Blogodocious ramblings of a landscape photographer living in Maine.
Traps Dock. Bass Harbor Maine. ( 3 shot "shift panorama using Canon 24mm tilt-shift lens + 3 bracket HDR using Nik HDR Efex Pro)
Maine's finally starting to shake off winter for good, (knock on wood, loudly!), and Spring is putting a spring in my step. Starting to feel properly inspired to want to make stuff again. This particular past winter was furious to the point where it just wasn't that too compelling to revisit the places that I've been so many times before to photograph on this island- I had nothing new that was burning in me to pursue there enough to overcome the effort and pain it would take to do it. I mean here's the deal- it was usually 10 degrees f and blowing 25 knots everyday from the beginning of January up until last Tuesday. And this is April.
So things got a little dusty in the old inspiration drawer and after a while guilt got a chance to get some screen time and before you knew it I was in the artists death-spiral of "I'm worthless and will never make anything good ever again" mode. But I wasn't worried too much. Been there, done that- like the common cold "it's got to get worse before it gets better" I knew it too would pass.
With the 'down time' I dug into the new version of Photoshop- CC, and did some online training and have a much better sense of the potential that that program can offer my own future work and some ideas for projects using compositing- which I would never have thought I would ever pursue. So that's cool. And I had a lot of time to think about where my work is now to think again about what I want it to amount to or mean and why etc. Which is always heady stuff and goes much better with a beer or two and a healthy dose of "what if none of it at all matters, at all", etc. Which is important- because when you have lot's of creative momentum and keep making and making without occasionally coming up for a breath of air to check the progress like, well- then you can't check the progress, like. :-) Long story short, it wasn't my most productive last few months artistically but I definitely think I've grown. Which is good. Either that or I'm a blind optimist. Bah.
Right then- let's get on to some tech talk!
Tech talk topic #1: Revisiting panoramas. I used to be hooked on making panoramas. From around 2004 through 2009 or so just about every image I set out to make was going to be in a panorama format. This started because I just wanted a much wider field of view- I'd be out photographing in the park in a cove along the ocean and everything from the North end of the beach to the South end at the cliffs would be crying out to be photographed. Or in this case a stream through the woods-
Hunter Brook Acadia. 2004.
Bubble Pond Acadia. 2004
Old Rotten Skiff over on Deer Isle. 2004
And an old two shot stitch of my doggy Grover on top of Dorr Mountain above the fog. It's got dust in the sky and the stitch is sloppy but I like it! 2005
The learning curve to make a properly pleasing perfectly plumbed and passably produced panorama took me awhile to figure out. I was using Adobe Elements back then to do the stitching of those first handheld pans which worked ok but I kept getting stitching artifacts at the seams which I would try and smooth away by cloning (terribly). So it became obvious- not so quickly though, (remember the internet wasn't hardly what it is now back in 2004), that I needed a proper nodally centered panoramic tripod head- but then, how to afford one. The popular heads back then were the Really Right Stuff heads I think and then some British special models which were all about 1000 dollars. So eventually I found the Panasaurus head in 2005, and I loved that thing for the next 4 years, almost too much.
here's the link http://gregwired.com/pano/Pano.htm only 99.00$! crazy inexpensive and works solid and great and is easily adjustable for all kinds of kit. -Absolutely no sponsorship for me I just loved it.
See in order to make a proper panorama you need to eliminate parallax error (which is the change in field of view you would get if you close first one eye and then the next) and the nodal point is just in front of the sensor so you need to be able to calibrate the tripod head to align to that point. Then the tripod head can rotate around the nodal point in any direction and there will be absolutely no stitching artifacts in post production. These days it would just take a tutorial or two on Youtube and you'd be making perfectly awesome pans in a week, back then though it took me about a year and a half to start making pretty good pans. There other part of the equation was PTGUI (Panorama Tools graphical user interface) which was a hundred bucks back then and could handle elaborate stitches and render in a variety of formats for a completely different look- mercator projection vs equirectilinear etc or even render as a VR out to a Quicktime file. So I was off to the races and started painting 360 degrees of view onto my little Rebel XT's sensor.
