Infrared in the winter

 

My friend and photography partner, Jo McAvany, has been asking me to loan her my infrared converted camera for a while now.

Jo texted me when she went out to use it this morning.

She had hoped for a blue sky after the recent snowfall, but the sun was only peaking out slightly when she drove off along the frozen back road up into the low hills above her home at 8AM.

Infrared and the snow always give a creative photographer a lot to play with. I would have wished for a bit more sun so the infrared effect would have been stronger, but she got some neat images in spite of the overcast cloudy morning.

I was glad it was her wandering along the roadside on the -12c degree morning instead of me. I thought about how many times, in all sorts of weather I have photographed the roads around my home in the past 40 years and how it’s about time for someone else to take that up. Doing it with infrared is perfect.

I looked back over some of the articles I wrote about infrared and saw this entry,

“I grabbed my old IR modified Nikon D100, mounted a 24-70mm lens on it and set off along the winding roads that make up the wooded and hilly location I live in.”

“That old 6MP camera has served me well, I purchased it new when digital cameras were finally making images with enough quality to compete with film. I photographed weddings, scenics and everything else that I once shot with film. Then when Nikon began offering better sensors with more megapixels I sat it aside calling it my “car-trunk” camera because I just left it in the car all the time.”

“I had always shot black and white infrared film, but it was such a hassle. Loading and unloading the camera in the dark and even waiting till late in the evening to process it in metal tanks because I worried there might be some stray light creeping into my home photo lab.”

When I read about infrared conversions for digital cameras I sent that old Nikon away and about a month later for a few hundred bucks I had an infrared camera.

Jo has never shot with film. She began her photographic journey after digital took over. Now she gets to move into a different kind of light by using my IR camera.

There is not much difference between one digital and the next. Sure the sensors keep getting better and one can choose a full frame over a cropped frame, but if printing a large photograph isn’t part of the process its pretty hard to tell one camera from the next.

The images Jo got are a fun change from the colourful pictures or sharp black and white photographs she is used to. Infrared is always a crowd pleaser.

Using an infrared camera is the best way to step away from what other photographers are doing.

I have written about infrared photography many times before, so I’ll just end this by repeating myself, “Shooting infrared is always an exploration, a discovery and moves a photographer far from the usual.”

 

Camera Predictions from 1974.  

                                                        

My friend Drew, who had worked with me in a camera shop over 40 years ago stopped by my shop this week and mentioned he browsed through and old second hand store book that discussed the future of film photography.  We spent the afternoon talking about the cameras we owned back then that were the “state of the art”. 

We never could have imagined the amazing transformation photography has taken place since then.

With that in mind I dug out an article I think might be an entertaining re-read. 

In the May 1974 issue of Photo World Magazine was an article entitled “Tomorrow’s Camera: Report from Japan.”  The article by author Tony Chiu first discussed what would be the “next major technological breakthrough in Japanese-manufactured SLRs…a solid-state shutter, which would make cameras less prone to jamming,” and praised that breakthrough. One must remember that in 1974 cameras were mechanically pulling film off a roll, and in front of the shutter.

On miniaturization, he wrote that, “The manufacturers had misgivings about reducing the current dimensions of their SLRs because the decreasing weight reduced protection against shutter vibration.”

On lenses Chiu commented that, “It is conceivable that 10 years from now a compound lens (like zoom lenses have now) may weigh more than the SLR body. Although light weight, plastic lenses have long been an industry dream, there is today no major research toward their development.”

In the article he mentioned also that electronic shutter cameras “in the next decade” would be an  “expensive option available only to top-of-the-line models.”  I am amazed at the changes that have occurred since 1974.  Is it conceivable that the writer of that article would have been astonished at modern developments, and would the thought have crossed his mind that even inexpensive cameras would have electronics?

This next part is really interesting because each of the major companies was asked what their predictions for cameras of the future would be:

Canon – Suichi Ando visualized a portable camera small enough “to be carried in the pocket”, and capable of using 35mm film. Such an instrument would have a “universal lens, which can be changed by the flip of the finger from microphotography to telephotography.”

Nikon – Takateru Koakimoto said that the perfect camera would be one that excludes the chance of human error: “It will be fully automatic, perhaps with a small computer to control the exposure.”  I say that he wasn’t far off in his prediction.

Olympus – Yoshihisa Maitanni believed the ideal camera would have a universal lens and one button will wind the film, focus the picture, frame the image and make the perfect exposure.  He also thought that “Images will be projected directly on to a sensitized material,” fully edited, and enlarged.

Ricoh – Tomomasu Takeshita predicted that major advances in the film industry would reduce the film size. “Within 20 years the 16mm camera will replace today’s 35mm camera.” Such an instrument, as he saw it, would be considerably smaller and simpler – it would have a one-piece plastic lens in a partial return to the “pinhole concept” as well as an “electronic crystal” shutter.

