic image.
  • Multiple captures – To get just the right amount of motion in your shots you may need to shoot more than one image at different exposure times. It’s what makes the process more challenging because at times like sunrise you simply don’t have a ton of time to shoot multiples…This is where your photography instincts come in to play. At the very least you will have many shots to choose the best one with the right look.
  • Long exposures – To record the motion generally you will need longer exposure times so look to shoot at sunrise, sunset or during overcast conditions. All of the images I used here were shot at one second and this was just the right amount of time to record the motion present. This will always be different depending on the subject.
  • Don’t fear motion – When I first started out shooting I would always avoid shots like this with motion but as I learned and grew  into landscape photography I wanted to experiment and try new things. I could have walked away from this shot but I would have missed a great opportunity to learn. The world moves and is dynamic, Capture it and do not shy away from it!
  • Chose your compositions wisely – Take the time to really learn how to “see” compositions like this. The craft of Photography is more than just rolling up, taking a shot and leaving. Look at as many images as you can that are similar and you will start to see what works and what doesn’t. Time is your enemy and by learning how to shoot compelling images you won’t waste your time when the light is fading.
  • Give yourself time – Exposure blending like this takes some time to get all of the shots just right. I do not set out with any plan to do an exposure blended image but if the situation presents itself then I will shoot accordingly. With any landscape work that I do I try to give myself enough time to do what I need to do. Rushing is almost never good for your images and the final shots will show it.

I think our job as artists and photographers is to present a dynamic image that draws a viewer in and really gets them thinking about your view of the world. Sometimes images are planned and sometimes happy accidents happen like the above image. Things don’t always go our way when on location and being able to change gears is what lets you go home with keepers rather than duds or worse yet nothing at all.

Adding motion into a still, landscape image is just the sort of outside the box thinking that will set your images apart. If you make the most of what you are given rather than shooting nothing at all then you will grow as a photographer and not remain stagnant.

Using Lightrooms graduated filter and adjustment brush to correct a landscape photograph

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My final corrected image of Mount Mansfield in Winter from a camera raw file.

The initial image capture is only the beginning

When we capture our original camera raw files we need to look at them as simply the start of expressing our artistic vision. We are doing more than  just making an image. We are gathering enough data in our raw files to be able to realize that start into a finished image.

The image editing process is different for everyone but all of the tools are the same. Like in cooking there are a thousand different ways to peel an onion but eventually we get to the same result no matter what method we use.

It is the same for our raw files in that there is no one correct way to get there but by using the power  of our raw files we can come up with a final, polished and corrected image.

How can we get there? What tools do we need to achieve our photographic vision. The answer lies in The graduated filter and adjustment brush in Lightroom.

Camera Raw files are boring

The raw files come straight out of the camera with no processing so what you’re seeing on import into your computer is exactly what you shot. Keep in mind though that unlike a JPEG which is processed in camera, Raw files are flat and boring.

They need processing to bring out all of the best data in the image so a well composed and properly exposed image is essential. While JPEG’s tend to get corrupted over time as they are an already edited image, Raw files can be re edited over and over until your final image emerges. Take for example my original image file for the above image and it’s histogram in Lightroom…..

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View of Mount Mansfield with fresh snow and clouds from a field in Underhill, Vermont
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My example image’s histogram from Lightroom.

Now this is a typical example of a camera raw file as it is straight out of camera. You can see that the image is rather flat with no contrast and there are some issues that need to be addressed in the editing process.

A scene like this can be difficult to shoot as the clouds bounce around bright light at times with the sun popping in and out from behind them. Couple that with it being Winter and the snow being really reflective and you have a pretty tricky exposure situation on your hands.

My Histogram is actually looking really good as the image was exposed to the right just before the highlights would be blown out. This is good as we can pull those highlights in during the editing process without messing up the shadows or making the image to dark. The issues I need to address are easily fixed but do require some time….

  1. The upper portion of the image with the clouds – It’s a little too bright at the top and you can’t really see a lot of the darker shadows in the clouds, Those highlights wash everything out and there isn’t much detail. The blue is washed out a bit as well even though when I shot this it was much closer to what the finished image looked like….That’s the trick really. Making our image look dynamic and just as we shot it without going overboard with out edits.
  2. The Mount Mansfield range in the middle ground – There are nice highlights there but it’s the shadows that are somewhat washed out due to some haze and the fact that in the image it’s snowing on Mount Mansfield itself as I was shooting. It’s really not bad but it just needs some work to make the image more appealing.
  3. The band of trees and forest below the mountain – Again this area is flat and has no contrast. The clouds were casting some interesting shadows in this area and it just isn’t dynamic enough for me. I need to add some contrast and depth to this area as the foreground draws you in and leads you through the trees and to the mountain beyond.
  4. The foreground – This area here is ok but it just needs to be brightened up with some contrast added.  All of the grass sticking out of the snow gets washed out in all of that white so I also would like to see some contrast here as well.

The graduated filter and adjustment brush tools

So we have our camera raw file and I am feeling pretty good about it but I know that this image can be so much better. The main tools that did the heavy lifting on this image were the graduated filter tool and the adjustment brush tool. Both of these tools are great as you can target them to specific areas and use them multiple times within one image.

The graduated filter tool is very handy for corrections because unlike a traditional filter You can spin the tool 360 degrees making it more versatile for correcting landscapes. Manual filters and their holders are a bit more cumbersome in the field so I use them to get my images as close as I can then do more detailed corrections with the graduated density tool.

The other great thing about the tool is that you can use them multiple times in an image where this is not possible manually so it opens up some more opportunities in images that otherwise might not make the cut. I use them quite liberally because I can use one for a clarity adjustment in one area of the image but I can also use one to enhance color in the sky of a sunrise or sunset.

You can selectively use them for different edits just like you ca with the adjustment brush…..While the graduated density tool is used for more broad edits over bigger portions of the image you can use the adjustment brush for more targeted, precise adjustments in select areas to really build on your vision for the final, corrected image.