Tool shed. 360x not quite 180. Tripod legs and all. 2006
Great Meadow Acadia. 2006
My old bachelors pad in Hulls Cove. 2008
The Bean in Chicago with Sophie. (This one has a stitching artifact but I like it for the sentimental value. The stitch problem probably came from either a sag on that old tripod or maybe it moved a bit. Also these days I could probably have aligned it better with more modern tools.)
Then at some point along the way there I found HDR and Photomatix, distressingly now in hindsight- especially that I was only shooting in jpeg and not backing up original files well- so I consider a few years of work lost due to crappy workflow!~ Be warned! Always keep clean RAW files and never fall for fads! Easier said than done.
Great Meadow HDR pan. 2008 (sky so ugly-!)
Farm HDR pan- not too bad until you look up at the sky- so noisy! Arg! What was I thinking!!??
Miami Neon + HDR omgawd! such Andrew Lloyd Webber technicolor Rubbish!! Have you had enough yet?!
On the run, South of the Border- deeply under the influence of HDR blindness. -"What happens is the user becomes so impaired by the absolutely surreal lack of reality that normal perception is often completely obligated". (from the HDR recovery 12 step program users bible). I got my 5 year coin 2 weeks ago! For anybody new to the program I will sponsor you- just contact me in an email.
Those were troubling times. I'd hit my bottom. Who can blame me that shortly thereafter I never shot another panorama or HDR'd anything again until I accidentally happened across it on the iPhone years later. Went straight to black and white single shot landscapes and minimalist black and white fogscapes and long exposures with large open areas in the image. It did help massively to invest in quality glass and a much better sensor of the Canon 5D2.
Until this past last year. My go-to lens of choice for landscape is the 24mm tilt-shift made by Canon, anyone who knows me knows how much I harp on about that lens and I've done it a lot here in the past. http://nateparkerphotography.com/blog/2012/10/the-canon-24mm-f/3-5-ts-e-the-best-lens-for-landscape-shooters--hands-down I've found myself using that lens more and more though to make 3 shot shift-pans to give the scene a larger field of view and it fits my preferred 4x5 crop format perfectly and adds a lot of dpi to the final print. This is how it works- locked off on a tripod and in manual mode you make the first shot centered then shift the lens 12 degrees full left (or up) and again full right (or down). I send the 3 files out of Lightroom to stitch in Photoshop CC, which has a much better stitching engine then ever before and layer masking can usually fix any trouble spots. The final 3 shot stitched file off my full frame 5D2 is about 65 megabytes or so which prints noticeably cleaner. Of course shooting in RAW protects my file for the future and having good back up strategies ensure no matter how I choose to render the final image now years from now I'll be able to go back and adjust it for any changes in taste or more modern methods.
Also last summer I wanted to upgrade my old Nik Silver Efex version before Nik got swallowed up by Google so I ended up getting the Nik Complete suite which happens to come with the HDR efex pro app. Which will introduce tech talk topic #2-
I resisted running any brackets through it for quite a while until eventually curiosity convinced me to give it a go. Went out and shot a morning of fog scapes along the shore at Wonderland and misty scenes along the trail and came home and ran the set through HDR Efex Pro. It was nice. The stuff came out fine, the control and interface of the program was enough to make powerful adjustments with enough precision to keep artifacting at bay and noise out of the process. So it was cool and all but really for all the work of initially in the field bracketing in camera properly- to running it through the extra steps of HDR Efex, I'd rather just make 1 good exposure in the field and finish it with Lightroom and Photoshop plain and simple. With good technique you can get pretty close to an HDR now anyways, However: there's one more thing.... there is one more method of HDR'ing by using just Lightroom and Photoshop to create the 32 bit image which is then 'tonemapped' using Lightroom. And I think this is the most interesting and simple approach therefore probably the one I will do occasionally moving forward. You send your bracketed images from Lightroom to Merge to HDR Pro in Photoshop- Photoshop creates the HDR file and gives you a dialog box that offers a bunch of tonemapping sliders in 8 bit mode. Don't use those sliders! Instead select from the drop down bar that shows mode: 8 bit change it to 32 bit and all those sliders go away and you hit Save file which exports it to Lightroom as a 32 bit file which you then develop using the Lightroom sliders that are so much more precise and controllable and the result is theoretically a file that has stronger detail in the shadows and cleaner less noisy images.