Yashica – Nobukazu Sato’s dream was one that would not utilize film. “Just put the paper into the camera, make the exposure, pull the paper out and spray it.” Such a camera would make use of ultraviolet rays, and would also feature a universal lens and a fully automatic focusing system.  Both Ricoh and Yashica are no longer manufacturing cameras.

The writer of the article continues to say “Will we see such marvels in or lifetime?”

“Perhaps by the end of this century” a photographer’s choice could be  “For the amateur, a single lightweight, compound (today we use the word “zoom”) lens will replace three or four of today’s standard lenses. And price – as it is today (1974) – will remain just within reach at the upper end of your budget.”

Will the cameras that we think are amazing today even be around in 20 years? I wonder what the future will bring?

Photography on an overcast day

I have been trying to get outside to wander in the snow the past week with my camera, but everything kept getting in the way. So when Jo told me she had to take her daughter to a doctor appointment I asked her to drop me off at my favourite wandering place, Chase Creek Falls.

I figured that would give me at least an hour to take some photos and I was hoping to be alone in that snowy canyon on the cold, overcast Monday morning.

I like storms and I like the mood one can get in a photograph on an overcast day.

Jo dropped me off along the road and I walked down along the well-worn path through the snow. I picked a good day. From the looks of all the trodden snow, Sunday must have been pretty active.

Stopping along the creek to take a long exposure of a rock glowing golden in the cold water I thought about why I like digital cameras and all the photographic creativity that goes along with modern technology.

I continually meet people that assume someone my age would still be using film. Gosh, I could fill page writing about why I don’t bother photographing anything with a film camera. At that moment as I mounted my camera on my tripod to photograph that glowing gold rock I thought about how hard it used to be to make pictures on overcast days and was glad for the modern equipment I have.

I mounted my 24-70mm lens on my camera and selected an ISO of 1600. Then set my shutterspeed to eight seconds, chose an aperture of f/11 and with the camera’s self-timer activated, I pushed the shutter release.

I refocused on a couple different rocks in the creek besides the golden centre of interest to make sure my depth of field would cover everything in my viewfinder. Then I released the shutter a few time and moved on down the stream.

Sunny days are such a struggle for a photographer wanting to photograph a waterfall.

Sure one can get a pretty, bright landscape, but I like to have contrast in the water when I use a long exposure, so overcast is great. And on this day I wanted to capture the cold winter mood and if I really needed to highlight a particular feature like a rock or log or foliage I’d just do that in later in post.

The Chase Falls is always a perfect subject. All I had to do was poke around in the snow with my tripod to make sure there weren’t any spaces between the rocks or soft spots in the ice as I moved around photographing the falls from different locations, eventually I sat on a bare rock to listen for a while and look at the monochromatic January landscape.

I am fortunate not to have to drive and hike hours to enjoy such a photogenic location. Now I am waiting for more snow so I can collect winter photographs in the garden that hides my home from the road. Today there is a light covering of snow, but it’s been so warm that the snow isn’t clinging to the plants.

Ah, but its January and there’s a few more months of snow to come and more winter photography.

The first Flash-How-To workshop of 2019    

I had planned to write about photography in the snow. After all it’s January here in western Canada and it should be snowing.

There isn’t much snow in my neighbourhood and it isn’t that cold out. So instead I’ll write about what I did on my first weekend on the New Year.

I decided that a good way to begin another year of photography would be to host a Flash (speedlight) workshop to help those photographers that are planning to photograph people in 2019.

While I was preparing for the class I found an article by California based photographer Jason Shelton tilled, “5 Reasons to Use Flash”. He continued, “Flashes are more than just Fill….Reason 1: Flash is Awesome. Reason 2: Flash is Awesome. Reasons 3, 4 and 5: Flash is Awesome.” Although I absolutely agree with Mr. Shelton, I needed a bit more to tell the photographers in attendance than that.

So many of today’s modern photographers have become lazy with the amazing camera technology we have. Without a thought about controlling the light, it’s direction, or the light’s quality. They point their cameras and hope their cameras will make good pictures.

The one-day session I lead was about speed lights (hot shoe type flashes) and how to use them on and off-camera.

This class filled up so quickly that I almost forgot how hard it is to convince photographers that a flash isn’t only for darkened rooms. When I passed handouts about using flash to everyone I watched people begin to read and some even nodded as if agreeing with what they were reading.

I use handouts so participants don’t need to take notes.

For those that didn’t have their own flash I had several lying on the table. There were also flashes with wireless receivers mounted on light-stands topped with umbrellas ready and waiting around the large room.