The adjustment brush work just like any other brush in Photoshop in that you can change its size and use it for specific adjustments in very localized parts of your image. You can also use it multiple times per image so say you want to make an exposure adjustment in one specific area you can just brush the area you want to change then move the appropriate sliders.

Using both tools on our image

Without getting into a very long conversation about my workflow I used three different graduated filters in the image to target the sky, the middle ground and the foreground. The image had a great deal of highlights to contend with and it also needed some contrast and haze adjustments.

Now these initial edits really improved my image however I performed four corrections with the adjustment brush to really make the image pop and take care of some of its flaws. One edit was made for some of the highlights in the clouds, another was used for the mountain to get rid of the haze and add in some contrast, Another was used on the middle ground forest and trees to add contrast and another was used on the foreground to bring out the contrast in the grasses and add some pop to them.

Essentially my workflow goes from a starting point which is a landscape preset I use on all of my images as an overall first step. I then hone this some more with some basic edits again to the overall image and then I dial in more concise edits with the graduated filter tool and the adjustment brush.

Some images require more and some less and it all depends on where I want to go with the final outcome. Editing is as subjective as wine tasting and how we best utilize the tools at out disposal. This image was quite flat to begin with and originally I made a really nice black and white out of it but I also felt the color version was quite nice as I love the blue color in Winter scenes. Lightroom has a lot of powerful tools including ones that may be overlooked and the graduated density tool and adjustment brush can really help to lift your images from boring to exciting.

A Vermont landscape off the beaten path in Groton State Forest and Lanesboro, Vermont

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The wondering photographer

Lanesboro, Vermont is a tiny speck of a town on a Vermont state map but it sits smack dab in the middle of some of the best foliage viewing the state has to offer.

Route 232 travels through the Groton State forest and on a side dirt road with a tiny sign for the town of Lanesboro you will come across this scene. It’s a blink and you’ll miss it location that’s between Groton, Marshfield and Plainfield.

During the Fall foliage season many photography spots can be overwhelmed with visitors and if you feel adventurous and want to get lost then scenes like this one can be found.

I had passed by this scene many times and on this occasion what really grabbed my eye was the wonderful color in the grasses in this open field along with the changing Autumn color in the background.

Tips for getting yourself lost on Vermont’s back roads

The road this location is near is an old railway bed that has since been converted into a dirt road and recreation path which connects to two very picturesque ponds and some of the more stunning foliage during  peak color of the Autumn season.

With more dirt roads than paved ones you can be assured that there will be a photography adventure around just about any corner in the state. With over 26 years of experience traversing the state’s roads I have come up with some tips for traveling and finding unique locations in Vermont.

  1. Bring a map – Seriously, Google Maps is good but what it won’t tell you is there are roads here that get closed or don’t allow certain types of vehicles or that its mud season. I would highly recommend having a set of paper maps as Vermont’s roads at times can be labeled differently on a map then they are on the road signs. Hell there are still places in Vermont that still use wooden road signs and those are often worn away or illegible. Have maps and know how to navigate, Don’t rely on Google Maps alone.
  2. Don’t be afraid to stray off a main road – Often times the side roads will offer up some really stunning imagery and while not noticeable at first will connect with main roads that can get you back into familiar territory. Most side roads in Vermont can be a little convoluted and can twist you around but most will make giant loops or connect to other roads to get you back onto a main road.
  3. Avoid mud season – This one is a no brainer but that period of time after winter ends but before spring officially starts can play havoc on vehicles. The mud gets deep and it likes to suck in cars or create ruts that are just impossible to navigate around. I have driven on many roads during this season and it just really isn’t worth it. Getting stuck in the middle of nowhere is a pretty unpleasant experience.
  4. Have a rugged vehicle – This one goes along with number three but have a tough vehicle if your going to get off the beaten path. A truck, A car with all wheel drive or four wheel drive, Anything that will not be hampered buy road conditions. I don’t have a truck but I do have awd and it will save your bacon on a muddy or washboard, rutted road.
  5. Not all landscapes will be sweeping vistas – Look for the smaller more intimate scenes as sometimes that grand Vermont landscape can be illusive depending on your location. The northern part of the state tends to be more mountainous with forests and trees tightly packed together and you have to climb above the treeline while the Southern sections are more like flat, rolling hill farmland landscapes. Forests will have ponds with tight forest cover and hard to access areas but you can also find abandoned rock quarries or farms. The smaller scenes will let you hone in on a specific element like my image above and the sky reflection in the small stream.
  6. Look for multiple places to shoot in or around one central location – By having one main shooting location and several side locations you can up your chances of coming home with a keeper. It can take a lot of drive time to reach some of the more scenic places in Vermont and you don’t want to waste your time while out. Have a plan a, b, c, and d around where your main location is so you can maximize your shooting potential.

Trusting your vision

I drive right by today’s image but as you progress as a photographer you learn to trust your eyes and your brain when it says “Stop!” That’s preciously what happened to me and I am glad that I listened to my inner artist otherwise I would have missed this shot.

This small stream here is right along the side of the road and I noticed first that it made a nice leading line into the image. The color on the field grasses was quite striking as well as the changing foliage in the background trees. Grasses like this are a common site here and their color changes throughout the foliage season. The reflection in the water provides a nice focal point to draw you in and to follow through the rest of the image. Here is my original image….

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Here is my original Camera Raw image file and as you can see the sky is a bit bland and the highlights on the grass wash out their detail.

My original shot was off a bit so this one would need some edits to make it really shine. Cropping to center the stream reflection, The highlights, The sky and coaxing some more detail out of the water reflection were all that was needed to really make this one shine. I used the HSL panel to make the colors really pop and add some drama to them.

Getting off the main roads and opening yourself up to the adventure really isn’t so bad is it?

Let the adventure be your guide

Vermont pretty much has it all in terms of what you can find for landscape imagery. All of it really is there if your willing to venture away from the crowds and really explore the state.

I do a great deal of planning when I shoot my landscapes but there as always room to roam the unique back roads that we have here. While we are sadly losing a lot of our rich farming traditions and the industrial production of years past, There still is a lot of vintage charm to find.

