Travel – Page 9 – To Travel Hopefully

Focus on Asha Stanford Holi [Encore Publication] : Capturing the colors, joy, and exuberance of an iconic Indian celebration held close to home

I love all aspects of travel photography, but the moments I truly live for are when I have the opportunity to experience and to capture images of the world’s most exuberant celebrations. The iconic Indian festival of Holi, celebrated annually throughout India in huge cities and small villages alike, is one of my absolute favorites. This year I had the chance to shoot a large and vibrant Holi celebration without the need to fly for 30 hours to get to India. As an official photographer for Asha Stanford’s Holi festival, I got to document all the color, joy, and revelry of a large, world-class Holi event, all within 20 minutes drive from my home. In today’s post, I share some favorite images from the event along with some brief remarks about how each was made. Note that all of these images and many more are available to view and purchase on my website–get there by clicking on any of the images here.

With colored powder and often sheets of water flying everywhere, Holi is by design a messy and mischievous celebration. Protect yourself when “playing Holi” by wearing clothes you can part with after the event and by covering your camera body and lens with a rain sleeve. Here’s the one I use, which is excellent–inexpensive, easy to use and very protective of the gear:
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Note that even when using a high-quality rain cover like this one, the front end of the lens is still exposed, so be sure to protect your lens’ front element with a UV or Haze filter. And to be extra safe, I brought only one camera body and only a single lens, which was an inexpensive but versatile “walk-around” travel zoom lens.

Crowded festivals, by their nature, have cluttered backgrounds. When making portraits in such environments, I do try to reduce the clutter by choosing the background carefully, but capturing the moment is more important and in any case, it is futile trying to wait for completely uncluttered backgrounds. In post-processing, some of the clutter can be minimized through careful cropping and the application of just a bit of post-crop vignetting. Use too much vignetting, though, and the image begins to take on an artificial appearance.

To capture fast action, you obviously want to choose a fast shutter speed. That’s no problem when shooting in bright sunshine such as we had during this Holi celebration. Still, I choose a moderately high ISO (400) to ensure I could retain fast shutter speeds even when in the shade or when using a small aperture to maximize depth-of-field.

Get in close! Portraits often are most effective when they emphasize a specific detail rather than show the entire environment. To further emphasize that specific detail, try to select a wide aperture (low f-stop number) in order to obtain shallow depth-of-field. I had only a relatively slow “walk-around” zoom lens with me, so for close-up portraits I shot wide open at f/4.5–not great for isolating the subject, but better than shooting at an even smaller aperture. In typically less adverse environments, I would be shooting with a much faster portrait lens, most likely my favorite 85mm f/1.8 prime lens:

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When your subject is backlit (the main light coming from behind), as is often the case when shooting outdoors in bright sunlight, be sure to choose exposure based on the main subject. Here I used my camera’s spot metering mode to set the exposure based on the clothing of one of the people in the group, but it’s also fine to get your exposure by zooming in or walking up close to the group and then to set that exposure manually on your camera. You can also use your camera’s exposure compensation control to dial up the automatic exposure by about 1.5 or 2 stops, but I recommend not trying to use automatic exposure modes in general. If you use the exposure your camera’s auto mode chooses for you and your subject is strongly backlit, your image will be underexposed by typically 1.5-2 stops or even more.

I’m always on the lookout for great moments to capture. When I saw this dad playing with his young daughter, I composed the frame around the two of them and started shooting continuously so as to get a shot at just the right instant. During post-processing, I cropped the image to show only the portion that portrays the thrill and joy of the playful pair.

Careful composition is always important in photography, but it’s easy to forget this point during the heat of the moment when shooting in bustling and chaotic environments. To compose this image, I framed it to get the splash of color from the two friends’ “high-five” moment right in front of the big sign boldly pronouncing, “COLOR”. That’s a Holi moment.

One of the keys to successfully documenting huge festivals is finding the small, intimate moments. Big, sweeping crowd shots showing chaotic motion are important to document, but it’s capturing those small interpersonal interactions that really make your portfolio shine. I used as wide an aperture as I had available in order to cast the busy background in soft focus.

Performances are often a part of festivals, and these are wonderful fun to capture. I’ve posted many times on the techniques required to make great images of performing arts, so I won’t repeat myself here. Just be sure to compose appropriately, set the exposure correctly (challenging to do in direct sunlight), and shoot lots of images to be sure of capturing a few excellent ones.

The climactic moment of the Holi celebration comes near the end, when all the revelers simultaneous throw handfuls of colored powder high into the air. Be ready for these big moments by preparing all your gear and composing all elements of the shot beforehand.

To capture the sweeping scale of really big celebrations, sometimes it helps to make a panoramic image. Some cameras can do this automatically in-the-camera, but I find those images don’t turn out very well, so I make panoramas manually by shooting a series of overlapping images that span the scene. In theory this is quite simple. Just take a series of photos starting from the far left side of the scene, then panning the camera a little bit to the right so the next photo just overlaps with the previous one, and so on until you reach the far right side of the scene. You then use software such as Lightroom or Photoshop to stitch the separate, overlapping photos together into a single sweeping image. In practice, this can be quite difficult. I find the software often takes an extremely long time to process a panoramic image and sometimes even crashes while attempting to do so. If you have a more powerful computer than I have, you may have an easier time with this process.

Parting shot: When I see a great subject for a portrait, I will interact with him or her, get to know them a bit, then begin shooting with their permission. Over time and in the heat of a celebration, they will forget I’m even there, but the resulting images will be better for the time spent interacting with the person first.

I hope you’ve enjoyed this photo essay and brief notes about how to shoot festivals and celebrations. Whether we’re close to home or halfway around the world, such festive gatherings truly define the culture of the celebrants and make amazing photographic subjects. If you’d like to read more posts about what to shoot while traveling or near home, find them all here: Posts about what to shoot.

What are your favorite celebrations to shoot, and how do you capture images there? Please share your thoughts here!

Sneak Preview [Encore Publication]: Behind the scenes on my ongoing Human/Machine Dance Project

How does the human body move when interacting with artificial intelligence technologies? This is the question that my collaborator Carly Lave embarks on a year-long Fulbright grant to research. A talented dancer, choreographer, and scholar, Carly will present her research findings in visual form via a self-choreographed dance solo performance. I approached her to collaborate on a photography series informed by her research goals and artistry as a dancer. We explored several visual themes, each related to the timely question of how we humans will be transformed by increasing immersion into advanced technologies, including virtual reality, robotics, and interconnectivity. To complete this ongoing project, we will continue to collaborate across two continents during Carly’s research fellowship. Stay tuned!

In the meantime, I’d like to share a few early images from this work-in-process along with some words about how they were made. It can be tricky to imagine a visual concept and realize it via photography, and all the more challenging when the concept is abstract like the ones Carly and I selected. I’ll present four of our initial concepts, each illustrated with an image and a description of the techniques required to execute it.

Virtual Reality Motion Study: Virtual meets reality as Carly’s body floats through the physical world while her motion is informed by her interactions with the virtual world playing inside her headset.This concept sounds simple but is quite difficult to execute photographically. We wanted to capture Carly’s physical motion in the real world as she reacts to the experience of the VR world. Images like these require a long time exposure (here about 15 seconds), which in turn necessitates shooting in a darkened photography studio. I used a black backdrop and continuous LED lighting to illuminate Carly as she moved across the studio, with a single studio strobe light at the front right part of the set to capture her final pose at the end of the exposure. The strobe was set to trigger as the camera’s shutter closed at the end of each shot (“rear curtain sync”). Using this technique, Carly’s motion can be traced during the whole exposure but the vivid exposure is what we see last. Considerable post-processing is then required to clean up the scene.
Interconnectivity: Carly shared, “I found myself visualizing my body wrapped in cables coiled around my limbs and torso. I was thinking about the body in relation to embedded systems here, and how now all of our world is connected through cables either in the air or sea.”To shoot this visual concept, we used a dance studio with a mirrored wall. Using different angles to obtain a variety of perspectives, I shot both Carly and her reflection as she improvised motion along the wall. The technique conveys the impression of the interconnectedness between a human and a similar being across a network. Post-processing was required to remove clutter and render the background as white.
Human (de-)Evolution Series: A whimsical re-imagining of the classic ape-to-human evolution series, this montage asks us to consider whether technology contributes to or detracts from human evolution.This striking montage is actually quite straightforward to execute. In a photography studio against a black backdrop, I shot images of Carly in each stage of the evolution series and then combined them using layers in Photoshop.
Robotic Motion: Machines often perform the same tasks traditionally undertaken by humans, but the robot’s motion is constrained by its programming. How might the human dancer’s motion become similarly constrained if her movement is choreographed by programming instructions?For this concept, my job was fairly easy and Carly had to do the heavy lifting. She choreographed movement indicative of robotic motion while I captured a series of images using a studio strobe light and a black fabric backdrop.

I hope this behind-the-scenes peek at my ongoing passion project will help inspire your own creative process. It’s important to be personally and deeply invested in a project before you begin. Select your partner(s) carefully and plan thoroughly. Then the process becomes joyful and exhilarating as you begin to bring your concept to life!

Have you carried out a photography project? Please share your key learnings–positive and otherwise–here!

Want to read more posts about what to photography while traveling or near home? Find them all here: Posts about What to Shoot.

Amazing Landscapes [Encore Publication]: How to make images that capture the spirit of the place

I love landscape photography. To create a really successful landscape image, several elements have to converge: the lighting must have a pleasing quality, objects in the foreground and/or middle ground should be intriguing, leading lines should take the viewer on a journey through the image, and (usually) the sky must be dramatic and compelling. I shoot a lot more mediocre landscapes than great ones, but when all the stars align (sometimes literally, during astrophotography shoots) and all those compositional elements are in place, the results can be amazing.

Let’s take a look at some of my favorite landscape images and talk about how they were made.
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While traveling in Svalbard to view the total solar eclipse of March 2015, my wife and I booked a safari via snowmobile to search for polar bears. We covered 80 miles by snowmobile, much of that after dark. The temperature averaged -5 degrees, with wind chill about 25 below zero Fahrenheit. We rode out to an area now used as a campground, where an early settler and his wife lived a century ago. This was glorious, otherworldly scenery encompassing ice fields, mountains, and the icy Barents Sea. Svalbard is located so far north (closer to the North Pole than to mainland Norway) that the sunsets last for hours, so I set up my gear at the edge of the Barents Sea, composed the frame so that the eye is led out to the horizon by the slabs of ice and the range of mountains, and waited for the best light. A polarizing filter added some drama to the sky. A very long exposure was not necessary because there was no point to trying in blur the frozen water. I shot several frames before the light became too dim and the temperature too bitter to continue. This shot was the keeper!

