Easter Tiger Swallowtail Butterfly

Fill Flash--Bring your Own Sun! (Part One)

Assassin Bug, Peruvian Amazon

Photographing from below can increase the sense of drama, especially if the subject is a predator, such as this assassin bug. If done well, it gives the viewer the feeling of being prey.

One of the technical problems, however, may be that light still falls from above, and the lower parts of the subject may be in shadow.

Full flash will light the subject, certainly, but then you have a harsh light, with the potential for those horrible (opinionated!) black backgrounds. A reflector might work, if your subject is dead, sleeping, or very passive.

Solution: Fill flash! Fill flash, when adjusted properly, supplies just enough light to "fill" those areas of darkness just enough to show the detail you want, without being overpowering.

One of the things that I appreciate most about digital photography is the immediate feedback that I get by looking at the LCD immediately after shooting. I can tell right away whether my lighting is effective or not, and make the appropriate adjustments. In the next several blogs, I will share my own techniques for fill-flash.

Islas Encantadas: The Enchanted Galapagos Islands

Yes, I know. It's not really a macro image.
But I really wanted to share some of these images.

ENJOY!!!

Click on the above title link or copy and paste it to travel to SCRIBD and the Enchanted Galapagos Islands:

http://www.scribd.com/doc/8426276/EnchantedGalapagos

FANTASY...

99% of the time, I work in Photoshop the way I used to work in the darkroom--I manipulate contrast and dynamic range with layer masks instead of paper grades. I do my dodging and burning on adjustment layers with a trackball (I must admit that I do miss waving my hands above the print as though I were performing ancient magics...). Every so often, however, I stray from the pure and unpolluted path and lose myself in the creative potential of the program.

This Morpho butterfly was photographed in bright noonday sunlight in Costa Rica. There must have been a 20 stop contrast range and I worked for hours, trying unsuccessfuly to create a reasonable image. Not even PhotoMatix (an HDR program) could salvage this one. So I said, "Let's ignore reality and just play".

And there you have it...

White Balance

Copy and paste the link below or click on the post title "White Balance" to go to a short article about White Balance:

http://www.scribd.com/doc/6455684/White-Balance

The End of Summer...

The second official day of autumn and I couldn't sleep, not ready for summer to end. In a futile attempt to hold it back, I share the above haiku/photograph combination, which is actually a late summer haiku, according to haiku master and friend Bill Higginson, who is responsible for the original translation of the Japanese poem as part of the Butterfly Dreams project.
The truth is, all things end. All we can do is hope for spring.

Butterfly House Photography:Tips and Techniques

Well, that last one worked so well, I thought I'd try it again.
Click on the title above to go to a pdf:

Enjoy!!

and thanks to Jeanine Leech (http://www.doubleplaydesigns.com/) for layout assistance!

Thought I would try something a bit different this time. Click on the link

Photography on the Peruvian Amazon

to go to a pdf about my favorite photographic place. Please let me know if it works.
Thanks.

End of...the Season

our garden,

long past prime...

bleeding hearts

Grasshopper--a Haiku Photograph

I don’t think of my photographs as being “minimalist” necessarily, but I can’t deny that I look for simplicity. Two of my earliest influences were Japanese ink block artists Hiroshige and Hokusai.

What I learned:

• Not every square millimeter of image space needs to be filled.

• Space that contains nothing may make a significant contribution to the impact of the image; it sets off the subject as a beautiful setting sets off a diamond. It gives the subject a space to move into, thus aiding in establishing a story— establishing potential for future movement.

• Negative space is not the same as empty space. Empty space is merely empty space--it contains nothing, contributes nothing. Negative space has no content but offers possibility, and contains potential.
  

Back to haiku:
While my son Ben was living in Washington D.C., we went to an exposition of prints by Hokusai at the Smithsonian. I recall an image which showed a meticulously drawn branch, leaves, and flowers, but nowhere to be seen were the birds after which the painting was named. Perhaps the birds were sitting on the branch when he began the painting; perhaps he could simply hear their songs as he was painting; perhaps he simply imagined that branch as an ideal roosting place for the birds; perhaps…
See what I mean? Haiku photographs are all about possibilities.

Color Problems: Part 3

I then take a second exposure, using values that bring the red histogram back within reasonable range. I say reasonable because there may be spikes of red and yellow which are simply NOT capture-able (is that a word?) by your sensor. This looks like a pretty under-exposed image on the LCD, but I take it anyway.

When both images are opened in Camera Raw (or whatever software you use), there is visible detail in the darker one within the areas of red that were blown out on the original exposure. When I blend those two together, I have one image which maintains detail throughout.