Get out there, Zig when you should zag and find your next great landscape image.

Bear Pond on Mount Mansfield in Stowe, Vermont in black and white

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Hiking to a remote Vermont location

I knew about the existence of Bear Pond for a number of years and finally I was able to visit this remote location.

The pond sits in the spine of the green Mountains on Mount Mansfield and requires a roughly four-hour hike from the base to reach. Bear Pond can be visited by a trail that is no longer maintained so the trek in to it is not for the faint of heart.

It’s a treacherous scramble over moss-covered boulders and down some steep slopes so a partner is essential.

While much more remote than Lake of the Clouds if you can find someone who has been there to use as a guide your efforts will be rewarded. You won’t meet another person there but you will certainly find enough photographic diversity to keep you busy while you are there.

How do we craft an image in one shot with multiple points of depth and focus?

The trick with this image is to make it sharp and in focus from front to back. I chose this particular composition because there was a lot of depth to it with multiple points of interest for the eyes and it really told a story of the location. It showed remoteness and unspoiled beauty but getting it all into sharp focus would be my challenge.

This image has a flow to it where you move from the foreground grass and dead trees to the middle ground logs and finally to the background and clouds in the sky.  First I needed to identify  my areas of concern and how best to get critical focus where I wanted it to be and my best course of action would be to make multiple exposures at various focus points within the image. This way I could choose the best, sharpest images and blend them together manually ensuring that the image is sharp from front to back.

My concerns about the image

  • The foreground – These alpine grasses and petrified trees make for a really interesting foreground but if I place a focus point there specifically it will throw a good portion of the image out of focus. I really wanted this area of the image to be there as I think it really leads you into the rest of the photograph. The textures and shapes are fantastic but I do not want to crop out this section.
  • The middle ground –This area is problematic as there are three different petrified trees all on different planes within the image. If I focus here the fore and middle ground will be sharp but the background will be soft. That is unacceptable to me  as I want sharpness throughout…..I felt anything less would be too distracting for the viewer.
  • The background – If we place our focus here then the fore and middle ground become much to soft and not what I want for my image. Due to the lack of clouds on my visit I want the ones that did happen to float by to be nice and sharp as well as being able to discern what is in the background. I want to see everything in a landscape and my eyes in particular like when things are nice and sharp.
  • Multiple depths in the image – When your dealing with multiple depths for instance where all of the different logs are sitting, It can be difficult to place where you want to focus in the image. You will have to make a compromise somewhere and usually that means something will not be sharp. The depth in the middle ground is my biggest problem here and focus blending will be my choice to overcome it.
  • Wind movement – While the water in the pond was very still creating a mirror reflection there was a very slight breeze blowing across the grass in the foreground. I had to wait for just the right moment for the grass to settle down in order to get my shots without any movement in the foreground. This would make blending the images manually in Photoshop much easier.
  • Interest in the sky – While not a huge concern on the day that I was at this pond their were clear blue skies so I had to make a choice to exclude a good deal of the sky from the composition. I was fortunate that while I was composing some clouds wandered by into the frame and I was able to add some interesting shapes from the sky into the shot. The clouds added shape and form to the reflections in the water and added some calm into the scene.

A three image exposure and focus blend

Generally when I shoot images of this type I make a series of test shots for my exposure values. Sometimes one exposure will work for the entire scene and other times I need to make separate exposures for the highlights and shadows.

Once I have my composition set I will make a series of exposures starting at my bottom focus point and working my way up through all of the middle focus points in a straight line. Generally this is enough to cover sharpness throughout the image but here and there you will always have to make adjustments.

In this case I made a total of three exposures with a focus point set in the foreground, One for the background and a last one for the middle of the pond and the three logs.

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My first exposure with no edits that was made for the foreground grasses and logs.
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My second exposure with no edits that I shot for focus in the middle ground. My focus point was right on the log in the middle of the pond which kept the entire middle portion of the image very sharp.
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The third image I shot in my series for exposure and for focus on the distant background. Notice the dark foreground but the lighter background.

As you can see in the progression of the images the first two are exactly the same with the exception of where I placed my focus point. These two images I used to blend together the fore and middle ground into one image and the last image was blended in for the focus and exposure in the background.

These images will always need some post processing work in order to blend everything into a smooth, coherent image. I try not to shoot my exposures so far apart that you have to push the processing to the extreme, I just want to process enough to make the lighting look natural and how it was when I shot the scene.

The final look of the image

Once I import all of the images into my computer I always first do the blending and then as my final step I will edit the combined image. I find that it’s easier to do it that way and match the exposure them it is to edit all of them separately and then combine them. In a series of three images like this one or if there are several images I will always break it up into two image chunks so I don’t get lost in the editing process. Most of the images will be so similar that it’s very easy to forget which one you are working on.

Here I took the fore and middle ground images and combined them and once I was happy with the blend I would add in the final background shot and blend that in as well. Especially in this particular shot there are s lot of elements so there was quite a bit of brushwork along with my usual gradient process to get everything looking just the way I wanted to. The final image after processing is what the scene was like and the lighting is accurate. While I don’t always do these exposure blends as at times it’s not necessary but it is a tool that we can utilize.  In  this image we have an example of how to get multiple depths and focus points into one harmonious photograph.

 

A Mount Mansfield reflection at the Lake of the Clouds in Stowe,Vermont

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Summit of Mount Mansfield and reflection with the shoreline at Lake of the clouds.

Hiking to a majestic Vermont photography location

 Lake Of The Clouds is a glacial tarn located on Mount Mansfield in the spine of the Green Mountains.

A glacial tarn is a glacial lake in a circular shape formed by glacial scouring or movement during the retreat of glacial ice.

This location was on my list to visit for many years and finally in 2013 I was able to make the hike and shoot one of Vermont’s most wonderful landscapes.

The hike to the “Chin” or summit of Mount Mansfield takes about three hours and for this image I started hiking up at 3 a.m. to catch the sunrise. I knew ultimately I would probably miss the sunrise by a few minutes and on the day I made this hike there just was no cloud cover whatsoever.

