Creating Images with Impact

It’s one of my favorite images…one that captures the essence of a Kentucky Morning.  It’s an image that projects boldness, story, drama, and power…yet its structure is subtle and possesses a simplicity about it that defines its true nature.  It was taken at an ordinary location during the early part of a transitional season, yet from this ordinary situation evolved an image that is unique with a flavor of Kentucky that permeates its composition.  It is an image with Impact.

The story of this image has roots going back over five years.  How I happened to capture this shot culminates from a series of events that ultimately lead to that moment.  What it is not is a random chance event, where I just happened to be there at the right time by accident.  It involved research, preparation, timing, and technical understanding.  It was in fact one of those events where circumstances blended perfectly with preparation.

That is the key to capturing images with impact.  I found this location one summer afternoon as I was driving around looking for potential locations to photograph.  I happened down a progressively narrowing back road that eventually came to a T.  Here is where random chance did play a part.  Do I turn left or right?  I turned right, and the road eventually wound its way into a valley, then, climbed to the top of a rise to end at a gate.  From that vantage point I could see across and into this river bottom farm country.  At that particular time of year and that time of day, the scene possessed a rather ordinary character about it…rather flat in light, with little or no drama.  But, as I stood there and surveyed the valley, I began to realize the photographic potential of what was there.

The Barren River cut along the ridge that curved around the backside of the valley.  This alone was a good indicator of the potential for fog on a cool morning.  Fall was still a few months away…by then the sunrise would migrate further south and after making some simple visual calculations, I realized that by late September, the sun would rise from behind the ridge to the east and would potentially fill this valley with early morning light.  Late September also would bring cooler morning air and light winds…the water in the river would still be warm…a perfect generator of fog.  I set my internal calendar to return late September and see what would happen.

A couple months later I found myself leaving early one Saturday anticipating what might present itself along that river valley.  As I stood outside in the cool air before leaving, there was a light fog that drifted across the pasture across the road…good omen I figured.  When I arrived at the top of that rise and looked across the valley below, just enough ambient light provided enough illumination that I could see a light fog drifting low across the corn stubble and pasture.  After a short time the sun began to glow on the horizon and eventually progressed to where it was just shy of breaking above the ridge.  The valley below was still mostly in dark, but when the sun broke above the ridge a single beam of morning sunlight caught the top of a spit of trees that extended into the pasture.  The early fall colors began to glow and the fog that hovered around the base of the trees softened in the light.  I waited…at just the right moment the trees exploded into color…and I fired off the shot.  It became one of the most iconic Kentucky Morning images I’ve ever taken.

The capture was a result of exploration, visualization, planning, and being prepared technically.  When I arrived that morning I did not have to waste time trying to figure out how to set the camera.  I did fire off a few test shots prior to the actual image photograph being taken to verify my settings.  The trick here was to not allow the relative darkness over influence the exposure and so the metering setup I used was Spot metering and I metered off the glow in the trees which at the time was a middle tone value…and allowed the rest of the image exposure fall where it may.  


Once I had the metering locked in, I repositioned the composition by placing the main subject slightly offset where it intersected a rule of thirds transition point.  This not only created a more pleasing composition, it also allowed a layer of banding near a fence row to angle across the lower part of the image helping to balance the image compositionally and across the color spectrum.  A tweak or two of post processing to bring out more of the contrast and the image reflected more of what I felt and experience.  This image is all about mood and contrasting energy.  There is the boldness in the sunlit trees contrasting with the subtle nature of the light layer of fog all set against the still dark background with just enough detail showing to give the image a sense of depth.

Creating an image with impact involves blending composition with light…and using light to generate mood…using mood to influence purpose…using purpose to dictate timing…using timing to generate drama…and using drama to tell the story.  Although I could not predict exactly what conditions were going to exist…by using a bit of intuition and common sense, I was able to place myself into a situation where if the conditions were right, I’d be there and ready to take advantage of it.  It’s less about technical skill, and more about knowing what to look for…applying visualization techniques to see beyond the ordinary and recognize the potential of a given location.  It’s understanding that photography is all about quality light and how light influences the photographic decisions you must make to take advantage of it. 

Capturing images with impact requires situations that generate an emotional response.  It's not always about sunsets or sunrises...more often than not its more about how the light from those two situations affects the surrounding landscape.  Although I do photograph sunsets and sunrises...more often than not during those times I'm looking over my shoulder away from the main source of light to see how it is affecting the things around me.  That soft subtle light can often be more powerful that the bold rich light of the setting or rising sun.

