Three Legs are Better than Two

Not too long ago I found myself attempting to photograph an area in low light without a tripod…The results were predictable and indeed the shots turned out rather mediocre at best.  Most of them were blurred to a degree even with the anti shake turned on…it was a combination of too little light, too long of a focal length, too slow of a shutter speed, and too shaky of a hand hold…a lethal combination for clear pictures.

Most of my serious photography is always shot from a tripod using a cable shutter release even in good light.  There are times I shoot by hand, but usually only when using a tripod may not be practical and only when there is adequate light.  I’ve muffed a lot of great photo opportunities because of hand held shaking. 

Most lenses today come with anti shake stabilization technology and in the Sony Alpha series of cameras internal anti shake within the camera is used.  This technology does improve on the hand shake blurring problem.  Even so, that technology can only help so much and that is why investing in a solid tripod is so important.

Because we as photographers chase around searching for that quality light situation, we often find ourselves photographing in low light which offers the best mood generating opportunities.  The very nature of low light requires relatively slow shutter speeds and there in is the problem.  A tripod allows for solid placement of the camera and a steady platform. 

Although I’m not trying to promote any particular brand or style, the one thing to look for in a tripod is sturdiness.  Avoid those light weight point and shoot models.  Although they tend to work okay for light weight video equipment, they will not perform very well with a full size camera and lens combo and are just not strong enough or sturdy enough.  Ask yourself…Will it hold up well in wind and with a heavy lens attached?  A person can easily drop several hundred dollars on a tripod and even more with a high tech ballhead camera mount. Although carbon fiber may be the latest and greatest in strength and light weight functionality, my budget doesn’t allow for such high dollar luxuries.  Instead I’ve opted for something a bit more affordable and purchased a surprisingly sturdy tripod for around $90.00.  It does not have one of those fancy ball mounts on top.  Instead it has a simple tilt mount…a bit more cumbersome, but functional.  When I shoot with my 50 to 500 lens, the tilt mount doesn’t even come into play as the lens allows for rotation while locked down on the mount. 

With few exceptions this tripod has done everything I’ve asked of it.  It’s light enough so I can tote it with camera attached over my shoulder and indeed I have done so on hikes across the Prairie or over hill and dale on various other hikes and canoe trips.  It has quick release collapsible legs that allows for easy and quick setup on any level of terrain, and I can quickly and easily rotate or tilt the camera in any direction I need.  I’ve also used it as a third leg when crossing streams or slippery terrain.  It will extend out to over six feet in height or collapse down to about two feet.  I’d prefer it would collapse down lower, but I’ve been able to get most of the low angle shots I’ve needed with it.

I’d recommend using a cable shutter release or remote release if your camera allows for one.  Even sturdy tripods can be affected by the action of pressing the shutter release button.  In a pinch you can use the camera’s self timer…but this can be a bit slow and cumbersome to do all the time especially when timing is important.  Also, in most cases you will want to turn off the camera or lens stabilization mechanism when using a tripod as it can often become confused thinking that if it’s turned on, its suppose to actually do something and end up having the opposite effect.  Although I’ve shot with the stabilization in both the on and off mode when using a tripod, I’ve personally not seen much difference in the results.  The only time I will purposely turn it on when using a tripod is on windy day.  That long lens and sunshade tend to catch the wind and can produce wind generated vibrations…enough anyway to warrant using the stabilization function.

Over the years I’ve grown more accustomed to using a tripod and have experienced firsthand the positive benefits they provide.  It’s as much a part of my equipment list as the camera and lenses…and the third leg that it provides certainly makes for a steadier platform from which to shoot or to cross a stream.

Keith

The Making of: Shanty Hollow...Across Boundaries of Light

I arrived well before daylight and slowly paddled my canoe across the widest part of the lake in almost total darkness.  The air was warm...the sky clear.  The only light available was from the glow of stars spread across the ebony sky and from a faint glow that hovered over the crest of the hills that formed the eastern boundary of the lake.  One loses all sense of motion paddling in the dark and eventually I drifted to a stop near the upper end.  As I sat quietly on the perfectly calm lake, the glow from the sky began to resonate.

Light fog drifted on currents of air mixing with other pockets of mist...growing thicker at times...almost opaque in places...collecting into a pillow shaped cloud that lifted from the surface to hover a few yards above the water.  Over the next few minutes this cloud shifted in color from light gray to pale brown to golden red and orange...finally reaching a crescendo that lit up the surface with its glow.  For the first time I began to hear the silent melody that is Shanty Hollow Lake...for the first time I understood that this often forgotten southern Kentucky lake  has a story to tell.  I knew I wanted to capture it not just visually...but as a saga shared through images combined with a musical dialog.  It was then the theme of Across Boundaries of Light was born.