In the end I was ok with the conditions that I had to shoot under as being in the location without another soul around and taking in the silence and majesty of it all was reward enough for me.

Sunrise light and difficult exposures

The scene above on the day that I visited presented a number of challenges. As with any landscape shoot generally they are entirely dependent on the weather and this sunrise was no exception. I am not the fastest hiker when I have 20 plus pounds of camera gear on my back so I missed sunrise by a few minutes but with no cloud cover any color was non-existent from my vantage point. The difficulties in getting this image included…..

  1. The weather- As I mentioned while a little on the cool side for an early morning hike the clouds had dissipated overnight leaving me without much of anything in the sky to anchor the composition. This is the curse of a landscape photographer but not an insurmountable challenge by any means.
  2. The position of the Sun- The suns position was still very low in the sky and being that I was on Vermont’s highest peak meant that parts of the image would be in deep shadow and other parts would be in bright sun. My best course of action was to use neutral density filters, a polarizing filter and to shoot two images for blending later on. It was just really close to impossible to capture the range of light here in one image.
  3. The fragile landscape- The area here is surrounded with fragile and rare vegetation and as such I tread very lightly and try not to disturb the area. My compositions were limited but I knew I wanted a shot of the mountain summit reflecting in the water. In the end I chose this composition as it was a good compromise of foreground interest, giving the viewer a sense of place all while not including much of the sky and with no impact to the environment.
  4. The sky- No clouds meant that I would have to try and include as little of the sky into my composition as possible. I wanted enough to give some scale and to show the brilliant blue color but not so much that the image looked empty. There are times when you can creatively use a blue sky in an image but my personal preference is to not include it in this situation as it wouldn’t add anything to the final image.

How I shot my landscape for an exposure blended image

Exposure blending images can be very easy or very difficult depending on the composition. This situation warranted shooting two images but the difficulty came in combining them as trees and driftwood on the left side extended into the horizon line making a simple composition from the horizon impossible. Essentially I used an angled gradient, lots of brushwork and a lot of corrections in post to get the image right where I wanted it.

The first image here that I shot was made for the shadows. Because of the suns position the shadows were hard to bring up in a single exposure and as you can see the highlights are quite extreme. While not blown out they did allow me some wiggle room for my exposure blend……

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My second image was made to control the highlights which were on the bright side with no cloud cover. Imagine a line from the top left corner of the image to the bottom right corner of the image and this is how I made my blend….Blending the best parts of the highlights and shadows along that imaginary line.

This is one of the reasons why this blend was on the difficult side as generally I try to have a clear horizon to make the stitching easier. In this image because of the composition I could not use a straight up and down gradient. The gradient to blend the images would have to be at an angle and this meant some more complicated brushwork would be needed. The highlight image exposure was pretty accurate to the conditions…..

 

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You can really see the difference here in this image for the highlights and how much shadow there was in the left side compared to the right. With no easy way to get a single capture I had to shoot two and correct the lighting for both and try to match them as close as possible to the original scene. Both of these files are original, straight out of camera files that did need a lot of post processing. It really is amazing that camera raw files have such a tremendous amount of information that can be pushed to create a striking image.

Work with what you are given

After all is said and done you often times need to just work with whatever conditions present themselves.

Knowing that I would not be back to this location for a long time I made the best choices I could to come home with something exceptional.

With a three a.m. start time and a three hour hike up coming away with no images was not an option.

Words cannot describe what it feels like to be in this location early in the morning with no people and not much in the way of sounds. It’s one of those Vermont locations that can be a crap shoot in terms of weather but the experience of being there and seeing the peak of Mount Mansfield rising above the water just cannot be missed.

 

A stark winter landscape always provides a photography opportunity if you know where to look.

beach grass and storm clouds over the adirondack mountains in charlotte vermont

Stick season. It is the bane of my existence as a landscape photographer here in Vermont.

That subtle season right before the snow flies where all of the Fall foliage has been stripped from the trees leaving bare skeletons of limbs.

The landscape turns from vibrantly colored to muted and bare.

The challenge in all of this is finding an interesting landscape to focus on with your camera.

While this season can lead to despair I tend to look at it as a challenge to hone my eye to see what otherwise would be forgotten.

Why we overlook these beautiful, stark landscapes 

Often as landscape photographers we tend to want to shoot that grand sweeping landscape. The more colorful months of Spring, Summer and Fall her in Vermont provide a wealth of photo ops that are easy to find and shoot. It doesn’t take much to find a beautiful landscape to shoot but the real challenge comes during the transition periods between seasons. This is especially true during stick season which typically happens when the Fall foliage finally drops from the trees but before it starts snowing.

Why are we not seeing with our eyes? What is behind rejecting scenes such as the one I shot above….

  • Preconceived notions about what is beautiful. We build up over years of practice at photography what it is that we like to shoot. We get attached to certain scenes or elements and we stick to them and then the seasons change as in Fall to Winter and the landscape becomes devoid of color or interest. Or does it? Instead of packing up your gear for a few months maybe it’s possible to wipe away all of your ideas about beauty and challenge yourself more.  Think outside of your box and you will see that even something as benign as beach grass as in the above image has beautiful shape and color.
  • Not separating decent images out from the chaos. Landscapes during stick season can be very chaotic. Like in the beach scene above this location can be hard to shoot upon first visiting it. A rocky shoreline that changes with lake water levels, tree stumps and logs, and empty, open areas are just some of the locations challenges. You have to be able to separate out a really decent fore, middle and background. Look at them all as separate elements that are part of a much larger whole. Jettison anything that does not tell your story in the image and boil your image down to its most essential elements. 
  • Nothing to anchor your scene in the foreground. Shooting in the vertical orientation is challenging in itself as your frame is compressed on the sides making your foreground most important. 99% of my images are shot vertically and my foregrounds have to count. I want to draw the viewer in and have their eye naturally move from the foreground into the middle and background. My story starts in the foreground. Don’t overlook the simplest of elements to use as a foreground. In my image here while there is no pronounced element the grasses were what I wanted to be to most dominant feature in the image. I wanted the viewer to feel like they were walking into this scene.
  • There are no elements that say what season it is in the image. Right off the bat you can see that it’s not apparent that this image was taken in the winter time. There is now snow or ice but the only thing telling you that there is a change in seasons is the dead foreground lake grass. The lake will recede a bit in Winter and the grasses die back turning this wonderful golden color until the Spring when things start growing again. The tendency is to skip a scene like this but I did not because anyone who shoots in Vermont knows the beginning and end of Winter will often look like this, Somewhat dreary. In this image though I felt the color of the grasses and the camera position lead you into what is happening in the background with the approaching storm clouds and the Adirondack Mountains beyond.