Color Problems: Part 2

So here is the original image. Again, the luminance histogram (the black-and-white one) tells me that the exposure is just fine. Experience tells me, however, that red is n easy color to overexpose, and I check the RGB histogram. Imagine my (lack of) surprise when it shows me that the red channel is way blown out!

I take my first exposure based on the luminance histogram, and you can see above the areas of red next to and in front of the Japanese beetle that have no detail whatsoever.

Crab Spider on Datura

Two items of interest here. One is the neat way that the spider's arm recapitulates the curve of the datura's petal. This is pure serendipity--you can move some insects around to pose them--the arachnids generally are not amenable to that type of manipulation and will usually head underneath the flower.

The second issue is the white flower. For hairy insects (yes, I know--a spider is not an insect), I like to use fill flash to help the little hairs stand out a bit more. It is very easy to over-expose whites, and I rely heavily on my histogram to prevent this. With whites, the luminance histogram (black and white) is quite adequate. With colors, particularly reds and yellows, the luminance histogram may not tell the entire story, as we will see in the next post.

Another Dragonfly...

Yes, another dragonfly picture. I like this one a bit better than the first I posted. This has a softer entry into the frame--the triangle of grasses doesn't come in quite as abruptly from the lower edge, allowing the insect to float upwards. The stem on which the dragonfly is perched is angled in the opposite direction as the grass stems in the background, lending a bit of tension to the image. And I like how the two dewy strands of spiderweb recapitulate the dewy whiteness of the wingtips.
What I don't like--I wish I had used a shallower depth-of-field, so the background grasses would be just a bit less distinct and distracting. Often a change from f8 to f5.6 will be enough to give you a softer background. Of course, I know that in theory--I just wish I had thought of it in the field. This would be difficult to blur in Photoshop because of all the interacting lines, some foreground or subject, some background.

Just Playing...

AUTUMN HAIKU

MOUSE MYSTERY

"a snake’s hole

the foolish mouse has

gone right in"

Issa


translation © 2006 William J. Higginson


"Although no snake or snake hole is visible, our imaginations can easily supply the details of the story presented by footprints in Escalante River mud and scattered seeds. Perhaps the mouse did live another day after his hurried dinner. Or perhaps he in turn became dinner for our hypothetical snake, (or fox, owl, hawk, or some other predator). You supply the ending of the story."

"A DIFFERENT DRUMMER..."

"this way and that

this frog’s cousins

and second cousins"

Issa

translation © 2006 William J. Higginson


In the 1960s and 70s, the underside of every palmetto leaf in the Florida Everglades seemed to host its own resident family of green tree frogs (Hyla cinerea). Sadly, in many areas, this is no longer the case. If the frog is indeed our “canary in the coal mine”, we are in deep trouble.

The lighting here is a bit harsh, (see the shadows under the leaf rib, for instance), as this image was shot long before the days of TTL fill flash with a manual Sunpack 444 on 1/8 power. (In those days, I was using a 105mm Noflexar on the Novoflex Auto Bellows). The manual flash caused the “hot spot” on the hind leg of the larger frog, a common problem when shooting wet subjects. If I were to re-shoot this today, I would use either fill flash, polarized flash, a diffuser or some combination of the preceding techniques.

HAIKU PHOTOGRAPHS

The following is an excerpt from the electronic edition of a book that I published with William J. Higginson last year (my photographs, Bill's original translations of classical Japanese haiku).

“What are haiku and what do they have to do with photography?
Haiku are short “one-breath” poems, written in the present tense, that describe the writer's perception of some event taking place in the natural world. They are thus “in the moment”, a verbal snapshot, if you will, and may include all of nature (including humanity) as their frame of reference. The haiku poet tries to be objective and transparent, i.e. not allowing his or her ego to stand between the verse and the reader, although some say that simply the act of selecting a subject demonstrates a bias of sorts. Many haiku appear simply descriptive and straightforward on the surface, but may contain layers of deeper meanings. Reading haiku should not be a passive experience, but is like playing “fill in the blanks”. The poem should be suggestive and evocative as well as documentary, and should invite involvement. Rather than allowing you to sit back and admire the technique and artistry, it engages you in the process—Can you feel what the poet felt at the moment of inspiration and insight? Can you see the butterfly wings? Can you hear the cicada songs? And what else?
Now re-read the preceding paragraph again and substitute photography for haiku. Not a very difficult jump to make, is it?”

A "haiku photograph" also leaves the viewer with a part of the story to fill in.

Silhouettes