I began with my thoughts on why I think everyone should have a dedicated TTL flash and how we can balance the light in a room without giving our subjects that “deer in the headlights” look.

I moved on to high-speed sync and after everyone set his or her cameras up we moved outside to give that exciting feature a try. When I tell people their cameras can sync at 1/8000th of a second I always get looks of knowing disbelief because camera and flash manuals usually show a sync speed of 1/250th or slower.

After that, lets call it “awakening”, I gave everyone triggers to place on their cameras and we moved to the light-stands and spent the rest of the day using off-camera flash.

Although I talked a bit about posing, I was mostly interested in showing participants how to position the light.

It’s gratifying to have a group of photographers sit listening to one’s lecture on any subject, that’s great for the ego. But what makes me smile and reinforces my desire to continue is the excitement in the room.

In this case it was when 8 photographers, all competent at using their cameras, suddenly discovered how wonderful and creative using flash instead of natural light is, They may have bought a flash because the salesperson said they’d get a good deal if the purchased it with the camera. Or possibly they worried their camera’s ISO might not go high enough and needed a flash at a friend’s wedding reception.

As I was showing a quick, easy and flattering way to pose an uncomfortable subject I realized that the room was noisy with loud talk. I stepped back while a photograph was taken using an off-camera flash and I listened to the many excited discussions.

I realized I had a room full on converts.

Photography at that year’s end party.

 

I’ll be having some friends over to my house to bring in the New Year with me and I want to make sure I get some fun photographs that I can give them to remember the end of 2018.

With that in mind I decided to repost this article I wrote back in 2013 about photographing parties.

I can hardly believe how fast this year has gone by, wasn’t everyone just complaining about the unforgiving summer heat? Now, here we are bundled up in the -6c cold and snow with snow tires mounted on our cars. Gosh, there is even an advertisement on television about what wine to bring to upcoming New Years Eve parties.

Don’t get me wrong I like this time of year and everything that goes with it, but I am not ready for winter’s snow yet, and neither is all the stuff in my yard that will get covered if I don’t get off my-lazy-whatever and pick them up.

Even though it seems early, the year’s end is here and that means photographic opportunities as we join family, friends, and co-workers at all the festive events.

Photographer friends are going to dive in, digital cameras in hand, happily filling memory cards with candid photos.  Picture taking has become so easy and so much fun as photographers rush over to take a picture, look at the LCD, and quickly slide back to show others those tiny images.

Photography for many has become more about the process of picture taking than it is about creating art, or even documenting the party; it seems its more about standing in front of people, taking lots of quick snapshots, than it is about making memorable photographs.

Most images made in this fashion never become more than space-taking files stored on computers or phones that after quickly being looked at, laughed at, or just smiled at, are tucked away with good intentions to be used in some fashion in the future. But after that initial viewing they loose their value because there are too many, and very few are good enough to give to others anyway.

How should readers approach photography at the next party?  I do think we should continue to make candid photographs of people having fun, but, perhaps, one might also think about making pictures that tell a story, capture an exciting moment, and importantly, flatter the subjects.

Most people don’t mind seeing a picture of themselves being silly or having fun, but they don’t like pictures that make them look stupid or unattractive.

My approach is to take a moment to look at the room in which I intend to make photographs, make a couple of test shots with longer shutter speeds (my favourite is 1/60th of a second), to include some ambient light when making exposures using a flash mounted on-camera (bounce flash of course) so as not to end up with brightly lit faces surrounded by a black environment.

When taking group shots with two or three people, get them to position themselves so they are squeezed together with a tight composition, and include only a little background or foreground. Don’t shoot fast, steady the camera, and select a shutter speed that includes the ambient light.

Fortunately most modern DSLRs easily allow ISO sensitivity that is 1600, and some go a lot higher.

Shutter speeds of 1/60th of a second, or less, don’t always work for children playing in the snow during the day because moving subjects will be blurry, but, with limited indoor lighting moving subjects will only be exposed properly when the flash goes off.

Lighting everything with complicated studio equipment would be great. However, the occasion would become more about the photography than about the fun and festivities.  I use an on-camera flash and make adjustments as I go. I want to join in on the fun, not act like a photojournalist.

Family and friends don’t mind having their pictures taken as long as its enjoyable and I want pictures that show them having a good time. So, along with those quick candids I make posed portraits with smiling faces, and if I select some prints to give away later I want people to like the pictures and honestly thank me.

The Canadian Pacific Railroad Holiday train 

 

Every year the CPR holiday train chugs its colourful way across Canada from east to      west. The train makes stops at cities along the route where there are crowds of people waiting.

Those of us in rural Canada might miss assembly with all the festivities in the city, but we get to watch and, in my case, photograph that brightly lighted Christmas train as it winds its way through the wooded Canadian countryside.