How to bring out your best image of a very stark, Winter landscape

Now that we have identified why we rush past these scenes we need to look at how we go about capturing them and bringing out all of the actual beauty that is there. After we find one of these challenging compositions we then need to figure out the best way to shoot them.

For me most of the time that is going to be exposure blending.

It can be difficult especially in scenes like this one where the sky is really bright and the foreground is very dark to get the correct exposure in a single capture.

My personal technique for exposure blending is very simple but requires some forethought in order to produce a high quality image. Below are the two images that I used for the blended, final image that is at the top of this post…

The image capture that I used for the foreground grasses. This is an uncorrected raw file and while the light is nice on the grasses I want it to be just a bit darker. The range is good here and I will match the exposures in post.
image capture for an exposure blended image used for exposure and sharpness in the sky and middle ground.
The image capture that I used for the sky and foreground. This is an uncorrected raw image with flaws that will be corrected in post. There is some bowing of the horizon from the wide-angle lens and you can see the transition of the graduated filter I was using on my lens to tame the light in the sky.
  1. Look for images with a strong fore, middle and background. With this image I was looking for some separation between the foreground grasses and the background mountains so that I could have a nice transition area for the exposure blend. This middle transition area allows for much easier blending in Photoshop as there will be a lot less brush work involved. While the middle ground trees do add a bit of complexity to the exposure blend as there is some wind movement those issues can be overcome with your brush work. I composed the image so that the viewer would be placed directly into this field of grasses and when it was viewed I wanted the sense that your were walking through them into the background.
  2. Shoot multiple images using the various focus points in your camera. My current camera has 18 focus points which is more than enough to capture sharpness throughout this scene. I composed and shot my images knowing that I would only have to use all of the center focus points which equals 7 images in the vertical orientation. The reason why I shoot a series of images is so I have enough images to create a seamless blend from front to back using as few images as possible. I want to be able to pick out at least two images with acceptable focus all the way through the image. Obviously this will change on what your shooting and at times I will cover all 18 focus points. While it’s not entirely necessary to shoot all seven shots I do so I am not limited when it goes to selecting shots for the blend. With my first focus point at the bottom of the frame on the grasses I work my way up focusing and shooting at each focus point. The last focus point I place somewhere on the horizon whether it be the clouds or the mountains so the background is in focus.
  3. Do test shots of the foreground and sky to determine exposure values. Really the first thing that you want to do is to determine what exposure values to use with your shots. This scene is no different in that the sky and the foreground have different exposure needs. The foreground grasses needed to be light enough to show their color and the highlights needed to be tamed in the clouds. The sky was shot at 1/5 of a second and the grasses were shot at half a second. With the wind gusting off of the lake I had to wait in between gusts for the grasses to stop moving for a clean shot. After I do my test shots and get the light correct I then shoot my series of images for sharpness using the settings determined in my tests. Everything else will be smoothed out in the editing process after the images are blended.
  4. Decide which images you are going to use for the blend. This is one of the harder parts of the process as you have to look at each image in the set and determine which shots will be the best for the blend. I always wait until after I blend my raw images together before doing any edits. This way you can ensure that each image is identical which makes stitching them together much easier and fixing any inconsistencies like a visible neutral density filter line easier as well. Zooming in at 100% will allow you to see how focus changes from image to image and which ones are the sharpest. In the case of my example image I only needed two to make a sharp image throughout and that had proper exposure in both the foreground and the sky. The image for the foreground was the one in the series taken with the focus point just under the center point and the sky image was taken with the top most point placed on the mountains in the background. Below is the blended raw files straight out of Photoshop with no edits….
An exposure blended landscape photograph after blending in Photoshop with no corrections applied
Here are the two images blended together with no editing done.

5     Blend your images together in Photoshop. I prefer to do these blends manually versus having software do the heavy lifting. Software can be broad in its corrections versus honing in on exactly where the blends will occur and what edits on the final image that you will be making. I always try to get my blends down to two images but this all depends on the type of scene you are shooting and how complicated the scene is (i.e. trees, moving objects, etc.). The scenes that require more than two images are generally ones that will need some sharpness in the corners and sides of the image depending on what lens you use and where the focus falls off from maximum sharpness. Check out this older post here which explains the blending process that I use in much more detail. While it was written using Adobe Photoshop CS 2 the process is exactly the same with the newer versions of both Lightroom and Photoshop. Once I complete the image blend I then import the TIFF file back into Lightroom to do my final corrections on the image.

6     The final editing process. Now at this final stage is where your artistic vision will come into play. My first corrections will fix any of the broad issues like straight, level horizons, bowing from my wide-angle lens, sensor spotting and consistent exposure throughout the image. Next I use my own personal landscape preset which I use on all my landscape images where my corrections are almost always the same, dehaze, clarity, etc. After I apply my preset I go from there and fine tune the image to have it look exactly like I saw it when I was shooting it. The image at the top of the post is where I wanted to be with it….Showing off the color in the lake grass while showing the stormy sky over the Adirondack Mountains beyond.

Never miss an opportunity

As landscapers I think we should be always constantly evolving how we look at the world and our techniques for realizing our vision.

We must train our eyes to look beyond our preconceived ideas and judgments about the world otherwise we can miss exciting images. Sometimes the most boring landscape can have the most profound image if we stop for a few moments, Soak in the area and really open our eyes to the possibilities.