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This landscape was shot during a recent trip through Turkey and is a good example of how sometimes we photographers just get lucky. On arriving in the Cappadocian village of Üçhisar, we were thrilled to learn our hotel room was inside an ancient cave dwelling. We awoke at 5:30 AM the next morning to the sight out our cave-hotel’s window of hundreds of hot air balloons launching above the “fairy chimneys” that dominate the Cappadocian landscape. I got (mostly) dressed and rushed out onto our balcony, set up the camera on the lightweight travel tripod I carried on the trip, put on a wide-angle zoom lens, and started shooting as the sun rose. I bracketed the exposure but because the light was perfect in this one shot, I did not end up combining multiple exposures into an HDR (high dynamic range) image. Instead, this shot, one of the first of the morning’s session, was the clear choice.

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Chile’s Torres del Paine National Park is catnip for landscape photographers. There are so many glorious subjects here that you can go crazy trying to photograph everything. But Patagonian weather is notoriously changeable, and group travel doesn’t always afford photographers the chance to shoot at the right place at the right time of day with the right weather. Fortunately, on our second night at the lodge on Lago Gray, I could see all the conditions were lining up for an epic image. I skipped most of an excellent dinner so that I could set up my gear on the deck: camera with wide-angle lens, polarizing filter, steady tripod, and remote release. I framed the image with a nice balance between sky, mountains, glaciers, lake, and foreground foliage. And I started shooting. I bracketed the exposure with 7-shot bursts, each one stop apart. Later, in postprocessing, I combined a few of the shots from one burst into an HDR (high dynamic range) image using Lightroom’s photomerge feature.

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Closer to home, Yosemite is another photographer’s dream location. While hiking to Dog Lake in Yosemite’s Tuolumne Meadows area, a freak hailstorm hit. Suddenly the sky was hurling hailstones in biblical style and the formerly placid surface of the lake turned black with the force of the pelting ice. What’s a photographer to do? Start shooting, of course! A tripod was impractical under these conditions, so I used a relatively fast shutter speed and shot handheld. I took a series of bracketed exposures and combined them later using Lightroom into an HDR (high dynamic range) image. For me, this image works because of the tension between the peaceful foreground of tree trunk and reeds, contrasted with the ominous sky and turbulent water. The fallen tree and edge of the grasses provide nice leading lines from the peaceful to the violent portions of the frame.

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Another California landscape, this image was shot in the gorgeous Point Lobos reserve on California’s Central Coast. As sunset neared, I set up camera and tripod right on the beach, shooting down onto the rocks and Pacific Ocean. I used a neutral density filter to allow a very long exposure so that the water would blur. I also attached a polarizing filter in an attempt to darken the sky and add drama to the image, but having two filters on the wide-angle lens did lead to some vignetting (the blocking of light at the edges of the photo), which I had to crop out in postprocessing. This image was made from a single exposure with only minor adjustments to bring out the shadow details and saturate the colors.

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This year’s Perseid Meteor Shower was more active than we’ve seen in many years. At the peak night of the shower, I headed out to a spot where a break in the trees allows a view over Crystal Springs Reservoir and the Santa Cruz Mountains. We waited until about 2 AM so that the meteor activity was at a peak and the lights of the nearby towns were no longer bright. Shooting with a wide-angle lens and a heavy professional tripod, I framed the image to include a pleasing foreground with trees, reservoir, and mountains, with most of the frame covering the dark sky. I used a star finder app to shoot toward the galactic core of the Milky Way. I set the camera to make 25-second exposures at f/4 and ISO 1600. At this focal length, exposures longer than 25 seconds will cause the stars to appear blurry due to the motion of the earth. And then I just kept shooting, one exposure after another, for nearly two hours. Four meteors passed through the part of the sky in my image area during this time, and I combined the images that included them into one merged image using a software application called StarStaX. While I like this image a lot, it could have been improved by finding a darker sky area (the lights from a nearby city caused the orange glow at the top of the mountains) and by bringing out the Milky Way a bit more prominently. Now I know what to do during next year’s Perseid Shower!

A good wide-angle zoom lens is a must for landscape photography. Many of the images featured in this post were shot with my Nikon 16-35mm f/4 lens. It’s got great image quality and is well built, and I find it’s a great alternative (except perhaps for astrophotography where the extra speed is required) to the popular but very expensive Nikon 14-24mm f/2.8.

Want to see more articles on how to shoot travel images? Find them all here: http://www.to-travel-hopefully.com/category/travel/shoot/

Now I’d love to hear from you! What are your favorite landscape images, and why? To what lengths have you gone to capture landscape photos? Please share your thoughts in the comment box at the end of this post.

Sweet Release [Encore Publication]: What is a model release and when do you need one?

We photographers are passionate about many aspects of our trade. We love the artistic expression, that feeling of capturing a special moment that otherwise would be lost to time, even the gear we use to make images. But one aspect of the trade that few of us–professionals and amateurs alike–enjoy thinking about is the legal side of making and selling images. And one legal element about which we need to be knowledgeable is the model release. Unless you never plan to make any images in which any person is recognizable, you should learn what a model release is and when you may need to use one.

First, a disclaimer: I am not an attorney and the advice I provide in this post is not intended to replace consultation with a competent lawyer. What I provide here is just some practical advice I’ve acquired over the years, in which course I’ve made plenty of mistakes. And you should also be aware that laws governing when you can photograph a person and how that image can be used vary from country to country and even among states or provinces within some countries. With these points made, let’s explore the basic concept of a model release and when you may need one.

In the simplest terms, a model release is a legal agreement between a photographer and any person who will be recognizable in images made by the photographer. It spells out the conditions under which the image can be published and often specifies the compensation to which the model is entitled. In the US, a valid model release must be signed and dated by the photographer, the model, and a witness. If the model is a minor child, a parent or legal guardian also must sign. This agreement protects the photographer against being sued for defaming or cheating the model, but equally it protects the model from being taken advantage of.

When I work with a professional model, like Laura here, I always obtain a signed release before the photo shoot. This practice ensures she will be properly compensated and protected against inappropriate uses of her likeness, while I and any publisher will be protected against defamation claims by the model. Having the release means I have more flexibility as to how the image can be used later. Buy this photo

So, when do you need a model release? Here are some situations (not an exhaustive list) in which you should have one:

A person can be recognized in your image. Note that personally identifiable information doesn’t derive only from a direct likeness of the person’s face. He or she could also be recognized from a special feature such as a tattoo or from the context such as a clearly identifiable location.
… AND … one or more of the following statements is true:
- You may wish to sell the image for commercial purposes such as advertising or use in a business’s publicity or promotion.
- You may wish to enter the image in a competition or contest. Check the specific competition’s rules; some require a model release whenever a person is clearly identifiable in the photo, while others do not.
- You may wish to provide the image (even if you’re not compensated) for other people to use in a context you can’t control. A model release protects you and those who obtain a license to use your image from being sued by the model for using their likeness in a way that they don’t approve.

In contrast, there are plenty of situations in which you don’t need to have a signed model release. Some of these include:

One or many people appear in the image but none is recognizable. The subjects may be far away from the vantage point or they may all be obscured or facing away from the camera. As long as they cannot be identified individually, there is no need for a model release.
You plan to use the image only for your own portfolio.
You plan to use the image only for editorial purposes. If your photo is published in a newspaper, magazine, or website where the primary purpose is editorial rather than commercial, a release is not required. Imagine if every reporter had to get a signed release before publishing the likeness of every person appearing in any news outlet. This would have a chilling effect on journalism, which is a pillar of a free and democratic society. So in most cases, if your photo will be used for editorial purposes (that is, it will appear in a newspaper or magazine’s news section rather than in an advertising section), then you and the outlet’s publishers don’t need a release.
The images can be considered fine art photography. Photos can be published and sold without express permission from the person appearing in them if the primary purpose is fine art. In the US, case law upholds artistic expression as a form of First Amendment free speech in most cases.

Kashgar, China
Images with news value, such as this one made of a Uighur girl in Kashgar’s Old Town days before her home was to be demolished by the Chinese government, may be published and sold for editorial purposes with no requirement for a signed model release. Buy this photo

When you do believe that a model release would be helpful given your intended future use of an image, it is quite a simple task to obtain one. Some photographers carry printed forms with them so they can ask a subject to sign their release as needed. I use an app on my smartphone called “Easy Release,” which you can purchase for $9.99 on the iTunes Store: Easy Release app for iPhone. This app simplifies the process of creating a model release; getting it signed by your model, yourself, and a witness; sending it to others; and storing and managing it for future use.

Because “To Travel Hopefully” primarily treats the subject of travel photography, I want to share my own philosophy when it comes to asking for a model release while traveling. Even if you understand the laws of the country in which you are shooting, there are potential ethical issues in asking your subject to sign a legal document that he or she probably can’t understand. You may be able to get the text of the document translated into your subject’s local language, but even then the context of the agreement may not make sense to somebody from a very different culture than our own. I try to exercise good judgment when it comes to compensating the people I photograph when traveling overseas and to how I use the images later. You may want to read or reread my pillar post on photography as a bridge to local culture: Post on Travel Portraiture.

Many photographers, models, and publishers misunderstand the conditions under which a model release is or is not required, so there’s a lot of misinformation out there. Please consider my points here as just a starting point for learning more about this topic.

What are your best practices regarding when and how to use a model release? Please share your thoughts here.

Want to read more posts about what to shoot while traveling? Find them all here: Posts on What to Shoot.

Comic Relief [Encore Publication]: A photo essay of images from SF Comic Con 2018

As a professional travel photographer, I’m at my happiest when I get to seek out new cultural experiences and work with the people I meet to capture their culture in images. Sometimes this discovery takes place halfway around the world, and other times it happens very close to home. This weekend I had the opportunity to make portraits at San Francisco Comic Con 2018 of some of the thousands of attendees who portray their favorite comic book characters. This was my introduction to the culture of “cosplay”, where people dress up as characters and bring them to life through their performances. Many cosplayers design and make their own costumes, a laborious process, and interpret the characters’ personalities through their acting abilities. I was extremely impressed by the wide range of costumes, props, and makeup as well as the cosplayers’ passion and skill. Comic Cons are also fun events to shoot because the cosplayers love to have their work captured in images.

In today’s post I present some of my favorite images from SF Comic Con 2018 in the form of a photo essay. Note that all of these images and many others from this event are available to view and purchase on my website. Click on any image to see a larger version on my site.