As I drove from my home down to the river valley to again photograph the Holiday train I passed people waiting in their cars parked in the area between the little Pritchard store and the train tracks just off the highway.

I have tried that location in the past, but it’s so close to the train that the only shots are on an angle. And to make it worse this time, a long freight train was waiting in the perfect position to block the view of the train after only a couple minutes.

My favourite place to photograph the train is from across the river. I drove past my neighbours, crossed the bridge and stopped along the river and walked out on the wide beach to set my tripod up.

I like the long wide view across the Thompson River that even using my 70-200mm lens lets me photograph the whole train at 70mm or just a few cars at 200mm.

That beach location allows me to capture that locomotive and it’s bright boxcars in a scenic view.

The train usually passes through Pritchard when there still is enough light to see the train. I saw a few pictures that were taken after it stopped in Kamloops 30 minutes later, and they only showed neon lights with an empty black background.

I chose an ISO of 800 when I first got there and took a few test shots. I walked around to choose a nice flat place where I didn’t have to stand in the mud. Gosh, mid December and no ice.

I will say that, although I had a better location than those on the other side of the river, I envied the fact that those waiting at the Pritchard store had hills that blocked the unpleasant, cold wind that blew at me across the flat wide river.

I joined by my friends and their children out on the beach. Jo had her stocking hat pulled down over her face and was crouching with her camera trying to get out of the wind.

I covered my ears and set up my tripod as I watched her 3 and 4 year olds running around on the muddy beach, oblivious to the cold, as they excitedly waiting for the train.

They had been to town earlier in the day to meet Santa and now running on the beach and seeing the brightly lite Holiday train was like the icing on the cake.

By the time the train came I had to push my ISO up to 1600. I was using my tripod, but with the all movement I decided the higher ISO would let me keep my shutter at a safer speed.

I think this will be the last photos of Christmas lights for this year. As always, it’s been fun. There isn’t any snow yet, but the snow will come soon I am sure, and I’ll be out again with my camera to make some pictures of that white playground.

I can hardly wait for the snow. But for now I’ll wish a very Merry Christmas and a Happy Holiday to all of you.

 

 

 

 

 

 

 

 

 

Santa Photos with dogs 

 

This past week my friend and photographer Jo McAvany phoned to tell me she had volunteered to do photographs for a local business called the “Brazilian Dog Guru”.

The owner, Fernando Silva, had a great idea to photograph people’s dogs with Santa Claus for donations to support a local dog rescue organization.

I wasn’t surprised when Jo said she jumped at the offer to be the photographer. As well as an avid photographer, Jo has opened her home to a lot of rescued dogs over the years.

I was delighted that she would be doing that, and wasn’t surprised when she first asked if she could borrow some of my lights and second, suggested that I come too.

I thought it would be an unusual and fun way to spend the day. After all, I like dogs and they usually like me, so there we were at 11am on the following Sunday setting up lights in a small room while saying hello to Santa.

Soon excited people and their best friends were lining up outside waiting for the elves to take them inside for their photographs.

During the Christmas shopping days I sometimes like to watch the Mall Santa photographers as they work. The technology has changed over the years. Its digital cameras tethered to computers so that parents can instantly see the pictures, make their choices, pay and walk off with a matted print.

For a few years I set up the photography for local malls. Although that was back in the 1990s, not much has really changed much. However, back then instead of the digital camera and computer, the photographer would take the rolls of film to the one-hour processing lab at the end of the day and parents would have to return to get their pictures.

Most of the dogs and owners that came for Jo to photograph with Santa were well behaved. Although like some of the children I saw at the mall’s Santa booth, they weren’t having anything to do with that stranger sitting on a bale of hay.

The owners would bring them in to meet Santa and their eyes would roll and they would almost pull their person over trying to get away. More than once that meant finding a human that wasn’t wearing a red costume. Sometimes the dogs ran back to their owners, but more than once Jo almost was knocked over when they chose her as a safe refuge from the scary man that was grabbing at them from high on a bale of hay that probably seemed dangerous when it moved under their feet.

After setting up the lights I had nothing to do but pet all the dogs and be entertained by the goings on in the room set aside for Santa and my friend Jo. (A tough job, but someone had to do it)

By the end of the day I am sure Jo not only had a sore back from bending over, (we decided a tripod might get in the way of dogs and dog leashes) and although she didn’t mention it, she probably had a bruise or two from the big dogs that thought she was there to jump on.

What a fun way to spend a day.

Dogs and photography, it doesn’t get much better than that, unless one includes that this event was for a very good cause; collecting donations for the “Pom and Pals Country Rescue” dog shelter.

Oh, and there are now over 50 dogs that have a picture of themselves with Santa. I think some people are going to get some great Christmas cards this year.