The bottom line here is I think it's funny how things come around full circle sometimes. Where I'd loudly sworn off the old techniques that I used to use with enough distance I can still recognize that some aspects are good about a certain processes sometimes. I guess it's a reminder to try to not be too stubborn or proud about a thing or else I could end up right back in the trappings of those dumb old technicolor HDR pans days all over again!
Bernard Maine in the fog. Lightroom HDR method. I like it enough- there is very fine grain that is not unpleasant whatsoever. The round trip process takes a few minutes on my 8 gig quad core i7 but it's not unreasonable for the special occasion that I would consider the technique.
That's it for me for now. Any thoughts on any of the above I'd be interested to hear in the comments. Have a good one!
I opened the 'fridge and found the blog mouldering under some old lettuce so in an effort to keep the Google web crawler fed and to prove to the rest that I'm still alive, here's some content. The old before and after trick!
"The Cape", which is home to my Ma and Dad and where I went to High School- is always good material for landscapes (Cape Cod Massachusetts). Long sweeping sanding beaches, gorgeous dunes, extensive empty parking lots (in January when it's 20 degrees f and blowing 30 knots at least), and waves and old cottages and a distinctively different offering than my rocky coast home of Maine. That's the great bit about going back home with a new journey to explore- seeing the place in a different way for the first time, the only problem is that the arm of the peninsula that is the Cape is only so big that now after photographically exploring it for the last 10 years whenever I go to visit the folks, I'm starting to feel like I've been there and done that. But it's still fun to go try again. Another thing I try and do is to stop in Boston on the way through and park the car somewhere reasonable like at a meter or find some Sunday free parking and grab some awesomely awesome pizza in the Italian North End neighborhood- seriously I used to walk for a half an hour when I lived a few miles away going to college to grab some slices at those excellent and delicious little pizzerias- this time it was Ernesto's on Salem Street- and oh it was so good! Before the before and after Cape Cod shots here's some Boston's North End on a snow day:
Waiter on a smoke break.
Modern Pastry Shop.
Young smoking girl and bow-legged old guy.
Cool old stylish building.
Joey Cecco and his "boy"
And then I was off to the Cape- and here are the before and after images. For some I made some significant changes, for others just a quick buffing up and a trip over to Nik Silver Efex Pro 2, all of these following images except the first pair went to SEP2, the first pair was a more simple set up that I finished in Lightroom. My approach was trying to show and feel the harsh open winter cold beaches down there, I was hoping for some interesting skies with a more even light but faced a hard clear sky with full sun and strong cold winds for two out of the three days. Clear skies are always the bane of my existence when I'm out with the kit, but I had to take the opportunity as it was. If anything, clear skies always show you where the dust is on the sensor at a stopped down aperture and the good news is that I'm fairly clean in that department!
felt like some kind of Edward Hopper scene-
Sunset snow reflections
Off season feel-
saw this scene when I made the first shots of the weekend and went to make it two days later-
Snow beach fence shapes
A curve that reminded me of the shape of Cape Cod-
And there you have it. My basic workflow is normalizing the RAW file in Lightroom by setting white balance, white points and black points, contrast adjustments, a touch of clarity depending on the subject, and then going right away to the Nik Silver Efex Pro black and white converter. This is old news but the black and white converters (whichever one you happen to choose) do a great job of controlling the darks and lights but while maintaining and generating a glowing dimensional luminance- if you do it right. After the conversion ships back to Lightroom I'll make some further adjustments if necessary to anything that seems to be needing- then I'll round trip to Photoshop CC for further dodging and burning and a touch of sharpening using either the Smart Sharpen filter on a Smart Sharpen Layer or the Unsharp Filter. Lastly I'll check the toning as for the most part I like a warmer feel than a cold print and then it's done and it's on to the next.
Kind of waiting for the winter to break before considering more landscapes around here as nothing is really screaming at me to 'go make that photo'- so I'm thinking of using the still life studio some more. We'll see.
Until then, thanks for stopping by and have a good one! -Nate.