A few words about how these images were made:

Any convention is a crowded and bustling affair, and comic cons are no exception. To achieve as uncluttered a background as possible for my portraits, I engaged cosplayers in conversation and then asked them if they would pose in a less crowded area for a portrait. Nearly everyone said yes, because they are thrilled to be photographed in costume. I would then direct them to a wall, alcove, or other fairly clean background before starting to shoot.
My gear was very simple. I shot with a single DSLR body and just one lens, a 24-85mm “walkaround” zoom.
I shot with available light only. While quite a few photographers in attendance were using flash or even dedicated studio lights, in my opinion that was a miscalculation because the fluorescent lighting in the convention center was challenging to match with a flash. This situation results in “mixed lighting”, where the subject is lit by lights of very different color temperatures. It is often unappealing to look at and difficult to post-process.
I used a high ISO setting, a moderate aperture, and a fairly fast shutter speed.
For variety, I captured a range of poses from full-body to half-length to headshots. I tried to include all of the subjects’ elaborate props. If they were part of a group, I captured both group and individual portraits.
This type of shoot requires an intensive effort in post-processing. I adjusted color balance carefully to try to gain a pleasing and accurate tonal range given the unattractive fluorescent lighting under which the photos were shot. I processed for a “high key” (bright subject against white background) effect so as to render the venue’s ugly walls as true white. With effort, harsh shadows can also be reduced during post-processing.

I hope you enjoyed viewing these images from my first foray into capturing cosplayers as much as I enjoyed making them. I will surely be seeking out and shooting upcoming comic cons, as these are among the more rewarding events to cover.

Have you shot comic cons or cosplay events? Please share your experiences and your tips and tricks here.

Want to read more posts about what to shoot while traveling or near home? Find them all here: Posts about what to shoot.

Brave New World [Encore Publication]: AI tools for photographers are improving

As a working professional photographer who also spent nearly 30 years as a technology manager/executive, I’ve long had an interest in the intersection between art/creativity and technology. Recent attempts to marry photography with artificial intelligence have ranged from useful (facial recognition) to silly (Instagram filters) to hype (an expensive camera that several days after you shoot sends you only the images it deems worthy). But as pattern matching algorithms improve and machine learning becomes more reliable, we are starting to see some amazing applications at the intersection of AI and photography.

I’ve recently been playing around with two good examples from Adobe. Available only in the online version of Lightroom as “Technology Previews”, these tools enable you to search all your images for specific attributes and to have the AI automatically select what it determines to be your best photos.

To activate these new tools, go to https://lightroom.adobe.com, log in using your Adobe Creative Cloud credentials, and then click on the Lighroom logo in the upper left and select “Technology Previews” from the drop-down menu. Click the check box next to “Best Photos”, and you’re good to go.

There are two main tools available at this time:

Intelligent Photo Search: This is already very impressive technology. You can search all or a subset of your images using any natural language term you want. You could, for example, search all your images for photos of cats, or of mountains, or of dancers, or of waterfalls. The more specific your search term is, the more accurate the results are likely to be. When I searched for “waterfall” or for “dancer”, the AI seemed to get many or most of my photos featuring those themes, and only occasionally did it include photos that did not feature those themes. When my search terms were broader, like “clouds” or “mountains”, the results were less accurate. Aesthetic searches, say for the color “blue” or the effect of “motion” resulted in mostly accurate selections of images featuring these concepts. While there are a few false matches, and likely quite a few more errors of omission of images that should have matched, this technology is quite useful in its current state.
Best Photos Selection: This one is more of a work in process. You can select any of your online galleries and ask the AI to select what it “thinks” the best photos are. You can move a slider to increase or decrease how selective this tool is. As a default, it shows you its picks for the top half of your photos, and then you can refine the selectivity to include more or fewer photos. I tried this advanced technology using several of my recent photo galleries. In most cases, it included my two or three favorite images in its initial selection of the top half of all the photos, but dropped them from its cut as I increased the selectivity. In one gallery, for example, an image that was recently selected as a favorite by the editors of “National Geographic” was dropped by Adobe’s AI in the first cut of 10% of the images. That image was quite artsy and abstract, and it’s not reasonable to expect that a machine could choose it as special. Yet in another of my galleries, the AI included an image that recently won a major local competition in its final cut of just 1% of the images. That image is a more traditional landscape that could reasonably be evaluated by a machine as a “good” photograph.

The bottom line here is that the applications of advanced technology to the art of photography are improving at an astonishing rate. While neither of Adobe’s AI tools is as good as a human artist at selecting images by their features or their quality, both tools are off to an impressive start and one of them (Intelligent Photo Search) is already very usable. I would not be surprised if, in a year or two, this technology advances to the point where machines can be making decisions about photography along with humans. Both human and AI evaluations will have their strengths and weaknesses, and I can see them coexisting for the foreseeable future. I recommend we all, as photographers, get steeped in this advanced technology and prepare for a future in which man and machine will both play a role in sophisticated evaluation of images.

When You Get Back Home [Encore Publication]: An introduction to the essentials of postprocessing

You may want to share some of your favorite images with friends and family right out of the camera while you’re still traveling, and as long as you’re not sharing so broadly that potential thieves may be alerted to your absence from home, that’s a fine thing to do. To enable immediate and easy sharing, you can choose the setting available on many cameras to shoot both RAW and JPG files; the JPG images will often look pretty decent for sharing when they come straight from the camera, and you still have your much more detailed image data saved in the RAW files.

But when you get home from your trip, it’s worth making the effort to catalog and post-process the RAW files of your favorite images so that they will look their very best and so you will be organized for finding them in the future. I’ll cover how to organize your catalog of images in a later post, but for now let’s take a look at the essentials of post-processing.

There are many software applications available to perform these tasks, but I strongly encourage you to check out Adobe Lightroom. I use this tool, and nearly all professional and enthusiast photographers I know also use it. You can license it along with other Adobe software on a pay-per-month basis as part of Adobe’s Creative Cloud, but it can also be purchased with a perpetual license (i.e., you purchase the software once and can use it forever), which is how I acquired it.

Once you have Lightroom installed on your PC, it’s easy to import your images from your camera’s memory card or from your PC’s hard drive and to organize your catalog of images using the software’s Library module. When your images are in your Lightroom catalog, the software allows you to perform all post-processing you desire using its Develop module. After shooting the image, my second-favorite part of the digital photography process is enhancing the the image in the Develop module. The software package even gets its name, Lightroom, as the new digital equivalent of the work we older photographers formerly had to do in the darkroom, such as dodging, burning, and cropping our film negatives to get the images looking their best.

As an example of how a little post-processing can dramatically enhance an image, let’s take a look at a night shot I made of Copenhagen’s Christiansborg Palace, the seat of the Danish Parliament. Here’s the “Before” picture:

Lightroom’s Develop module

The beauty of Lightroom’s method is that it doesn’t actually change your original image files as you edit them. Instead Lightroom saves a roadmap of the various edits you make and stores this list of adjustments along with a pointer to the original file. This is called “non-destructive editing”, and it allows you to edit your images to your heart’s content without overwriting or changing the originals at all. You can go back as many times as you want later to revisit your edits and change them again and again.

Let’s look at this process in more detail. Here is the basic Lightroom Develop module screen:

lightroom develop module

The left bar shows a thumbnail of the image you’re working on and a list of the most recent edits you have made. The central part of the screen shows a larger version of your image and this can be zoomed in and out to work on details or the whole image. The right bar has a histogram (a graph showing how many pixels in the image are at each brightness level from totally black to totally white) at the top, then a toolbar from which you can choose some of the editing tools quickly, and then a large area with sliders (only some of which are shown in this screenshot) that you move left or right to adjust various elements of your image. The editing tools in Lightroom are comprehensive enough that I find I very rarely need to import an image into Adobe Photoshop to make really sophisticated edits; nearly all of the time, I can perform all of my post-processing using only Lightroom.

Some photographers spend a lot of time making major enhancements to their images, but I like to try to adjust my camera’s settings precisely enough that the image is made in the camera the way I envisioned it when shooting, so that I need to make only minor adjustments in post-processing. While the exact steps of post-processing will be different for every image, here is my basic workflow (note that for the most part, I work from the top to the bottom of the adjustment tools found in the right bar):

Adjust the white balance as needed. Remember my advice to always shoot in RAW mode. One of the advantages of RAW files is that you can adjust the white balance in post-processing, regardless of what your camera’s white balance controls were set for while you were shooting the image. In JPG files you have much less control over the white balance after the fact. Just choose a different preset white balance type (such as Daylight, Shade, or Flash) from Lightroom’s menu, or create a custom white balance yourself.
Adjust the exposure as needed. Use the histogram and the image preview pane to lighten or darken the whole image until it looks best.
Adjust the contrast as needed. Increasing contrast gives more separation between the darkest and lightest portions of the image, while decreasing contrast does the opposite. I find that most images require the contrast to be increased slightly to moderately.
Adjust the highlights and shadows as needed. Highlights are the brighter parts of the image, and I find that often these need to be reduced in brightness to regain some detail that may have been lost in the camera. Shadows are the darker parts of the image, and often these need to be made brighter to bring out lost shadow detail. After the highlights and shadows have been adjusted, you may need to adjust the whites and blacks (very brightest and very darkest points in your image) if there are extremes of contrast present. Most of the time I do not need to change the white and black points.
Adjust the clarity as needed. The clarity slider changes the contrast of the middle tones (neither the darker nor the lighter parts) of the image. Usually images need a subtle increase in clarity to bring out the details in the texture. Don’t overuse this tool or the image can become unnatural looking.
Adjust the vibrance and/or saturation as needed. Both of these sliders will change the concentration of the colors in your image, but vibrance tries to avoid changing the color of skin tones so images with people will often look more natural after increasing the vibrance than after increasing saturation. Occasionally you might need to make adjustments to both vibrance and saturation, but usually I find a subtle increase in vibrance is sufficient. Again, don’t overuse these tools or your image will start to look exaggerated and surreal (unless you’re going for those effects).
Adjust the concentration of individual colors as needed. Each color channel has its own slider to increase or decrease its saturation. I don’t use these sliders often, but occasionally you may want to increase or decrease the saturation of just a single color. For example, when shooting a landscape with sky or water, you may want to increase the blue saturation to bring out those parts of the image.
If you want to work on your image in black-and-white, the color channels area is the tool I use to do the conversion from color to monochrome. Click on the “B&W” tab above the individual color channel sliders, and then adjust the mix of how the colors are blended by increasing or decreasing each color’s slider to see how the black-and-white image looks. I find that I often have to readjust the contrast slider at this point to get the image looking its best in black-and-white.
There is some sharpening already applied to your image file by default, but if it looks too soft in the important areas, you can dial in some additional sharpening.
When the image you’re editing was shot at a high ISO (sensitivity) and/or a very long shutter speed, there will likely be some noise in the image. This can be managed somewhat in Lightroom’s noise reduction tool.
Under basic lens corrections I will usually select all three of the check box items. Lightroom knows how most camera and lens combinations work and can eliminate many of the optical glitches that would otherwise show up in the image. Under manual lens corrections, I may need to rotate the image if the horizon wasn’t level when it was shot.
All of the above adjustments affect the entire image. After completing these adjustments, it’s time to make any selective adjustments that affect only a selected part of the image. These selective adjustment tools can be found in the toolbar just below the histogram.
Of these selective adjustment tools, the most generally useful is the cropping tool, which of course allows you to remove unwanted portions of the image on the sides, top, or bottom. It’s always best to try to compose the image correctly in the camera, but cropping is often still needed in post-processing.
The spot removal, filters, and adjustment brush are more complicated selective adjustment tools that can easily be subjects of additional posts in their own right.