You won’t always get it right and you most certainly will shoot a ton of dud images but it’s always that one out of a hundred image that makes all of the sacrifices you make as a landscape photographer worth it.

Always look at the world with a fresh perspective and a new set of eyes…It’s worth it.

A how to guide for Salt Printing part two-An alternative photography process

Continuing on in my how to on salt printing series I will finish up in this post on the rest of the equipment that you will need to start making your prints. You really don’t need as much equipment to get started as in developing film so it is relatively easy to get set up to do salt printing.

lets dive right in to the rest of our gear:

The transparency sheets

After a great deal of research online I finally came across the Pictorico line of transparency sheets. I had to read a ton of really old forum conversation threads and amazon reviews to find out that this is what you want to use. These sheets are made for working with alternative photography processes so you are going to want to spend the money and get them as they do work in inkjet printers.

One thing to note when using them is to always hold them up to the light and inspect them before use. Once in a while just like with your paper there will be some kind of anomaly they may interfere with your image. After several packs I have come across one or two sheets that couldn’t be used because of some random spotting. It’s rare but it does happen.

One other thing to note that when printing on these I always set my images to print at a higher dpi. With my digital work I always go with 300 dpi but at these lower settings with negatives and transparencies I found you will see more lines from where the print heads move across the transparency sheets. For my salt prints I use 600 dpi and I have never had any issues with it. You could go higher than that but for me 600 has worked great.

Something to tack your paper too

This piece can be simple and cheap but you will need something to tack your paper too in order to keep it flat while coating and drying your paper. Here I am using a Styrofoam block I had lying around the house with some basic thumb tacks.

You really could use anything for this purpose but it should be flat and something easily thrown away as you may get chemicals on it. This thing was cheap and it serves its purpose.

A smock of some kind and safety glasses

You are going to want to wear something over your regular clothes to minimize any chemical spills you may get on your clothes. I am always careful and handle the chemicals with safety in mind but accidents happen and you want to be prepared. Here I am using an old chef’s jacket I had in my closet. In my day job I am a chef and had this lying around but it’s heavy with long sleeves and it just works. Again you could really use anything for this purpose. The safety glasses are self explanatory. You really don’t want to screw with your vision so you will need at least some minimal protection in case of spills or splashes.

Developing trays

For salt printing you only need two trays, One for washing your print in water and one for your fixer. It doesn’t matter what color they are really but I used a white one for my water wash and a grey one for my fixer. These are cheap and you can find them anywhere.

Odds and ends

In this image are some odds and ends you will need including:

  • rubber gloves-you really want to be careful mostly with the silver compound as it can stain your skin black. These are a necessity and give you protection from handling the chemicals.
  • LED yellow safe light. You cam buy these in any hardware or building supply store and they are not very expensive. I chose yellow but you could use red also. I chose LED lighting for its efficiency and long-term usage. Again here we are adapting modern technology to a very old process.
  • squeegee you can find these anywhere….Amazon, hardware stores or janitorial supply stores. You don’t have to spend a lot of money it just has to be of decent quality as you will be using it to get water off your prints which will be essential for proper drying of your paper. This one I got on amazon for around $7.00.
  • Measuring spoon – You only need a to measure teaspoons for your fixer and this simple one I bought at the grocery store works well. Just label it and keep it away from your other kitchen utensils…only use it for your fixer.
  • Tongs- I bought a pair of really cheap tongs and two is all you will need to salt print. You need one for the wash and one for your fix and while I notice their shortcomings as a cheap alternative to more expensive ones they have performed well for over a year now.
  • Face mask – The chemicals for salt printing are nowhere near as bad as collodion is but there are vapors present and you do want to protect yourself. These have been adequate so far but in the future I will get the respirator type to exercise even more caution.
  • Two small mixing cups – You will need two small cups for portioning out your salt and silver solutions. We have tons of these little medicine cups around with a four-year old in the house and they are perfect for measuring out your chemicals. Just be sure to properly label which is which, I use one for the salt solution and the other is for the silver.

One quart container with lid (not pictured)- While it’s not in the picture you can get plastic or metal one quart containers for mixing paint at any hardware or home improvement store. I use one to mix one quart of fixer that I keep on hand for making prints.

I saved the exposing light for last because it will require a lot of explaining as it has been a thorn in my side since I started salt printing. Here is some images of the light I am currently using and then I will get in-depth about why it is such a pain in the ass…..

This is a cheap way to have something on hand to expose your salt prints. UV exposing boxes cost thousands and all they are really is just wooden boxes with fluorescent light fixtures put inside them. This really isn’t economical for most people and unless it’s LED lighting your wasting electricity. I wanted LED’s to save on power consumption and I needed something small, light weight and portable that didn’t cost thousands of dollars. The original box that I built consisted of an 11×14 shadow box frame with LED strip lights mounted inside with a power plug. Strip lighting is great because you can cut the strips and make it into any shape that you want only the cut strips need a connector to attach them together. This set up while cheap proved unusable for a few reasons..

  • The LED strip lights are too under powered with exposures taking over an hour to complete. Better than using the sun but still not good enough.
  • The connector strips used to attach one piece of strip lighting to another are the weak point in that scenario. You only have so much length of the strips and connectors before you start losing power, It gets weaker the longer the strips and the more connectors you use. The strips can be quite flimsy and it can be difficult to get a solid connection making shorts common with this setup.
  • Unless you mount the strips right next to each other you will have strips of over and underexposed spots on your salt prints. Not acceptable to make quality prints.
  •  I abandoned this approach as it’s cheap but does not work very well.

