Artistic Macro Floral Photography Techniques with Jackie Kramer
Boost your creativity and have fun shooting artistic macro floral photographs with Jackie Kramer! Join Jackie in the Florida Botanical Gardens to learn how you can create stunning floral images of your own. In this class you will learn how to bring out character in a flower, what gear you’ll need, optimal camera settings, how to overcome challenges you’ll face in the field, how to capture textures and color washes you can use in post production, how to shoot in-camera multiple exposures, and so much more! Jackie wraps up the class with a series of lessons on her post production techniques to edit the photos and bring her vision to life.
In Case You Missed It: Creating Breathtaking Floral Images with Melanie Kern-Favilla
Join Melanie Kern-Favilla as she shares her secrets for creating stunning and dramatic still life photographs using natural light. In this class, you’ll learn how to recognize qualities of light, what gear is needed, how to create your own props and light modifiers, and how to choose the right flowers for your subjects. While Melanie works with flowers, she’ll teach you how to apply all of these techniques to any still life subject you choose. As an added bonus, make sure to check out the bonus lesson on macro snowflake photography! This class is perfect for anyone interested in macro photography.
Noted photographer John Sexton once said, “The only difference between me and my students is that I’ve made more mistakes than they have.” There’s a lot of truth in that. I have been a full-time professional landscape photographer for 26 years, so I’ve had plenty of time to learn from a long string of fumbles, failures, near-misses, and fiascos.
In this post I will share some of the lessons I’ve learned from my career in landscape photography. I’ll explain why you should never eat breakfast before midnight, why great landscape photographers have the brain of an engineer and the heart of a hopeless romantic, and why the potential reward is always greatest when the odds against you are the longest. By the time I’m finished, you’ll either be inspired to shoot sunrise from the summit of the hardest 14,000-foot peak in Colorado or be ready to sell all your cameras on eBay.
I want to assure you that despite the many mistakes I’ve made, I’m actually a talented, experienced, and careful photographer. In fact, I blame all of my mistakes on high-altitude hypoxia, sleep deprivation, and excessive caffeine.
Here’s an example. I was working on a seven-year project to shoot sunrise, or occasionally sunset, from the summit of all 54 of Colorado’s Fourteeners, peaks reaching over 14,000 feet in height. My next objectives were Mt. Shavano and Tabeguache Peak. Tabeguache is one of three Fourteeners in the state where the only practical route to the summit is over the summit of an adjacent Fourteener. I drove to the trailhead, hiked in, and camped at about 10,000 feet. On the same day, I got up at 10:30 p.m. and left camp 45 minutes later so I could summit Mt. Tabeguache at 4:30 a.m. and shoot sunrise.
I returned to camp, napped, then got up again at 11:30 p.m. so I could summit Mt. Shavano in time to shoot sunrise. On the way down from Mt. Shavano, still at about 14,000 feet, I stopped to photograph some tiny alpine flowers. As I was composing the shot, I discovered that auto-focus had suddenly stopped working. Repeatedly I pressed the shutter release halfway down, but the lens wouldn’t auto-focus. I checked the auto-focus switch on the lens. It was set to auto. I checked the camera body. The LCD readout confirmed that auto-focus was enabled. I switched lenses, but got the same behavior.
After puzzling over the issue for a good five minutes, I finally remembered that a year and a half earlier I had removed the auto-focus function from the shutter release and assigned it to the AF-on button on the back of the camera. For the past year and a half, I had always focused with the AF-on button on the back of the camera, not by pressing the shutter release halfway down. Just half an hour earlier, while shooting sunrise on the summit, I had been pressing the AF-on button on the back of the camera every time I wanted to focus. Granted, I was at 14,000 feet. I hadn’t slept properly in three days. Still, a photographer forgetting how to auto-focus? It was obviously long past time to get off that mountain, go home, and get some sleep.