These steps usually won’t all be needed for any one image. If you have several images that were shot under similar conditions, you can select them all in the Library module and turn on Auto Sync, which then allows you to make the adjustments only once and apply them to all the selected images. Another big time saver is creating your own presets, which are saved routines that you can call at the click of a button to automate tasks that would otherwise have taken multiple steps. Unlike Photoshop, Lightroom was designed by Adobe specifically for photographers to use, so it is set up in such a way as to make life much easier for us to organize, edit, and share our images.

Here is the “After” version of our sample image of Copenhagen by night. You can see how a few simple edits during post-processing can really make an image pop.

Buy this photo

I hope you’ve found this very basic introduction to the essentials of post-processing to be helpful. Now it’s your turn. What are your go-to techniques in editing your images? Do you have tips and tricks that you’ve found make your life easier after you return from a trip? Please share your thoughts in the comment box at the end of this post.

Want to read more posts about post-processing your images? Find them all here: Posts on Post-Processing.

Twenty Years of World-Class Hip Hop Dance [Encore Publication]: Capturing the groundbreaking SF International Hip Hop Dance Fest

I’m honored to be a photographer for the twentieth anniversary production of the world-class SF International Hip Hop Dance Fest. If you think hip hop dance is just about b-boys and b-girls, this festival will broaden your horizons to the diverse array of hip hop, from jaw-dropping acrobatics to artistic and subtly activist choreography.

As a photographer specializing in travel and cultural documentation, I love having the opportunity to capture images from a wide range of nations and cultural styles, so each year I’m eager to shoot the diverse participants in this show who come from all over the world and represent many different faces of hip hop dance.

Today’s post consists of a photo essay of a few favorite performance images from this year’s festival. Note that all of the images appearing in this post and many more can be viewed and purchased in this gallery.

First, a few notes about the making of these images:

During dress rehearsals the photographer is free to roam about the theater, often including the backstage area, apron and wings, and even onstage with the performers. This mobility is not possible during live performances. As a result, there are more creative possibilities during the rehearsals, so that’s when I seek out the most exciting and dramatic shooting concepts. Unfortunately, this year I was traveling on assignment in Panama during the festival’s dress rehearsal dates, so I was able only to capture images from the live performances.
When shooting fast-moving performances in very low light situations, I like to use mostly fast prime lenses coupled with a high ISO setting to allow a fast enough shutter speed to freeze the motion. In the case of these particular performances, I also needed to use a long telephoto zoom lens due to being assigned seats quite far from the stage.
Theatrical productions often use mixed temperature lighting that can be challenging for photography because of the strange and complicated color casts that often result. Sometimes this can be fixed in post-processing, but often I choose to convert to monochrome to avoid unpleasant and unnatural color casts.
The difference between adequate dance photography and excellent dance photography is all about the dramatic purpose. I try to adapt my shooting and post-processing style to suit the dramatic intent of each moment during the show.

I hope you’ve enjoyed this sampling of images from the remarkable SF International Hip Hop Dance Fest. It’s a challenge and a genuine joy to have the opportunity to make images of important large-scale dance productions such as this one. Thank you for reading, and please share your thoughts and questions about today’s post here.

Note that all of the images appearing in this post and many more can be viewed and purchased in this gallery.

Focus on the Embera People: Capturing enchanting images of an ancient traditional way of life

During our recent travels in Panama, my wife and I navigated up the Chagres River via dugout canoe to meet the Embera indigenous people. This fascinating in-depth encounter offered a window into an ancient culture that has mostly disappeared from Central America as indigenous groups have been forced to resettle on national parklands where their traditional fishing and hunting practices are not permitted. Our Embera hosts are able to continue to live in the traditional manner by sharing their culture with visitors like us. Our lovely day spent with the Embera villagers included preparing and enjoying a traditional meal, visiting the two-room schoolhouse (supported by Grand Circle Foundation), exploring the village, learning about their government and way of life, and observing and participating in traditional singing and dancing. We will never forget this experience. In the spirit of sharing, today’s post is a photo essay featuring images from this special day. Click on any of the images to visit the Panama photo gallery on my website, where many more photos are available to view or possibly to purchase.

Traveling up the Chagres River via dugout canoe to meet the Embera indigenous people.

This lovely Embera mom and daughter greet us on arrival at their village.

The Embera people lead us up the hill from the river to their village.

To make this portrait of a young Embera woman, I asked her to move a few feet to an area with pleasant lighting and an uncluttered background, then shot using a fast prime portrait lens (85mm f/1.8) at a wide aperture to throw the background into soft focus.

Showing us how the midday meal is prepared.

We enjoyed a wonderful visit to the two-room schoolhouse in the Embera village. As we shared songs and dances with the schoolkids, I made this portrait using only available light, intentionally blurring the girl’s hands to impart a sense of motion.

One of our group brought along simple dolls to hand out to the Embera children. Group portraits can be tricky in general, but are very challenging when the subjects are young children. My advice is to capture plenty of shots over a period of several minutes, interacting with the kids all the while. This allows the children to relax around the photographer, and maximizes the likelihood of getting a few really good images.

I’m never happier than when I can experience and photography traditional cultural performances (singing, dancing, theater, puppetry, etc.). Our new Embera friends were kind enough to show us some of their tradition of song and dance. I find that the preparations for these performances are often as or more fascinating than the performances themselves. Here, a young boy practices his drumming for the upcoming show.

In preparation for the singing and dancing performance, this Embera teen prepares her younger brother and sister by applying tattoos using the juice of the jagua plant.

I got to know this Embera teen as she helped prepare her sisters and brother for the traditional dance ceremony. We chatted and I captured photos of her preparations as she applied tattoos to her siblings using the juice of the jagua plant. It’s always a good practice to get to know your subject before making a portrait. Doing so will help put them at ease and allow you the opportunity to capture their true personality. To make the portrait, I asked the girl to move outside of the hut to a spot with open shade and a pleasing background, then captured the moment using a fast portrait lens and a wide aperture (small f-stop number) to get that lovely “bokeh” (artistic quality in the out-of-focus background areas).

This little one is all tuckered out even before the dance celebration begins. To make portraits more intimate and personal, try to isolate the subject using narrow depth-of-field and a simple, non-distracting background.

An impromptu soccer match in the green open area of the village.

View of the Embera village from the top of a nearby hill.

An Embera family pose for a portrait.

At the conclusion of our day in the Embera village, all the people of the village came out to demonstrate traditional singing and dancing for us. For large group portraits, it’s often best to work with a slightly wide-angle lens, but not so wide as to cause distortion. I chose a narrow aperture (high f-stop number) so that all of the people and the surrounding village landscape would be in sharp focus. Shooting from the same level as your subject has the effect of seeming to place your viewer within the scene rather than (literally) looking down on the action.

I hope you’ve enjoyed this photographic tour of our day spent with the Embera people in their small village located far up the Chagres River from Panama’s main city.

Do you have a memorable experience of meeting a group of people willing to share their traditional culture? Please share your experience by leaving a comment here!

Want to read more posts about what to shoot while traveling? Find them all here: Posts about what to shoot.

Capturing a Sense of Place [Encore Publication]: A case study on how to integrate the natural surroundings into a creative photo shoot

Whether halfway around the world or in my own backyard, I strive to capture a strong sense of place in my work. Most often we associate “sense of place” with images of indigenous people living close to the land, but this sensibility can be extended to incorporate the local natural surroundings into any creative images. As I collaborate with local people close to my home in the San Francisco Bay Area, I’m always seeking ways to integrate the intense beauty of our landscapes into my work. Today’s post is a case study on this theme based on a recent shoot I did with a favorite movement practitioner, mia.

mia is an amazingly intuitive artist who improvises her movement by sensing the energy of the space around her, so we chose a glorious and deserted stretch of the central California coastline near sunset for our shoot. We built in plenty of time, more than two hours, and I gave mia lots of space to move with very little direction on my part. I had all my gear ready and was wearing beach attire myself so I could just let her create her art while following her and capturing her expressive movement using my own creative approach.

In the following images, presented as a photo essay with just brief captions explaining how they were made, I share the results of this collaboration. You can view or purchase all of these images and many more in this gallery: mia beach shoot photo gallery.

My gear was simple: two camera bodies, one with a fast prime normal lens (and occasionally with a fast prime portrait lens), the other with a wide-angle zoom lens. Obviously, these optics were selected so that I could alternate between capturing mia up close and documenting her motion within the broader environment. All images were made with natural light only and were handheld. A general piece of advice is to shoot lots of frames to ensure capturing your model during the moments when they express just the right sensibility, gesture, or emotion. Memory card storage space is cheap and abundant, so always shoot more images than you think you need.

Using the wide-angle lens, I captured images of mia interacting with the space around her. This “environmental portrait” technique helps create a strong sense of place.

Even with the glorious color palette of a California coastline near sunset, there were times I chose to render the images in black-and-white to achieve a timeless graphics art look.

Environmental portraits, full-body shots, and head shots are not the only options when shooting creative portraits. Here I chose to capture only mia’s legs as she traced a circle in the wet sand. Sometimes the part can be more interesting than the whole.

Shooting from a low angle just above the water, I captured a powerful vision of mia interacting with the ocean. Obviously one has to be careful of one’s gear when choosing to shoot so close to salt water, but I love the resulting image made from this perspective.

Not every image needs to be tack sharp. I like to create a sense of motion by using a slow shutter speed to blur the movement. Here I was able to achieve a slow enough shutter speed by using my camera’s slowest native ISO setting along with a very small aperture setting, but sometimes in very bright light a neutral density filter has to be used.

Note that when shooting a backlit subject it is crucial to choose an exposure based on the light coming from the model rather than allowing your camera’s meter to choose the exposure for you (unless you are trying to create a silhouette). Two techniques suitable for this situation are spot-metering on your subject’s body or dialing in at least two stops of exposure compensation.