Images with impact...look for those bold yet subtle contrasts of light...warm vs cool...soft vs hard...bright vs dark...Look for transitions where the light is changing...and the soft after-light that drifts across a landscape and casts a glow that generates mood and energy where shape and form blends with drama and story.

Keith 

Shoot the Stars...

Composite of three horizontal images
stacked vertically

A few months ago I ran across some amazing photographs of the Milky Way…For those of you who live in the city it is that hazy span of cloudy light that stretches across the center of the sky on a clear, moonless, dark night.  Technically it is the edge on view we see looking toward the center of the galaxy from our earthly vantage point located way out on the edge of this massive spiral of stars and interstellar gases known as our home...the Milky Way galaxy.

It is one aspect of photography until recently I had not tried so I read up as much as I could about how to do it and contrary to popular belief it’s not all that difficult to do.  Here’s what you need:

A clear moonless night as far away from the ambient city lights as possible.

A Digital SLR with a wide angle lens…18mm or wider.

A Tripod.

A cable release. 

A willingness to get up very early or stay up very late.  

A little practice.

Checking my calendar and the moon phases I discovered that two days leading up to the weekend following my discovery of this technique was going to be a moonless event and the best time to view the Milky Way was around 4:00 am in our time zone.  So, I scheduled a couple of vacation days and prepared for an early rise.  I’ve been on Shanty Hollow Lake before daylight a number of times and figured that would be as isolated of a location as I could find close by.  The hills surrounding the lake would block much of the ambient light from the city that might filter over that way and the sky above the lake would be quite dark.

Milky Way

The alarm was set for 2:15am…hard to get up, but the canoe was already loaded and all I had to do was head out.  I arrived around 3:15…off loaded and worked my way to the upper end of the lake.  By the time I had pulled out and was setup on top of the dam, it was nearing 4:00am…right on cue.  There was a faint glow from the east that barely outlined the ridge line and the sky was as dark as it could possibly be under the circumstances with thousands of stars spread across the sky. Right on cue…the Milky Way haze hovered almost directly overhead in the darkest part of the sky.

Constellation Scorpius...near the bottom, just above the tree line.

My first attempts were experiments.  Set the camera on the tripod, set the exposure to Manual / Bulb, ISO to 1600…opened the aperture to the maximum…f/3.5 in this case…and zoomed back to 18mm manually focusing on infinity.  I reached into the camera bag looking for my cable release and realized I had left it in the Jeep.  Rats!...no time to retrieve it so I had to carefully use the on camera shutter release and make sure the camera was locked down as tightly as it could be.

I tilted the camera toward the darkest part of the sky and opened the shutter release…and counted…28, 29…30.  First results were encouraging but not quite what I wanted.  Continued with more experiments…eventually settling in on a 50 second count that seemed to generate an acceptable image.  At that point it was a matter of pointing and shooting.

Constellation Ursa Major...(Big Dipper)

One image was the result of three separate images.  First shot was down low with the horizon near the top of the frame…second shot overlapped the first one vertically by about 20%...third overlapping shot included part of the Milky Way that was nearly overhead.  When the three shots were stitched together, they made one nice composite of the morning sky.

Problems I ran into included post processing issues with the ISO noise.  My camera is not as well suited for this kind of shooting as other higher end cameras are…even so, with a bit of cleaning up using some noise software the results were at least acceptable…better actually than I expected.

Another aspect of stellar photography involves photographing the moon.  Contrary to popular belief, the best time to photograph the moon is not during a full moon. A full moon simply washes all textures out of the craters and mountains.  The best time I believe is during one of the first quarter, half, or last quarter of the moon phases.  It’s during those times that shadows run deep across the moon’s surface and provides for great details.

To photograph the moon, you will need a Tripod, Digital SLR with a large lens…something in the 400 to 500 mm range, but in a pinch a 300mm lens will work…a cable release.  What I’ve done is zoom out a far as the lens will allow…500mm in this case…set the camera’s exposure metering to ISO 200 at f/8.0 and select “Spot Metering” as the metering method then meter off the brightest part of the moon…and lock in the exposure…reposition the moon in the frame to suit your desired composition and fire away.  The moon is quite bright and will generate a fast shutter speed…in this particular case it was 1/250 of second…but can vary depending on the ISO setting you use and aperture selected.  I used f/8.0 because that particular lens tends to be a bit sharper across those middle range aperture settings.  Desired results may require exposure tinkering to bring out the best of the given situation.

The image may also require a bit of cropping…about 40%...to bring the image to a size where it looks a bit more impressive…great fun to do…and actually quite easy.

So there you have it…shooting the stars and moon is fascinating way to explore photography…much more so than I expected…and the results can be quite stunning…give it a try.

Keith

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