This is landscape photography’s dirty little secret: it’s exciting, fun, and rewarding—and a lot of hard work. There’s just no way around this. Landscape photography requires an awful lot of getting up early and staying up late, driving hard and hiking hard. Sleep is for landscape photographers who don’t drink enough coffee. In fact, great landscape photography is one percent inspiration and 99 percent perspiration.
I reluctantly reminded myself of this inspiring phrase after I hauled my 4×5 field camera up the steep sandstone slabs to Delicate Arch for the ninth time, finally captured the longed-for glow on the arch, then heard the photographer next to me remark, “That was nice! This is the first time I’ve ever been here!”
And since we’re on the topic of hard work, here’s another of my aphorisms: the potential reward is always greatest when the odds against you are the longest. For example, the most likely outcome on a morning with heavy clouds is a gray, boring sunrise. If, however, the sun finds a tiny gap between dense clouds and the horizon, the result can be some of the most spectacular light you’ll ever be privileged to photograph.
Not only is the potential reward greatest when the odds against you are the longest: the potential reward is also greater if you remove your lens cap before taking the photo. Back in the film era, I had a medium-format Fuji rangefinder. In January, 2005, I did a solo, off-trail trip into the Sangre de Cristo Range. On the first day I hiked, then snowshoed and scrambled to a campsite at about 10,600 feet. The next day I continued upward another 1,700 vertical feet and picked out a sunset location with rippled snow in the foreground and the Fourteeners Kit Carson, Crestone Peak, and Crestone Needle in the background, all of which would get sunset light.
One disadvantage of rangefinders, of course, is that you aren’t looking through the lens, which means there’s no obvious clue that the lens cap is still on. As the light peaked, I shot two rolls of medium-format film that I thought were capturing the best light of the trip.
When I finally looked at the front of the camera and saw that the lens cap was still attached, I dropped to my knees in the snow and buried my head in my hands. Then I chided myself: Glenn, you’re alone, it’s January, you’re at 12,000 feet, it’s getting dark, and you’re 1,700 vertical feet above your campsite. This is no time to throw a hissy fit. I stood up, regrouped, and saw that the clouds over the peaks were starting to light up, so I was able to make a few decent photos even though I certainly missed the best images of the trip.
#TravelTuesday has landed here again on ScottKelby.com and I, Dave Williams, have a nugget to share with you!
Making progress in photography means many things to many people, but to me, it’s important to keep photography social if we stand a chance at making progress. Having a social angle allows us not only to network and to make and maintain relationships, but also to share experiences and ideas, and to challenge ourselves and our skills. On Sunday in London, I hosted a small meetup of photographers and it compounded my belief in creating and maintaining relationships in photography rather than doing what so many photographers do and seeing everyone else carrying a camera as a competitor. On that note, they’re not your competition! Trust me, they’re really not. A competitor is someone working in the same field as you, in the same location as you, reaching out to the same market as you. Even if you find yourself competing, if you’re staying on top of your game by networking and practicing, then you really have nothing to worry about anyway!
So, with the Worldwide Photowalk fresh in our minds as one obvious idea, what else can we do to be social in photography?
#1 – Engage on Social Media
If we see something awesome, we should say so! When an amazing image catches our eye for its aesthetics, its composition, its light, its tone, its worth, saying something. Every time you see something awesome, leave a positive comment and tell the photographer why you like it. Think of it the other way around—if you posted an awesome shot, you’d want people to say something nice, so leaving positive comments can kick-start that cycle. Another way to engage on social media is through Facebook groups. I have one here, where I look to people for advice and feedback, and there are some other great groups, such as the Photoshop and Lightroom Group, the Friends of the Grid, and PhotoReview, which all encourage sharing and learning through feedback. If you aren’t involved in groups on Facebook, I strongly recommend taking a look around and finding some groups that fit your interest and getting involved with them.