As sunset approached, I shot a series of images using both wide-angle and closeup perspectives. This shot nicely captures mia from a medium distance, close enough to see some detail in her expression while far enough away to include some sense of place.

The setting sun can evoke very powerful emotions. It can be risky to include the sun in your images, so tread carefully. Careless shooting into the sun can cause permanent damage to both the photographer’s eyes and the camera’s sensor. This image was made moments before sunset under conditions I assessed to be safe, but if in doubt do not ever shoot into the sun.

A wide-angle capture suggests mia’s celebratory motion as the sun sets, but she appears relatively small within this awe-inspiring natural environment.

At the moment of sunset, a parting shot is made where mia bids farewell to the day. I chose an exposure partway between silhouette and spot-metering on mia’s body so as to show some detail on her expression while allowing the ocean and sky to shine.

I hope you’ve found these images to be inspiring and the associated tips to be helpful. Now go out in your own neck of the woods make some images that integrate a sense of place into your favorite subjects!

Do you have techniques you use to infuse your local images with a strong sense of place? Please share them here.

Want to read more posts about what to shoot while near home or traveling? Find them all here: Posts about what to shoot.

Signed, Sealed, Delivered [Encore Publication]: The PhotoLogo service delivers a signature watermark for your images

When we share our images via the web, as nearly all photographers must do these days, there is a very real risk that some images will be downloaded and used by others without our permission. This has happened to me and to many of my friends who are photographers. For those of us who make a living selling our images, this theft is more than an annoyance. So, it’s important to attach a watermark to our image files before sharing in cyberspace. A watermark is an identifying image or pattern included as part of the photo. While putting your name and/or copyright logo on a watermark does not offer any special legal protection under US law, it does tend to discourage theft of your work. And if someone does borrow or share your watermarked images, the watermark will identify them as yours and can even make good advertising.

Like most photographers, I have been using a watermark that simply states my company’s name (Kyle Adler Photography) and the year the image was taken or most recently shared. The photo below, taken in Chile’s Torres del Paine National Park, shows an example.

Photo with traditional text-only watermark. It does the job but is unattractive and distracting.

The problem with this style of watermarking is that is isn’t very attractive and it can distract the viewer’s attention from the image itself.

Recently a friend and fellow photographer told me about a company called PhotoLogo (https://www.photologo.co). For about US$40, they will create a watermark logo consisting of a stylized calligraphy signature of your name along with whatever other identifying information you would like included. My custom watermark was sent in less than the 48 hours they promise. The photo below, also made in Torres del Paine National Park, shows the signature logo they made for me.

A similar photo with PhotoLogo signature watermark. The stylized logo is both appealing and relatively unobtrusive.

PhotoLogo delivers your signature logo in the form of PNG files, which means they are usable by nearly any image processing or image sharing application or site, and because PNG files are transparent, you can make them as prominent or as unobtrusive as you wish. They are also fully scalable, so you can make them larger or smaller relative to the size of the images to which they’ll be attached. PhotoLogo delivers the watermark in both high-resolution and low-resolution versions, each provided in both black and white, for a total of four files.

In the next photo, made in Svalbard high in the Arctic, the white version of the watermark would be invisible against the white snowy background, so here I used the black version, instead.

For light-colored backgrounds, the black version of the watermark works best.

I’m quite pleased with the PhotoLogo service. For a reasonable price and in a short period of time, they created a stylish customized watermark that works for most of my purposes. I’ve used it in my direct publishing from the Adobe Photoshop Lightroom application and also on my website and (obviously) in this blog. The feedback has been very favorable so far.

Note that the PhotoLogo team never sees your actual signature, so the logo they create is an artistic rendering of your name but not your true signature. That’s a good thing, both because some of us have dreadful signatures and also because providing the world with your actual signature can invite identity theft.

What watermark do you use for your images? Do you have tips and tricks you can share with this forum? Please leave your comment here.

Want to read more posts about sharing your images? Find them all here: Posts on Sharing.

Focus on the Embera People: Capturing enchanting images of an ancient traditional way of life

Traveling up the Chagres River via dugout canoe to meet the Embera indigenous people.

This lovely Embera mom and daughter greet us on arrival at their village.

The Embera people lead us up the hill from the river to their village.

Showing us how the midday meal is prepared.

In preparation for the singing and dancing performance, this Embera teen prepares her younger brother and sister by applying tattoos using the juice of the jagua plant.

An impromptu soccer match in the green open area of the village.

View of the Embera village from the top of a nearby hill.

An Embera family pose for a portrait.

I hope you’ve enjoyed this photographic tour of our day spent with the Embera people in their small village located far up the Chagres River from Panama’s main city.

Do you have a memorable experience of meeting a group of people willing to share their traditional culture? Please share your experience by leaving a comment here!

Want to read more posts about what to shoot while traveling? Find them all here: Posts about what to shoot.

Twenty Years of World-Class Hip Hop Dance [Encore Publication]: Capturing the groundbreaking SF International Hip Hop Dance Fest

First, a few notes about the making of these images:

During dress rehearsals the photographer is free to roam about the theater, often including the backstage area, apron and wings, and even onstage with the performers. This mobility is not possible during live performances. As a result, there are more creative possibilities during the rehearsals, so that’s when I seek out the most exciting and dramatic shooting concepts. Unfortunately, this year I was traveling on assignment in Panama during the festival’s dress rehearsal dates, so I was able only to capture images from the live performances.
When shooting fast-moving performances in very low light situations, I like to use mostly fast prime lenses coupled with a high ISO setting to allow a fast enough shutter speed to freeze the motion. In the case of these particular performances, I also needed to use a long telephoto zoom lens due to being assigned seats quite far from the stage.
Theatrical productions often use mixed temperature lighting that can be challenging for photography because of the strange and complicated color casts that often result. Sometimes this can be fixed in post-processing, but often I choose to convert to monochrome to avoid unpleasant and unnatural color casts.
The difference between adequate dance photography and excellent dance photography is all about the dramatic purpose. I try to adapt my shooting and post-processing style to suit the dramatic intent of each moment during the show.

Note that all of the images appearing in this post and many more can be viewed and purchased in this gallery.

Telling a Story about Storytelling [Encore Publication]: Capturing the epic contemporary hula production by Na Lei Hulu

I’m honored to be the photographer for the incomparable Na Lei Hulu’s annual show, “Hula in Unusual Places”. If you live anywhere near the SF Bay Area, you should get to this show. The combination of preservation of traditional Hawaiian cultural dance with contemporary artistic sensibility makes for an unforgettable experience. Event info here: Na Lei Hulu event info.

As a photographer specializing in travel and cultural documentation, I love having the opportunity to tell a story about cultures different from my own, and because hula is the ancient Hawaiian art of telling stories using gestures, this assignment was especially appealing: telling a story about storytelling.

Today’s post consists of a photo essay of a few favorite dress rehearsal and performance images to whet your appetite. Note that all of the images appearing in this post and many more can be viewed and purchased in this gallery.

First, a few notes about the making of these images:

During dress rehearsals the photographer is free to roam about the theater, often including the backstage area, apron and wings, and even onstage with the performers. This mobility is not possible during live performances. As a result, there are more creative possibilities during the rehearsals, so that’s when I seek out the most exciting and dramatic shooting concepts.
When shooting fast-moving performances in very low light situations, I like to use mostly fast prime lenses coupled with a high ISO setting to allow a fast enough shutter speed to freeze the motion.
Theatrical productions often use mixed temperature lighting that can be challenging for photography because of the strange and complicated color casts that often result. Sometimes this can be fixed in post-processing, but often I choose to convert to monochrome to avoid unpleasant and unnatural color casts.
The difference between adequate dance photography and excellent dance photography is all about the dramatic purpose. I try to adapt my shooting and post-processing style to suit the dramatic intent of each moment during the show.

I hope you’ve enjoyed this sampling of images from the epic modern hula production by Na Hei Hulu in San Francisco. It’s a challenge and a genuine joy to have the opportunity to make images of important large-scale ethnic dance productions such as this one. Mahalo for reading, and if you’re able, do try to catch one of the remaining shows in the run.

Note that all of the images appearing in this post and many more can be viewed and purchased in this gallery.

Sports Roundup [Encore Publication]: How to get amazing shots at sporting events

Whether we’re traveling afar or close to home, sporting events make for exciting photography. The thrill of victory and the agony of defeat (credit: ABC’s Wide World of Sports), the heroic effort, and the little moments of humor and repose amidst the adrenaline rush of competition: all of these elements can be captured in images of athletic events.

While every sport has its own rhythm and rules, there are certain techniques that apply across a wide range of sports photography situations. Let’s take a look at a few situations and discuss how to get the best images given the inherent challenges. Note that these photos were all made during outdoor sporting events; there are special challenges with many indoor sports, such as basketball or hockey, because the action remains just as fast but there is less light to work with, and the artificial lighting can impart an unnatural color cast. But that’s a topic for a different post.

Whatever the sport, I like to shoot from different perspectives, from wide to very close. The wider views show the environment as well as the athletes, so these make good establishing shots. But often the most compelling and dramatic sports images are the tight compositions, because they portray the athletes in a very personal and relatable way.

Below are two shots of the same rowing crew during the same race at a high school regatta. The first image was composed from slightly farther away and with a less extreme focal length (300mm), so the resulting composition is more environmental. It shows not only all the rowers and the coxswain in the shell, but also the width of the river and the surrounding scenery. This shot establishes the setting and gives the big picture.
Environmental shot of a crew racing at a rowing regatta. Buy this photo

Now here’s the same crew, but captured from a closer vantage point and using a longer focal length lens (750mm). This perspective isolates the athletes from the background and shows their expressions and postures. There’s certainly more drama here, at the expense of some insight into the environment.

A tighter shot of the same crew in the same race. Buy this photo

There are exceptions, such as when you choose to blur the motion to give a sense of the athlete’s grace, but as rule you want to use a fast shutter speed to freeze the action in sports photography. Very often that means shooting at 1/1000 of a second or even faster. Choose the Shutter Priority mode on your camera to gain control over the shutter speed, and be sure to select a high enough ISO setting to allow the shutter speed you require. If your camera has different auto-focus settings, you may find it helpful to choose a single-point focus setting if you know where the action will be, or a dynamic focus setting if the location of the action changes very quickly. For this image of a professional beach volleyball tournament, I chose single-point auto-focus so I could select the exact spot where the players would be jumping. I also find the best way to capture a great image in fast-moving sports (as with wildlife photography) is to set the camera to continuous or burst mode and continue to shoot rapidly through the action. That way, you’ll have several different images to choose from, and with luck at least one will have caught that “decisive moment.”