Deer Isle Ice Cakes
There's a popular photography euphemism that goes: "only show your best work". I get it. There's another that goes "your first 10,000 photos are your worst". And then there's another that's something like- "you'll be remembered for your worst photo?", and another that says "My favorite picture I'll make tomorrow". I get all of that. But it occurred to me after looking at the Ansel Adams calendar that my Mom gets me for Christmas every year that there are some images in those calendars that I've never seen before therefore aren't necessarily his most iconic and famous pictures, like Moon Over Half Dome or Moonrise Over Hernandez are. And I've seen a lot of other Ansel images over the years like his color panoramas when he was doing his ad campaign with Polaroid and close up detail images of barns etc that you wouldn't necessarily associate with Ansel. He produced a lot of photographs in his life and all of it wasn't always necessarily spectacular in the way those Moonrise Over Hernandez and Moon Over Half Dome are. But don't get me wrong, I love almost all of it. And it's the very nature of having a varied and diverse portfolio that makes those standout shots even more stunning and impactful.
If I were to stick by the virtue of only showing my "best work" then I would be a scarce entity around these parts. I hope for around 12 good shots a year which comes from another of those popular photographers euphemisms. I think it's more important to keep a presence and to keep a slow but dependable drip of content coming in these days of the social internets. My way of producing is pretty much make images around once or twice a week of maybe 3 to 12 scenes and then work on them over the next few weeks/months/years to nurture something out of them. After a while your work accumulates and makes for a body of work that you call a portfolio and which will have natural high points and low points. Just like a symphony, it's not always forte and in your face, sometimes it's the more quiet connecting periods that are more beautifully nuanced. And those are what makes it interesting to follow someone over a long period- to see what someone is going to make tomorrow, can they top that last awesome shot, what changes will you make over time, etc. And if we were only showing our "best" work then it would be a lot harder to get an average of the whole thing, to see the arc. Know what I mean? Now don't think I'm making excuses for boring content- every new time out with your kit and post processing session in front of the monitor should be another opportunity to do your best work, to keep the learning curve moving in an upward and or forward direction!
There's another reason why it's useful to show your work- to get feedback. Not just out of pride fluffing or on the other hand being dealt a pity party, but if you subjectively consider how your images are being received then you can modify accordingly. I find it rewarding to show my images and track the feedback and popularity of particular pictures sometimes out of just sheer entertainment but other times to see what people and other photographers like. Not that we should care what others like, or think, (make that work for you artist person: I dare you!) but it always gets me when I post an image that didn't make the initial cut and seemed to be a big mistake but which later is a big hit with everyone else. That always leaves me shaking my head. Therefore maybe your best photograph you have already made you just haven't realized it yet? Woah. That's heavy.
One more time: that doesn't mean that anything goes. Standards are everything. With every new image I'm giving it 'my best shot'. With every new image I'm continuing trying to master the workflow of creating a "fine art" photograph, I'm trying out new approaches and modifying technique that will hopefully all go to making a better image tomorrow. You see where I'm coming from here- you have to keep up with your game in order to build on where you've come from, and hopefully in the process there will be standout opportunities that make the definitive shot of the year.
Anyways- just goes to show that the "rules" are there for a reason but also are there to be broken and exploited and twisted and manipulated to our satisfaction. Just keep the Lolcats and duck face selfies and what we had for lunch to a minimum and everybody wins!
Life on the back of a lobster boat out of Bass Harbor in Downeast Maine- you'll never miss a sunrise. It's not the getting up early that's the hard part, all you have to do for that is be somewhere on time. And it's not the long days, the longest were in December bringing boat loads of traps in from the dark morning- rowing out to the boat because the outboard didn't start that day from too much cold over patches of ice freezing up the harbor, to 12 hours later tying up to the mooring an hour after sunset. It's not the waves or the wind making a pitching deck on those days that you just gotta get out even though there's a chop on. Or the stinks of this or that weird bait (600 pounds of herring is a delicacy compared to slimy bear and moose hide, and the pig hide just about ruined me for bacon) although after a few hot summer days redfish racks do end up fermenting into a retched wine and have a nasty habit of forming nests of maggots, and that's a bummer, there's no other way to put it than that- that's a real bummer. But I would offer that there's no job that'll give you a heartier appetite than than hauling 100 pair of traps on a lobster boat. The one thing that is kind of hard for me though is that there are so many awesome moments that I want to photograph but the kind of busy that we are out there makes it not completely appropriate not to mention the fishy fingers etc. But I have learned how to fit in the time to rip off a few iPhone snaps here and there throughout the day and maybe next year I'll get a used body and lens just for the boat, because although the iPhone is a rockin good camera and video recorder it still is really pretty noisy and very uncontrollable compared to a regular camera in manual mode.