Eventually I came across these LED floodlights that are used for concerts and lighting shows. These lights are great because the are cheap, LED and efficient meaning short exposure times and you can just plug them in and go. This particular unit covers a 5×7 area which is the size I like to print at however after about a year of using it I am finding some drawbacks that has required some hacking of the light unit…

  • The LED’s are mounted in a small square in the center and reflected outward with a metal insert under the glass of the light. Using the light as is creates hot spots in your exposure in the center if the light is too close to the glass of the contact printing frame. To mitigate that I moved the light away from the glass a few inches and through some testing have found that this spreads the light to far out creating really light exposure on the edges of your image area. That’s just not good enough for prints that will be exhibited or sold. I want an even exposure. I have experimented with several distances and can’t quite get the even exposure I am looking for.
  • I did a test where I turned all the lights off and flipped the light so it was shining towards my face with the glass from my contact printing frame for reference. The goal was to see where exactly the light was shining at different distances. This way you can see where exactly the light is shining and how far it is spreading or falling off from the center and at what distance it does the fall off at. Sure enough my the distance I was exposing at is wrong, This light likes it around an inch off the glass which gives a nice 5×7 exposing area with no fall off.
  • The LED’s in the center are another problem as that’s where they are at their brightest and at one inch off the glass does cause a hot spot in the center of your exposed image. My solution right now is to simply cover the LED’s with small squares of copy paper to reduce the light’s intensity and evening out the exposure. I have not as of yet made an actual print this way, I am only in the experimenting phase.
  • These floodlights have a glass covering over the LED’s with a black border on the glass with an interior silver reflector. Both of these together get reflected onto the image when held at certain distances. I never noticed it before as currently I am exposing prints with the lamp about three inches away but up close the lines from the shape of the reflector are clearly visible.

All of these issues coupled together make exposing a big pain in the but however they can be overcome. Currently I am tinkering with removing the silver reflector and the glass top and that should solve the issues. I really want this light to work 100% as it is a good cheap alternative to spending thousands on an exposure table which would make the process financially unworkable. I will report back when I can get to making some prints with my hacks on this light.  So there you have it, Two posts covering everything you need to start salt printing!

See part one of this series right here! The header image in part one is an example of what is wrong with my lighting setup….That image shows a nicely exposed center but at the edges is where the light really falls off. That tells you that I am holding the light too far away.

A how to guide for Salt Printing part one-An alternative photography process

 

A alternative process photography salt print of a field of daisiesFinding my alt process medium

I first came across salt printing during my initial research into the wet plate collodion process which was something that I wanted to attempt for a number of years. I decided in the end to focus on dry plate tintypes which are far less dangerous to produce and the subject of a future blog post.

I looked at a ton of different vintage processes and finally settled on salt printing as the best medium to start learning how to do alternative process work. Like any of these vintage ways to print images there are a lot of points in the process where things can go wrong and you have to learn to embrace flaws. Salt printing is a good first step because…..

  1. You do not need a traditional darkroom. You do need subdued lighting and you have to use a safe light but the room does not need to be completely dark. In my case I use my kitchen as there is only one window to cover and I have a source of water. I take great care to clean and cover all of my working surfaces and remove any items where there could be a chance of contamination. alternatively you could also use a bathroom.
  2. There are only four chemicals involved in the process and compared to other processes they are relatively safe. While great care and respect must be taken when using these chemicals, I do store them in my home but out of the way where only I can access them. They are also available in kits so you don’t have to have a chemistry lab on site  to make salt prints.

A minimum amount of equipment is needed, Some you can be thrifty and cheap on but some of it You should really spend money on to get the highest quality. Everything I use for the process can be kept in a space the size of a dresser drawer.

The negative side 

You control the entire process from image capture to printing and it will give you appreciation for the history of photography. You have a physical object you can hold in your hand that is one of a kind and the process is well suited for portraits.

There are a few minor negatives to the process but nothing that can’t be overcome with lots of trial and error. Hopefully with these posts you can avoid some of what I had to go through as the information online about salt printing is fragmentary and outdated. The negatives are…..

    1. It takes some time to do even two or three prints so you have to set aside a good chunk of time to print. I have gotten my exposure times down to less than 15 minutes but between coating and drying the paper, printing and exposing you are looking at close to an hour for one print.
    2. Whatever you use for a light source to expose the prints will be your biggest issue. This is something I have tinkered with for over a year now and still I feel the exposures need work. I will go into more detail when I get to the exposing part but you can either spend over a thousand bucks for an exposing table or go cheap. The sun was used when the process was invented but this is too inconsistent and it would take all day to make a print.
    3. Embrace flaws and take mistakes in stride. There are a lot of steps in making salt prints and when you are adapting a process invented in the 1800’s to modern techniques you will make mistakes along the way. No two prints will ever come out the same and there will be times when a print or two just will not come out. My hope with this series is to help you keep the mistakes to a minimum as I think I have made them all trying to adapt this process.

The gear you will need

Salt printing chemicals

An image of the chemicals in brown bottles used in the salt printing process

Thankfully all of the chemicals that you will need to do salt printing can be found in a convenient kit made by  Bostick and Sullivan. You can buy the kit online from their website, It comes well packaged and protected  and it’s cost is reasonable. The kit contains full instructions, eye droppers for the chemicals, fixer (sodium thiosulphate), salt solution, silver nitrate( makes the paper light-sensitive), And potassium dichromate for contrast in the prints. In a future post I will detail the entire process of making a print.

The contact printing frame

The contact printing frame is one of the more crucial parts of this process so I would recommend either finding a vintage one like I did, buying a brand new one which can be extremely expensive or being crafty and making one yourself.

I experimented with making them myself but in the end I wanted a vintage one because I felt the process warranted it. It took me about a year of looking to find one in  decent shape but the 8×10 in the above images was at a reasonable price considering it was 70-90 years old.

The frame consists of a wooden outer frame with a glass front and a wooden, hinged back with pressure springs to hold the paper and negative tight against each other and the glass which is important to maintain sharpness. The hinged back allows you to check the print during development without disturbing the registration between the print and your negative.

Your printing paper

I use Bergger cot 320 8×10 sheets that come 24 sheets to a pack. Your paper is another one of those items that I would not cheap out on. Spend the money, You will save yourself a ton of frustration by trying to use cheap or inferior papers. This paper is made for alternative process work and most importantly dries flat. I dry my prints about 3/4 of the way and then press between heavy books, This way you will have a flat print for printing that is not warped or crinkled.