A fast shutter speed and single-point auto-focus allow the fast action of a beach volleyball competition to be captured precisely. Buy this photo

My favorite sports images portray the human element in a very personal way. This photo from a Spartan Race (an extreme athletic event that combines long-distance running with a supersized obstacle course) captures the strength and the struggle of the athlete as he nears the end of a long race through the 100-degree California desert. Keys to success in making this image were shooting from a vantage point low to the ground, using a medium-length prime telephoto lens with a large aperture to soften the background, and waiting for just the right moment.

An endurance athlete completes an obstacle near the end of a Spartan Race. Buy this photo

The fun of shooting a sporting event doesn’t end when the competition is over. Be sure to capture the dramatic and often humorous moments during award ceremonies and downtime during and after the action.

These athletes have finished their Spartan Race and strike a humorous pose at the finish line. Buy this photo

Want to see more posts on what to shoot at home and while traveling? See them all here: http://www.to-travel-hopefully.com/category/travel/shoot/

What sports do you enjoy shooting? Do you have tips on how to get great sports images? Please leave a comment in the box after this post.

Brave New World [Encore Publication]: AI tools for photographers are improving

There are two main tools available at this time:

Intelligent Photo Search: This is already very impressive technology. You can search all or a subset of your images using any natural language term you want. You could, for example, search all your images for photos of cats, or of mountains, or of dancers, or of waterfalls. The more specific your search term is, the more accurate the results are likely to be. When I searched for “waterfall” or for “dancer”, the AI seemed to get many or most of my photos featuring those themes, and only occasionally did it include photos that did not feature those themes. When my search terms were broader, like “clouds” or “mountains”, the results were less accurate. Aesthetic searches, say for the color “blue” or the effect of “motion” resulted in mostly accurate selections of images featuring these concepts. While there are a few false matches, and likely quite a few more errors of omission of images that should have matched, this technology is quite useful in its current state.
Best Photos Selection: This one is more of a work in process. You can select any of your online galleries and ask the AI to select what it “thinks” the best photos are. You can move a slider to increase or decrease how selective this tool is. As a default, it shows you its picks for the top half of your photos, and then you can refine the selectivity to include more or fewer photos. I tried this advanced technology using several of my recent photo galleries. In most cases, it included my two or three favorite images in its initial selection of the top half of all the photos, but dropped them from its cut as I increased the selectivity. In one gallery, for example, an image that was recently selected as a favorite by the editors of “National Geographic” was dropped by Adobe’s AI in the first cut of 10% of the images. That image was quite artsy and abstract, and it’s not reasonable to expect that a machine could choose it as special. Yet in another of my galleries, the AI included an image that recently won a major local competition in its final cut of just 1% of the images. That image is a more traditional landscape that could reasonably be evaluated by a machine as a “good” photograph.

Sneak Preview [Encore Publication]: Behind the scenes on my ongoing Human/Machine Dance Project

Virtual Reality Motion Study: Virtual meets reality as Carly’s body floats through the physical world while her motion is informed by her interactions with the virtual world playing inside her headset.This concept sounds simple but is quite difficult to execute photographically. We wanted to capture Carly’s physical motion in the real world as she reacts to the experience of the VR world. Images like these require a long time exposure (here about 15 seconds), which in turn necessitates shooting in a darkened photography studio. I used a black backdrop and continuous LED lighting to illuminate Carly as she moved across the studio, with a single studio strobe light at the front right part of the set to capture her final pose at the end of the exposure. The strobe was set to trigger as the camera’s shutter closed at the end of each shot (“rear curtain sync”). Using this technique, Carly’s motion can be traced during the whole exposure but the vivid exposure is what we see last. Considerable post-processing is then required to clean up the scene.
Interconnectivity: Carly shared, “I found myself visualizing my body wrapped in cables coiled around my limbs and torso. I was thinking about the body in relation to embedded systems here, and how now all of our world is connected through cables either in the air or sea.”To shoot this visual concept, we used a dance studio with a mirrored wall. Using different angles to obtain a variety of perspectives, I shot both Carly and her reflection as she improvised motion along the wall. The technique conveys the impression of the interconnectedness between a human and a similar being across a network. Post-processing was required to remove clutter and render the background as white.
Human (de-)Evolution Series: A whimsical re-imagining of the classic ape-to-human evolution series, this montage asks us to consider whether technology contributes to or detracts from human evolution.This striking montage is actually quite straightforward to execute. In a photography studio against a black backdrop, I shot images of Carly in each stage of the evolution series and then combined them using layers in Photoshop.
Robotic Motion: Machines often perform the same tasks traditionally undertaken by humans, but the robot’s motion is constrained by its programming. How might the human dancer’s motion become similarly constrained if her movement is choreographed by programming instructions?For this concept, my job was fairly easy and Carly had to do the heavy lifting. She choreographed movement indicative of robotic motion while I captured a series of images using a studio strobe light and a black fabric backdrop.

Have you carried out a photography project? Please share your key learnings–positive and otherwise–here!

Want to read more posts about what to photography while traveling or near home? Find them all here: Posts about What to Shoot.

Capturing a Sense of Place [Encore Publication]: A case study on how to integrate the natural surroundings into a creative photo shoot

Using the wide-angle lens, I captured images of mia interacting with the space around her. This “environmental portrait” technique helps create a strong sense of place.

Even with the glorious color palette of a California coastline near sunset, there were times I chose to render the images in black-and-white to achieve a timeless graphics art look.

A wide-angle capture suggests mia’s celebratory motion as the sun sets, but she appears relatively small within this awe-inspiring natural environment.

Do you have techniques you use to infuse your local images with a strong sense of place? Please share them here.

Want to read more posts about what to shoot while near home or traveling? Find them all here: Posts about what to shoot.

Twenty Years of World-Class Hip Hop Dance: Capturing the groundbreaking SF International Hip Hop Dance Fest

First, a few notes about the making of these images:

During dress rehearsals the photographer is free to roam about the theater, often including the backstage area, apron and wings, and even onstage with the performers. This mobility is not possible during live performances. As a result, there are more creative possibilities during the rehearsals, so that’s when I seek out the most exciting and dramatic shooting concepts. Unfortunately, this year I was traveling on assignment in Panama during the festival’s dress rehearsal dates, so I was able only to capture images from the live performances.
When shooting fast-moving performances in very low light situations, I like to use mostly fast prime lenses coupled with a high ISO setting to allow a fast enough shutter speed to freeze the motion. In the case of these particular performances, I also needed to use a long telephoto zoom lens due to being assigned seats quite far from the stage.
Theatrical productions often use mixed temperature lighting that can be challenging for photography because of the strange and complicated color casts that often result. Sometimes this can be fixed in post-processing, but often I choose to convert to monochrome to avoid unpleasant and unnatural color casts.
The difference between adequate dance photography and excellent dance photography is all about the dramatic purpose. I try to adapt my shooting and post-processing style to suit the dramatic intent of each moment during the show.

Note that all of the images appearing in this post and many more can be viewed and purchased in this gallery.

In the Nik of Time [Updated]: Now owned by DxO, the Nik Collection offers leading-edge image editing tools

Note: In 2017 Google announced that they would no longer provide support for the Nik suite of tools. That meant you can still download the latest version of Nik, but it may not work with the other software you are running. Many in the photography community were concerned because sooner or later as we upgrade our other software, Nik will cease working for us. Fortunately, a company called DxO purchased the Nik suite of tools from Google a few months after Google ceased supporting the software, and just this month DxO announced their first Nik release. Read on for more details about the Nik tools and DxO’s new release.

In 2012, Nik Software, a small company known for their image processing tools that emulated the look and feel of using old film, was quietly acquired by a somewhat larger company known as Google. Google announced they were making the entire suite of Nik tools available for free to all users. As mentioned above, Google ceased supporting the Nik suite as of 2017, but the software was quickly purchased by DxO who just announced their first release. The good news is that with this new release the photography community now has a reasonable assurance that these industry-leading image editing tools will be supported well into the future. The bad news is that the Nik suite is no longer free; DxO is charging $69 to download the software. That’s still less than the $150 that Google charged users for this software prior to 2016, and it’s a very reasonable price for software of this scope and quality.

For photographers who wish to access the Nik tool set and don’t already own it, or for photographers for whom the tool set has ceased working, I recommend downloading the new release from DxO’s website now, as the introductory price of $50 will increase to $69 at the end of June, 2018. For those of us who already have the software installed and for whom it’s still working just fine, I don’t see a need to upgrade to the paid version right now That’s because the new release, while more stable and better documented than the free older version from Google, does contain the same tools with the same functionality. Personally, I will choose to wait until a new O/S or Lightroom upgrade forces my hand. But I am very pleased to know that these wonderful editing tools will continue to be supported and developed into the future!

Here are my notes from the past two years of using the Nik suite of image editing software tools. Its capabilities are leading-edge and would be well worth spending hundreds of dollars to obtain. It doesn’t do everything, but what it does, it does better than tools such as Photoshop and Lightroom, each of which costs a good deal of money. That Nik’s great capabilities are available for download for less than $70 is a wonderful value, and I strongly recommend you give them a try.

It’s important to note that the Nik Collection of software tools is not intended to be standalone image processing software. It consists of a set of plugins, each specialized for a different specific purpose, that must be accessed by a general-purpose image editing application such as Photoshop, Lightroom, or Aperture. I use Lightroom for nearly all of my post-processing, so I used that application to access the Nik Collection.

Once you have your general image editing application installed, then you can download the Nik Collection modules at the DxO website listed above. When you are working in your application of choice, you will then have access to the various Nik Collection tools in the editing menus. For example, when I select an image in Lightroom, I can access six of the seven Nik modules by pulling down the “Photo” menu and then pulling down the “Edit In” sub-menu. One of the Nik modules, the HDR Efex tool, is accessed instead under the “File” and “Export with Preset” menu choices.

These are the seven Nik Collection modules included in the download:

Analog Efex Pro

Explore the look and feel of classic cameras, films, and lenses.

Color Efex Pro

A comprehensive set of filters for color correction, retouching, and creative effects.

Silver Efex Pro

Master the art of black-and-white photography with darkroom-inspired controls.

Viveza

Selectively adjust the color and tonality of your images without complicated masks or selections.

HDR Efex Pro

From natural to artistic, explore the full potential of HDR photography.

Sharpener Pro

Bring out hidden details consistently with the professional’s choice for image sharpening.

Dfine

Improve your images with noise reduction tailored to your camera.

So far, I’ve played around with just three of these tools.

Silver Efex Pro did a very good job of converting my test images to monochrome. I’m pretty good at using Lightroom’s tools to convert color images to black-and-white, but they take a lot of practice to master. In Nik’s Silver Efex module I was able to make some good choices very quickly. For those who want to fine-tune their black-and-white conversions, there are very good tools for detailed control over the process.