Over the next nine months or so, I paddled among the coves and hiked the rugged bluffs searching for those elusive images that defined the concept of Boundaries of Light that told the visual story of this remarkable landscape.  Hills and boulders, calm waters and reflections, waterfalls and flowing creeks...all became subjects of the camera and lens...yet only the best light would do...and there in was the challenge...how to capture this unique landscape and stay within the Across Boundaries of Light theme.  Doing so challenged my senses, photographic eye, and patience.  Over time the collection of images grew, reaching and surpassing 1000...then 2000...and more.

As I began to build the video program one thing dictated the process...the music had to match the images.  Finding that music proved to an elusive endeavor.  It took three attempts sorting through three different soundtracks...countless hours of experimenting to find the right combination.  Putting it all together took more time than the field work.  What I did not want to do was to build what I call a simple elevator music slideshow.  This story deserved more...I wanted it to stand apart as a program that not only captured the visual beauty of this location, but one that told its story in such a way as to inspire those who see it to pursue nature photography with a passion of their own.

It was necessary to develop visual presentation techniques that took advantage of the photographic qualities.  Movement...panning left or right...zooming in or out...slowing it down when appropriate...speeding up when required...using the right blend of transitions timed with the music.  No convention was overlooked...many common rules of presentations were ignored to fit the story with the dialog of music.

Also embedded were 7 video clips to give the presentation a realistic sense of time and place.  Capturing those video clips proved a challenge in their own right.  Dozens of 30, 45, 60+ second clips were filmed...of the 7 used, all were clipped to fit the program accordingly.  The overall goal was to create a visual / musical story that defined the essence of Shanty Hollow Lake as defined by light.

It became one of the most challenging projects I've ever attempted.  It evolved into one of the most amazing experiences I've ever had.  In the end I realized that this project will never really have an end.  It will be on going for many years...and I will eventually improve on and add to this program as it continues to evolve.  As I prepare to show this program for the first time, I can only realize one thing...I learned a great deal by doing this...most importantly, I learned once again, just how much work...and just how much fun photography can be.

Keith

Return to the Prairie

It stormed most of the night...typical Oklahoma storm in late April with boomers and rain...then more rain and more boomers.  By the time I arrived at the Tallgrass Prairie the next morning most of the stormy weather had moved on, but enough of it lingered in the area to provide an occasional flash of lightning and some light rain.  The overcast skies hung low and I knew the sunrise was going to be a non-event this morning...one of those that just slowly transitioned from very dark to dark gray without any real noticeable event indicating when the sun actually rose above the horizon.

I stopped at the wide spot where I on previous trips I had hiked a ways into the prairie...debated for a while whether to risk it.  To the north the storm clouds were still quite dark and the occasional bolt of lightning still ripped the air...seemed to take a full minutes for the rumble of thunder to reach where I was.  The rain was sporadic by this time...so I grabbed my gear and made the short hike to the rocky outcropping that overlooked the shallow canyon that cut into a deeper part of the landscape.  Not much drama in the sky nor across the land because of the nature of the light...but I set up camera and tripod and made at least a token attempt to capture the moment.

As I rushed around lining up one shot after another...it dawned on me that I was doing exactly the opposite of what I really wanted to do...just sit for while and enjoy the prairie morning.  So I turned off the camera and found a soft rock to sit on and did just that.  For the next few minutes I let the sounds of the prairie come to me...the fresh rain flavored breeze rushed across the terrain and swirled around me...the morning air was filled with the songs of prairie birds...and a light mist fell from the sky.  The storm clouds that swept across this landscape through the night were by now beginning to soften and smooth and the morning became a little brighter.  Even so, the calmness of that moment lasted but a short time as another flash of lightning cut the air and the corresponding boom it generated rumbled and reverberated across the rolling sea of grass signalling that it was time for a hasty retreat back to the Jeep.

My return to the prairie after two years was short lived.  That last bolt of lightning ushered in another round of rain and even darker clouds making photography difficult at best.  By mid-morning I found myself heading back knowing that more than likely, it would be another two maybe three years before I would be able to once again sit on that rocky outcropping and watch for another prairie morning come to life.  Even so, those few moments of once again feeling the life of the prairie greet a new morning seemed to lift my spirits as I was feeling rather low having experienced the loss of loved one earlier that week.

Even the darkness of an Oklahoma storm cannot dampen the refreshing nature of experiencing first light on the prairie...in many ways, it actually adds to the unique flavor of the experience.  As many times as I have sat on that rocky point and watched the prairie come to life...all of them have been unique and I remember each of them as separate moments of discovery on this amazing landscape.

Keith