Print screen and a squeegee board

Now here are two things that you will need that you can most certainly go cheap on and it  won’t hurt your prints in the least. The print screen is used to evenly dry your prints. It allows air to flow over and under the print and these are used for regular film prints as well. You can buy them but here I simply took an old picture frame and taped window screen to it. Cheap and things I already had lying around. In the future I will construct a better one but this works for now.

The squeegee board was just the glass from the frame I used for the print screen with some tape around the edges for safety. It really helps to have a flat surface to squeegee prints and this does the trick nicely and basically it cost nothing.

Self healing cutting mat and hair dryer

The cutting mat will be useful in marking where to align your negative before you sensitize the paper. You can then use those marks to align your image and you will have a guide for applying the chemicals when you are under the safe light. I use 8×10 sheets of paper but my image area is 5×7 because I like the look of some white area around the image. The mat lets you be precise when centering the image and applying the chemicals on your paper. You can find these at office supply or art supply stores and the run around 20 dollars.

The hair dryer is used to simply to speed up the drying time when your chemicals are applied and to dry your finished prints. This is a cheap one that has a high and low setting and you can find them at any pharmacy.

In part two I will go over the rest of what you need to get into making your own salt prints. You really don’t need much equipment or space and with the exception of the contact printing frame can be found just about anywhere or online! Check out part two in this series detailing the rest of the equipment you need to make your own salt prints!

A Winter landscape on Lake Champlain at sunset

The long waitIce formations and snow at sunset on Lake Champlain in winter

Generally during the holiday season I get a few weeks off at the end of the year from work and I try to get a good deal of photography work done during that time. The weather can be a fickle, Cruel mistress here in Vermont during the winter season and I had two weeks of disappointment waiting for some decent weather to role in. I suppose it’s the bitter irony of being a landscape photographer as you get fooled day after day into thinking the conditions for shooting are going to materialize and then they never do.

That’s probably the most frustrating thing about doing this kind of work and what challenges you to be a better photographer in the face of adversity. For example today’s image was shot around a half hour or so before sunset and the weather conditions were brutal even though you don’t get any indications of that from the image. I had left my house about an hour before sunset and the sky was clear blue but with the help of some trusty apps and my intuition it really paid off to go out and shoot on a miserable day. Sure enough as soon as I left my house the wind really kicked up but as the sun set more and more clouds rolled into the area assuring me of a decent sunset.

Before editing image example of a winter sunset on Lake Champlain
This is the original image file before editing which consists of two images, One for the sunburst and sky and one for the foreground snow and ice. The sky image was shot at ISO 500 F22 @1/100 and the foreground image was shot at ISO 500 F11 @ 1/250.

The challenging image

This image presented a bit of a challenge as the wind was really whipping around and the sun was setting making me have to decide about how best to shoot this scene. Normally I don’t point directly into the sun but in this case I felt like changing things up. The sun was creating excellent shadows in the snow and the glancing light on the ice made for some nice color versus all white in the snow. Because I was losing the light and with the windy conditions I bumped the ISO up to 500 so I could get some fast shutter speeds. I added in a three stop graduated neutral density filter on my lens to tame the sky and made two exposures….One at a high aperture for the sunburst and one to add some light to the foreground.

I wasn’t expecting to get anything sharp but I managed to get a few sets of keepers despite the windy conditions. In Photoshop I blended the two images together with a gradient but with the irregular shape of the icy shoreline I had to zoom in at 100% and tweak the middle ground with some brush work to fully refine the blend and make it seamless. The camera doesn’t always interpret what your eyes see accurately and that’s where my eyes and mind take over in the editing process.

I always wait to perform any edits until after the two images are blended together seamlessly. I did a slight crop of the top and bottom and added in a bit of color in the highlights and shadows that was present but the camera recorded more on the blue side. The highlights in the snow are quite strong in a few spots but not really all that distracting and pretty typical of winter scenes here.

I was really happy with the final result even though this image did present some issues with the jagged horizon in the middle ground. Generally you will have some areas that lose focus and there were a couple of small spots in the middle ground but nothing that wasn’t easily blended with the sharp sky image. Wind and blowing snow can be challenging but shooting in these tough winters for a number of years now gave me the experience to overcome.

 

Devon-A model portrait shoot

A close up portrait image of a blond haired female posing against a pink background

Breaking out from the usual

Over a year ago when I decided to get more into alternative process photography more I had come up with a personal project to break away from doing strictly landscape photography. While I am deeply passionate about landscape work I wanted to get much more involved with shooting portraits. I wanted more of a personal connection with my work and to just simply meet new people and develop some professional contacts.

I settled on salt printing as the first alternative process to get into for its ease of use, adaptability to more modern techniques and how beautiful of a process it is for portrait images. My portrait project is going to be a collection of portraits done specifically to make salt prints but also to push myself to get better at something other than landscapes.

A bad day for photography

Well wouldn’t you know it but on the day of our shoot the weather took a bit of a turn from clear skies to cold and windy. The sunset turned out pretty decent towards the end of the shoot but the cold and windy conditions complicated what we could do.  The windy conditions meant that Devon’s hair was at times blowing all over the place and in the end some images did not make the cut because of that. The wind also made it difficult to stand out in the open for any length of time but I think we were creative with the spots we did use to escape the weather for a few moments to shoot.

We were shooting on the Burlington waterfront which is an open park area right on the shores of Lake Champlain. As often the case in the winter time here the weather can change from minute to minute and this day was no exception. I had been watching the weather all day as our shoot was in the afternoon and the morning was clear and calm. The afternoon however took a turn and the wind kicked up with the temperature dropping a bit because of the wind. We did manage to use the location to our advantage shooting in stairwells, benches, out in the open and undercover of some shrubbery. With portraits they always speak for themselves……

A black and white close up portrait image of a female model a closeup color portrait of a female model a close up portrait image of a blonde haired female model in color a black and white close up portrait of a female model with a fur hood over head

Close up color image of a blond haired female model with glasses