#2 – Enter Contests
This is a cool way to interact with other photographers and it can be very, very rewarding. I was fortunate enough to be in the final round of the Wildlife Photographer of the Year competition and the excitement and feeling of pride that came with it was insane—and I didn’t even win! There are contests in photography all the time, largely published on social media. I’ve run the Sunrise Challenge for the past two years and the community that forms around it is great, with everyone getting involved in the contest hashtag and checking out each other’s work. Another thing a contest can do is give you the opportunity to put your images in front of the biggest names in photography who often make up the judging panels, and they give you a goal to work towards as well.
#3 – Join a Club
This is perhaps one of the best things in the photography community. Through a club, you’ll have the door opened up to attend talks and events with big names in the industry, have critique on your images, and meet like-minded people who meet regularly with the same passion. Lots of things can happen in the in-between times as well, and it’s also possible to work toward a professional affiliation or recognition through a photography club with the right mentoring to get you there. If you don’t have a photography club near you, make one! Failing that, there are other ways to recreate the photography club experience, such as becoming a KelbyOne member and interacting in the forums with other members and learning through online courses (and there’s a sale on right now, too!)
#4 – Photo Walks!
This is the simplest, most engaging way to be social in photography. Scott organises the world’s largest photo walk each year, but there’s nothing to stop you from running one throughout the rest of the year. They can be fantastic ways to meet people and to forge and maintain friendships. I’m lucky to say that a lot of the people I have had attend my photo walks have become friends, and the reason is this: –
The photo walk, being the part with the camera, is the small part of a bigger picture. Meeting up and taking photos is cool because we can learn from each other whilst our lenses are pointed in the same direction, but it’s the bits in-between and afterward, that really matter the most. The walking between locations gives us an opportunity to really dig deep and share our experiences, both in photography and in life, and taking the time afterward to have some food or coffee (or beer) to further share and build those relationships. We’re one big team of photographers, we aren’t really competing, and we need to behave that way and help each other. You could be missing one small yet vital nugget of wisdom and all it could take to realise it is meeting with other photographers to help unlock that one thing to push you miles down the road in your photographic journey!
Jump into social photography, meet people, introduce yourself in those Facebook groups (say Dave sent you!), and see what a difference it makes.
I think a lot of photographers these days are taking the old adage about “Shooting at Sunrise” too literally, and because of it, they’re missing out on a lot of great shots.
Here’s what I mean: The best light, and amazing skies, and empty streets, and tourist-free areas — the dream of travel photographers everywhere, all happen well before sunrise. The sunrise itself is silently signaling “Here comes the end of your shoot — time for breakfast!” But unfortunately, that seems to be when all the photographers start showing up — right after all the good stuff just ended.
Erik Kuna (Rocket-photographers and my co-host on ‘The Grid’) and I were in downtown Chicago a few weeks ago leading a local photo walk as part of my annual Worldwide Photo Walk. During the walk, we went through Millennium Park, and its most famous feature, the giant chrome-covered “Bean” sculpture (it’s actually named the ‘Cloud Gate sculpture,’ but I’ve yet to hear anyone call it anything other than “The Bean”). Anyway, around 70,000 people visit The Bean each day — it’s absolutely packed with people from morning to night. But Erik decided to get up really early to shoot it. Ya know how many people Erik found when he went to The Bean well before sunrise? Just one.
Not only were there no tourists. There were no photographers. All this beautiful light. Great clouds. No tourists, and not a single photographer in sight. As soon as the great light is gone, and the harsh sun is coming up, here come the photographers, streaming into the park right along with the first groups of tourists. What they wind up getting is kind of crappy light and a bunch of tourists milling around. They missed the great light and tourist-free scene by about 20 to 30 minutes.
The same thing happened this week in New York
Erik experienced this same phenomenon this past week in New York City (we were up there for the Photo Plus Expo). He got up early and walked over to “Vessel” in Hudson Yard (it’s part public modern art piece, part spiral staircase [with its 150+ interconnected staircases], and part observatory. It’s free to enter [you get tickets online] and you can walk-up inside it when it’s open). When Erik got there — sure enough, lots of beautiful light, no tourists, and most notably — no photographers, even though there is a major photography tradeshow being held right across the street at the Javitz Center.