I used Nik’s Dfine module to attempt to reduce noise in a favorite shot of the Milky Way over Yosemite Valley’s Half Dome. The results of my quick trial looked comparable to what I had done in Lightroom, but I suspect if I took the time to learn the Nik tool more thoroughly, I could end up with even better results.

Finally, I tested Nik’s HDR Efex Pro tool. This little gem is a joy to use. Just select the series of shots from which you want to build an HDR (High Dynamic Range) image, export them to HDR Efex, and click a couple of buttons to generate the base HRD image there. My default image looked pretty good, but the Nik tool has a wide range of presets that allow you to generate different HDR effects with the click of a button. I tried several of these presets until I found one that perfectly suited the scene. A few more small tweaks using the detailed adjustment sliders, and I was ready to save the HDR image back into Lightroom. In the past I have been very disappointed with Lightroom’s built-in HDR tools, and only slightly more satisfied with Photoshop’s HDR module, but the Nik HDR Efex Pro plugin does an amazing job. It’s both easier to use and generates better results than the other HDR software I’ve used. Specifically, the Nik tool does a much better job than the other tools at producing natural-looking colors and at removing the “ghosting” effects from when the underlying images are just a little bit different from one another. Now I’m eager to find the time to go back to some of my favorite HDR images and rebuild them using the Nik software!

For comparison, here is a favorite HDR image of mine, first shown after processing in Photoshop’s HDR tools and then shown after processing in Nik’s HDR Efex Pro tools.

This HDR image of Lago Grey with its glacier and the peaks of Torres del Paine National Park in Chile was processed using Photoshop’s HDR tools. The colors appear unnaturally saturated and parts of the image (especially the tops of the mountains and the brush in the foreground) show some ghosting effects.

This version was processed using the Nik Collection’s HDR Efex Pro tools. The colors look much more natural and all parts of the image appear sharp and free from ghosting.

I am looking forward to revisiting many of my favorite images and reprocessing them using the Nik Collection’s tools. I highly recommend this versatile, easy-to-use, and powerful suite of image editing modules.

Have you used the Nik Collection for your own photography? What do you like and dislike? Please share your thoughts here.

Want to read more posts about post-processing your images? Find them all here: Posts on Post-Processing.

Beyond the Postcard Shot [Encore Publication]: Some sites are so iconic, you have to think differently to get a unique shot

Much of the joy of travel photography is seeking out and capturing images of little-known places and the ordinary daily lives of the people who live in them. But when we’re traveling it is also inevitable that we’ll come face to face with the world’s most famous, overexposed, iconic sites. You know, those places that are so often documented and discussed that we automatically associate them with the city or country where they are located. London has Big Ben, Paris has the Eiffel Tower, San Francisco has the Golden Gate Bridge, Tibet has Potala Palace, India has the Taj Mahal, Cambodia has the Angkor Wat temple complex, and so on. These sites have been photographed and shared so many millions of times that they are ingrained in our visual memories. But there are ways we can approach and photograph the world’s iconic sites so as to avoid the “postcard shots” and create something different. In today’s post, we’ll explore a few methods you can use to make less familiar images of the world’s most familiar locations.

Focus on part rather than the whole: Instead of capturing an iconic site such as London’s Big Ben with a normal or wide-angle lens to include the whole structure, try using a longer lens or getting up close to capture just a portion.

Big Ben is nearly always photographed from a distance using a normal or wide-angle lens to include the whole tower. Here I used a medium telephoto lens looking up at the clock’s face to emphasize some of the detail on the facade. Buy this photo

Embrace the crowds: Instead of working to remove the hordes of visitors from images of iconic locations, sometimes it is effective to embrace the crowds. This can create a “nod and a wink”, self-referential photo that tells the viewer we all know this site is a tourist draw. In this image of Stonehenge, I used a wide-angle lens to include not only the monoliths but also the long line of visitors who have come to see them.

Intentionally including the hordes of visitors in some of our images can give a different effect from the usual photos in which we attempt to remove the people. Buy this photo

Try a different time of day: Many of the world’s most famous sites are associated with a specific time of day or lighting conditions. The Golden Gate Bridge, for example, is often photographed at sunset or as the banks of fog roll over it. Tibet’s Potala Palace is usually pictured by day. So, for a different view of this lovely temple/palace complex, I visited it by night. The resulting images offer a different mood from the postcard shots.

A different time of day can yield very different images from the usual ones. Here, Potala Palace is captured by night, a seldom seen view that offers a very different mood than the postcard pictures. Buy this photo

Incorporate unexpected visual elements: We associate certain visual themes with iconic locations, so surprise your viewers by including unexpected elements in your images. I especially enjoy incorporating anachronistic visuals, such as a Buddhist monk speaking on a cell phone (though even that is becoming something of a cliche these days). In this image of Delhi’s iconic Qutub Minar, I framed the shot first and then waited for the jetliner to enter the frame just behind the minaret.

Including non-contextual visual references in our shots of iconic sites can surprise the viewer. This image of Delhi’s ancient Qutub Minar minaret incorporates a modern jet airplane for a mashup of old and new. Buy this photo

Find a different vantage point: The Taj Mahal is a gloriously lovely building, but its true beauty is often overlooked by photographing it straight on from the iconic vantage point across the reflecting pool at the main entrance to the site. Instead, try capturing the Taj from an unusual vantage point, such as the Moonlight Garden across the river from the back of the Taj. The resulting image will surprise the viewer by offering a less-seen perspective and by framing the iconic site in an unusual context.

This image of the back side of India’s iconic Taj Mahal was made from the Moonlight Garden across the river. Freed from the usual framing of the front of the Taj with its reflection in the pool, the viewer can truly appreciate the gracious beauty of the structure itself. Buy this photo

Next time you visit one of the world’s most overexposed sites, try making some images using one of more of these new approaches to surprise the viewer with something different. Avoid the cliches by emphasizing just certain portions of the site or by including crowds or non-contextual elements in your images. Shoot from a different vantage point or at an unexpected time of day. There’s really no need to add one more to the heap of millions of identical photos of these places, so go wild and try something unique!

How have you created unusual images of the world’s most iconic locations? Please share your thoughts here!

Want to read more posts about what to shoot while traveling? Find them all here: Posts on What to Shoot.

Planning a Shoot [Encore Publication]: A case study in planning and executing a photo shoot

Whether traveling or near home, some of our best photo opportunities occur spontaneously. Serendipity is part of the fun of photography, but another big part of the photographer’s craft is to carefully plan and professionally execute a photo shoot. Using a recent shoot in which I collaborated with professional dancer Molly as a case study, in this post I’ll cover the essential elements of planning and conducting a shoot.

Good planning is key to ensuring a fun, safe, and efficient shoot as well as obtaining the desired artistic outcome. Buy this photo

Elements to Consider When Planning a Shoot:

What is the theme or mood? The artistic concept will inform all the other elements of the shoot. For the shoot with Molly, we decided on an edgy, urban theme. Based on that choice, the decisions about location, timing, gear, technique, and post-processing all flowed consistently.

We chose a gritty, urban theme for this shoot, and all other decisions flowed from that choice. Buy this photo

Where is the location? Often one of the most challenging aspects of planning a shoot is scouting for a suitable location. The location, of course, should support the theme of the shoot. It also needs to be accessible, safe (for this shoot, we rejected shooting on or near railroad tracks for safety reasons), and suitable for making the type of images desired. There are also legal considerations, as in most cases permission is required to shoot on private property and even some public spaces require permission for commercial uses. Molly and I eventually decided on using the old barracks at the decommissioned Presidio of San Francisco and the adjacent Crissy Field recreation area. This space was accessible, relatively safe, provided a gritty and urban mood, and afforded sufficient working room for both dancer and photographer.
When should the shoot be scheduled? Obviously, the date and time scheduled need to work for all parties involved. These parties include not only the model(s) and photographer, but also other client(s) and often an assistant. Equally important is ensuring the timing supports your artistic choices. The season of the year and the time of day should offer the best chances of obtaining the lighting you desire. The scheduled time should also work as well as possible with respect to other considerations such as opening hours of the chosen space, traffic and volume of other people in the location, and even tides, snowfall amounts, or other environmental factors. Molly and I chose to shoot in the “golden hour” just before sunset on a Sunday to ensure good lighting and access to the location.
What gear and techniques should be used? After choosing the theme and the supporting logistical elements, it’s time to select the techniques desired to capture the images and the gear required to execute. Elements to consider include lighting (I prefer to work with available light and reflectors/diffusers whenever possible, but sometimes speedlights or portable studio lights are required), lenses (it’s often best to bring a range of lenses for different perspectives), props, and accessories (will you need to stabilize with a tripod, or perhaps you’ll require neutral density filters to obtain the shutter speed and/or aperture you want?). In the shoot with Molly, I used the camera handheld at mostly fast shutter speeds and low camera angles with fast prime lenses to get that edgy look.

To capture the fast motion of the dancing and to support the urban theme, I worked handheld with fast prime lenses and low camera angles. Buy this photo

How should the images be post-processed? Again, the overall artistic concept should inform decisions about post-processing. For this shoot, I aimed for a high-contrast, slightly grainy look and also converted several of the images to black-and-white.
How will the images be distributed and used? All parties should agree before the shoot on how the images will be shared and/or sold. To protect both model and photographer, it’s a good idea to sign a model release. For more information on model releases, see this post: Post on Model Releases.

With attention to planning and execution, a photo shoot will be more enjoyable and productive and the artistic results will be better. Buy this photo

Do you have tips and tricks you use when preparing for your shoots? Please share your thoughts here.

Want to read more posts about planning your photography? Find them all here: Posts on Planning.

Focus on 2018 SF Pride Parade [Encore Publication]: Capturing diversity, purpose, and intimacy

It’s no surprise that San Francisco hosts one of the world’s oldest and largest LGBTQ Pride events in the world. Each year, the parade and festival grow bigger and better attended. SF Pride is one of my favorite annual events in my home region, the SF Bay Area, and what I love the most about this exuberant celebration is its remarkable focus on the central human values of diversity, inclusion, activism, hope, and love. In today’s post, I share some of my favorite images from this year’s Pride Parade, along with a few words about how the images were made. The goal is to showcase the incredible diversity and sense of social purpose of the participants and observers at this grand celebration, while also striving to capture the small, more intimate, moments. Remember that you can view–and purchase–all of these images as well as many more by clicking on any of the images in this post.