He also got up early on the 2nd day; went out to that famous shooting location in the Dumbo park area of Brooklyn (you know the one), and ya know what? Same thing — great light; no tourists, and still no photographers. Once the sun came up, with it came the photographers, the tourists, and the Instagrammers with selfie sticks.
This is an easy mistake to avoid
All the good stuff happens well before sunrise. In that 30 minutes before the sun comes up — you need to be out there, in place, on a tripod, ready to capture the tourist-free scenes in beautiful light. Once the sun comes up, you have just a few more minutes where the light is still good — the color is warm, and the sun is touching the edges of things as it rises, but 15 or so minutes after that, the light generally turns pretty bad, and that’s the way it stays, getting worse and worse all day until about an hour or so before sunset.
Just get up a little bit earlier. Don’t time your morning to get there at sunrise. Get there at least 30 minutes early, and the difference in your images will be amazing, you’ll have your choice of spots, no tourists, and you’ll see for yourself why it pays big time to set your alarm clock a bit earlier.
Here’s wishing you a tourist-free, great light week of shooting wherever you are. :)
P.S. I’m off to San Francisco next week for my “Ultimate Photography Crash Course” full-day seminar out there on November 6th. Hope you can join me — you’ll super dig it. Tickets and info here.
I’m up in New York City today for the big photography show, Photo Plus Expo, and at 11:00 am this morning, over on my Facebook page, we’ll be living streaming a tour of the expo floor, so you can see what all’s going on at the show firsthand. Join me and Erik “the rocket man” Kuna (everybody’s invited); we’ll be taking your requests for booths to visit and gear to see, so make sure you join us (and please help us spread the word). That’s 11:00 AM New York Time (ET) on my Facebook page. See you then!
Come By and say “Hi” at My Book Signing today
If you’re up there in New York for the Expo, I’m also doing a book signing at 3:00 PM at the Rocky Nook booth. They are in booth 572 — at the back of the 500 Aisle on the left-hand side. I’d love to meet you (you don’t have to buy a book), just come on by and say hi if you get a chance. :)
You Missed A Really Cool Episode of ‘The Grid’ Yesterday
Well, actually you only missed it if you weren’t watching, but in case you didn’t catch the live stream of our weekly photography podcast, our guest was high-end LA-based retoucher Viktor Fejes (he’s in town recording two new classes for KelbyOne) and he offered to share some retouching techniques for viewers who sent in their portrait images. He is an absolute master of color, and he gave some killer Photoshop tips (in between cracking us up with his snarky comments). If you missed it, you can watch it below:
In this issue, our cover story is about avoiding the five biggest post-processing mistakes, plus Rick Sammon shares his “five Ps” for travel photography, using Guided Upright with panoramic landscape images, managing profiles, adding beams of light to your photos, and so much more!
Note: KelbyOne Pro & Plus members have access to more than 75 back issues of Photoshop User magazine all the way back to January 2012, plus all 55 issues of Lightroom Magazine. Not a Pro Member yet? Click here for more information.
Focus and Focal Length Blending for Landscapes with Ramtin Kazemi
Join Ramtin Kazemi for advanced techniques for editing landscape photographs. In this class you’ll learn the importance of focus stacking landscape images, how to blend images taken at different focal lengths together to bring the background closer, how to replace the sky with one that is more interesting, how to enhance the colors in the photo, why you should dodge and burn to enhance the lighting in the scene, and some final touches that help to unify the end result. Understanding these techniques will help you shoot differently to capture all of the necessary elements and give you the skills to blend them all together for eye popping results.
In Case You Missed It: Advanced Landscape Post Processing Techniques
Learn advanced techniques for processing your landscape photos with Ramtin Kazemi! In this class you’ll discover Ramtin’s workflow, from start to finish, for taking a raw photo from scratch through to being ready to print or share online. Ramtin takes you step-by-step through his techniques for creating vertical panoramas, color adjustments, luminosity masks, selective contrast adjustments, adding atmosphere, and so much more!