In a frenzied environment like that of most festivals, parades, and street fairs, it can be a challenge to make a nice clean portrait with an uncluttered background. Sometimes it’s possible to relocate the subject to an area with a clean and clutter-free background, but most often (as with this portrait) that isn’t feasible. In those cases, my best practices are to use a moderate telephoto “portrait” lens, select a wide aperture (small F-stop number) to throw the background into soft focus, get in close to the subject, and use a touch of post-crop vignetting during post-processing.

Huge festivals and celebrations such as SF Pride can be overwhelming, with hundreds of thousands of participants and observers present. I strive to capture the smaller, more intimate, moments within this gigantic environment. Here I captured a beautiful portrait of two participants sharing their love, which I think encapsulates the entire meaning of Pride events around the world. I had been chatting with these two people and had obtained their permission to photograph them before making this image. I used a medium telephoto “portrait” lens and got in close to isolate the couple from the busy background.

Color and texture play a huge role in photographic composition and expression. As photographers, we’re very aware of these factors when we compose landscapes or nature scenes, but even when making a portrait, we should always be considering the mood evoked by the colors, patterns, and textures in the scene. I love this portrait for its moody use of the similar shades of orange-red offset against the multiple colors of the flowers and the cigarette. This is an image that tells a story, but that also leaves most of the story untold.

Another intimate portrait, this one made of a young woman doing yoga poses while waiting to march in the parade. She had an adorable sense of humor and expressive face, which, coupled with her offbeat outfit, made a great closeup portrait. Don’t be afraid to get in close to your subject, but always get to know them and ask permission first.

An iconic Pride scene, this portrait was made with a longer telephoto lens, its use made necessary by the greater distance to the parade float in the middle of a wide street. While I prefer to get up-close and personal with my subjects, and to get to know them before shooting, sometimes we have to shoot from farther away, such as during a fast-moving and crowded parade. It’s therefore important to have the gear and expertise to make portraits from any range. Even when shooting from farther away, though, my key portrait rules still apply: try to capture the portrait with as uncluttered a background as possible, use a wide aperture to isolate the main subject from the background, and apply a bit of post-crop vignetting during post-processing.

It can be tricky to try to capture nudity in a tasteful way suitable for sharing and selling to broad audiences. I spent some time chatting with these two activists to get to know them and to understand their cause–overturning San Francisco’s ban on public nudity–before starting to shoot. Even though they had given me permission to photograph them nude (which is an important courtesy all photographers should follow, although no permission is legally required to photograph people in a public space in the US), my market for images containing graphic nudity is small, so I strive to capture scenes that tell the story but with implied nudity rather than graphic nudity. Here I found a vantage point that allowed the subjects’ arms to strategically cover certain parts of their bodies. The resulting portrait conveys the story of their purpose and gets across the idea of their nudity, but is still shareable and sell-able to a broad market.

Another close-up portrait, using the same techniques I shared earlier in this post.

Another of my favorite portraits from the day, this one also tells a small-scale, intimate story, conveyed by getting in close and isolating the subjects from the busy background. The end result is a sense that these two people are celebrating their own story, even in the midst of the bustling celebration going on around them.

I met this young woman in a very crowded space, but fortunately I had the opportunity to walk her to a less cluttered space to make her portrait. I’m always on the lookout for quieter and cleaner spaces when shooting festivals and celebrations. A few steps was all it took for us to find this simple, clean background, allowing the portrait to really pop.

Group portraits pose a special challenge in busy public spaces: how to capture all the group members in crisp focus while also trying to isolate them from the cluttered background. Here I used a medium aperture to keep the people in sharp focus while slightly softening the background, but since a very wide aperture cannot be used for groups, the softening effect will be mild. As a result, it’s especially important when making these group portraits to seek an interesting, complementary, or clean background.

As their float passed by in the staging and assembly area before the official start of the parade, I observed an opportunity to capture this quiet scene of one woman helping to apply her friend’s makeup. I used a moderate telephoto lens and shot several frames to increase the odds of getting a clean and interesting shot.

When making portraits of kids or seated people, it’s a good practice to get down to their level. Getting in close is also usually an effective technique, both to isolate the subject and to capture a sense of their spirit.

What are some of your favorite celebrations, and how do you capture their diversity in your images? Please share your thoughts here.

Want to read more posts about what to shoot while traveling or close to home? Find them all here: Posts on What to Shoot.

People Pictures Beyond the Selfie [Encore Publication]: Why selfies don’t make great images, and how to get really good pictures including yourself

Several times in the pages of “To Travel Hopefully,” I’ve emphasized the importance of including yourself and your travel companions in some of your images. Not only will you and your friends enjoy seeing yourselves captured in these travel photos, but the inclusion of people in travel images gives a sense of scale to the places you visited and tells a more compelling narrative than would be possible in photos without people.

The standard way of including yourself in a photo these days is to use your phone’s selfie camera, but there are a number of reasons why taking selfies is not the best way to capture your own likeness in an image. First, the sensor in the front-facing (“selfie”) camera on your phone very likely has a much lower resolution than does the phone’s regular camera, so the picture quality is lower. Second, it’s difficult to properly compose a photo when holding the camera out at arm’s (or selfie stick’s) length, let alone to smoothly release the shutter. Third, the perspective imparted to the image when the camera is held above in selfie fashion is distorted and often unflattering. It’s really quite unlikely that you’ll get professional quality images of people using the selfie technique.

A selfie doesn’t allow you to properly compose your image, is awkward to shoot, and uses a low-quality image sensor. Instead, mount your camera on a tripod, compose the image exactly the way you want it, and release the shutter remotely or with the camera’s self-timer. Or enlist the help of another photographer. Buy this photo

Fortunately, there are better ways of including yourself in your photos, and they’re not difficult to implement. The two most straightforward methods are placing the camera on a tripod and triggering the shutter with a self-timer or remote release, and setting up the camera for another person to shoot handheld.

The basic setup is the same for either method. Have the other people you want included in the photo stand in the desired location. If you’re the only person present, make a note of where your body will be placed in the composition. Then compose your image from the best vantage point, with the camera either mounted on a tripod or handheld. Configure your camera’s settings (focus, exposure, flash, etc.) the way you prefer, and test the settings by shooting a few frames without yourself in the image. Then move into your predetermined position in the frame and either fire the shutter remotely with the self-timer or remote release, or ask another person to push the shutter button for you.

If you do choose to have another person press the shutter release button for you, you need to be thinking about two things: 1) ensure they know how to operate the camera and won’t run away with it, and 2) be aware that in many countries and regions the person who pushes the button owns the copyright for the image even if they did not contribute artistically to making it. I prefer to use a tripod and remote release whenever practical, so as to have a higher likelihood of capturing the image I envision and to avoid any question as to who owns the copyright.

Do you have a favorite method for including yourself in your photos? Please share your ideas in the comment box.

Want to see more posts on how to shoot while traveling? See them all here: http://www.to-travel-hopefully.com/category/travel/shoot/.

A “Fixer” for the Rest of Us [Encore Publication]: How you can leverage local resources to shoot like a pro

How do professional travel photographers on assignment create those amazing, make-your-jaw-drop images? You know, the photos we see when browsing the pages of a major travel magazine or website? There are several advantages the pros have, including technique honed over decades of practice, state-of-the-art equipment (with prices to match), and the ability to spend a lot of time at the same location, returning again and again until the time of day, lighting, weather conditions, and subject matter are perfectly aligned for a great shot. But one advantage available to the pros can be borrowed, at least in part, by the rest of us who love travel photography, too. That is the use of a “fixer,” a local expert who knows the region, the language, the culture, and the way to get things done, and whose expertise helps the travel photographer get those incredible shots.

While we were visiting a carpet weaving collective in Goreme, Turkey, our group’s trip leader introduced me to this worker who was enjoying a cup of Turkish coffee during her break. Buy this photo

If you are traveling on a group trip run by a good travel company, you may already may have a fixer working to make your experience (including your photographic experience) as rewarding as possible. The operator will likely have chosen an itinerary that will get you off the beaten path and into the settings where unusual and powerful images can be made. They will have arranged your accommodations and transportation well in advance of your departure. The company should have planned some activities and excursions that will allow you to interact with local people and see how they truly live. And best of all, they have provided you with a local expert, often called a trip leader or program director, who knows the lay of the land, speaks the local language(s), and can facilitate your getting the kinds of shots you want. This is of paramount importance when you want to have lots of interaction within a culture very different from your own, which I believe is the best part of traveling as a photographer.

For example, I made the above portrait after being introduced to the young worker at a carpet weaving collective by our trip leader in Turkey. He translated so that she and I could get to know each other a little bit first, and then asked her if I could make her portrait. It is certainly possible (I’ve done this countless times) to ask for yourself by using sign language, pointing to your camera, and smiling a lot, but having a local person with you can be a great help.

Sometimes, knowing where to go to seek out authentic cultural interactions works magic. I captured this shot of our host family during a home-hosted lunch on an estancia (ranch) in Patagonia.

Our hosts, Chango and his extended family, were happy to pose for a portrait after we enjoyed their hospitality on their Patagonian ranch. A local guide and good travel company can help arrange these kinds of authentic interactions. Buy this photo

Visiting a rural elementary school in Tanzania afforded us the chance to meet kids in the classroom. This type of experience would be hard to arrange while traveling independently, but a good group leader or guide can facilitate meaningful interactions with local people. Buy this photo

When the trip is scheduled specifically to attend a special event, it is especially vital to have a good leader who is adept at working with local professionals to plan all the details. For example, it was quite a major logistical feat to get a large group of scientists and photographers into place to study and view a total solar eclipse in a part of the world as remote and forbidding as Svalbard. Our trip leader partnered with an astrophysicist who is a world authority on eclipses, beginning years in advance of the solar event, to ensure we had the best chance possible of clear weather conditions and the right vantage point from which to study and photograph the eclipse. This is the sort of value that an expert fixer brings when you book a trip with one of the top companies.

Our eclipse expert and one of his students set up their gear on the morning of the total solar eclipse in Svalbard. Buy this photo

To be sure, there are some compromises required for group travel, and having access to a shared program director is not the same as having a dedicated personal fixer to arrange your photo shoots for you. I like to travel independently in places with developed infrastructure and where I can readily bridge the cultural or language gaps myself. That said, I also love to travel in small groups run by excellent travel companies, in large part because their planning, coupled with the knowledge of the local trip leader, helps me make those memorable images.

Want to read other posts about planning your travel photography? Find them all here: http://www.to-travel-hopefully.com/category/travel/plan/

Have you had a situation where you got your shot thanks to the knowledge of a local expert? How do you arrange your travel when you’re visiting remote parts of the world or when you want to have lots of interaction within a culture very different from your own? I’d love to hear your thoughts and experiences! Please respond via the comment box.

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