So I've been working on this year in review video from the F/V Never Enough for the last month or so now on and off and I finally went crazy enough yesterday thinking that it still wasn't done yet to finish it and just upload it already so I can go on to something else because there's a bunch of photos still waiting to be worked on. So I finished it and uploaded it and here it is. The musics is that tune "Sail" by AWOL Nation off Megalithic Symphony http://awolnationmusic.com which I heard again and couldn't get out of my head after seeing that base jumper video of the guy crashing into the cliff and living, which was awesome-
Right then, I liked 2013, I hope it was a good one for you too. For more lobstering stuff you can go here: http://nateparkerphotography.com/blog/2013/6/scenes-from-a-maine-lobster-boat or here: http://nateparkerphotography.com/blog/2013/5/maine-the-way-life-should-be--working-on-a-lobster-boat
Have a good one!
Mellos Cove Sunrise Blue Hill, Maine. 2014!
Right then- so I would consider myself a landscape photographer. I love trying to make a good portrait and also endeavor as a street photographer as a sport sometimes, but the portfolio I show is made up of landscapes, and when you really get down to it I would say that I'm a black and white landscape photographer, but there is always a place in the catalog for a nice color image. Now the only point of using those terms "black and white", "landscape", and "photographer" are as qualifiers to describe in a capacity to explain in the end really nothing more: what you should pay me for. I've never really understood how some people like Rick Sammon or Joe McNally can be everything shooters and make such a killing at it- they are consummate professionals who can deliver to the likes of Nat Geo in the case of Joe McNally whatever you want on time with abundance- but it seems that the rest of the photographers that I look up to or other masters of their craft are dedicated to a particular niche. Consider the pianist Bill Evans who I'm listening to right now (Sunday at the Village Vanguard) he didn't play 2 hour long sets of exploratory deep and challenging jazz then go over to Madison Square Garden and play art rock with Jethro Tull and then New Orleans funeral marches the next day. Steve Jobs didn't design cookware for fun in his 'downtime'- unless he did? See where I'm going with this? Me neither- anyways, I have just found that in my experience (which mostly pertains to reading the internet and watching tv then going to my day job whatever it may be that day and maybe trying to quit smoking tobacco again-) that it's much more successful of an artist to have a concise and complimentary portfolio than that which consists of pets one day then black and white bridges with not level horizons the next, then selfies the next day, then a sunset, then more pets, then an on-camera-flash portrait of someone at a party, then some more party shots, woot!! etc. Hehheh. (Yeah I just showed some black and white party shots in my last couple of blog posts, so there is that). Extreme example I know. As an aside here: how many requests for to like somebody else's photography page on Facespace do you guys get everyday? Do you ever even look at the page? Aren't you just so sick of that?
Back to the photography talk- one reason I really love making black and white landscape photography is that no longer is it requisite to get up before dawn to chug coffee and then drive through the dark on deer filled roads only to trip and stumble on flashlight lit paths through the woods to a location that may or may not be beautiful at sunrise. I can make interesting black and white imagery at any time of the day- not to say that color photography is never an option to those skilled at doing that then, or to say that I can always make interesting black and white imagery, woah now!- I've just become more comfortable finishing a photo in monochrome that isn't supercharged by sky color and which relies more on texture and subtle tones. And I think that a nice subtle black and white print has more review quality than a hotshot pyrotechnic sunrise print anyday- it's all personal but those kinds of images which are always a knockout at first just end up feeling exhausting after a while- like I'm not always in the mood for a Red Bull, maybe I just want a glass of warm almond milk. Yeah that's the perfect analogy for a beautifully subtle and interesting black and white landscape print= it's like a nice cup of steamed almond milk! Heh.
But there is the occasion when the photo is all about the color, or to deny the color to the photo makes it less than it would have been. It's obvious when it happens just like it's obvious when you see the value of a good black and white image. I guess I would be a color photographer more than a black and white photographer if I had lot's more of these and in the end a title is only really just as good as the it of the thing that's described, and I do want to be a great black and white landscape photographer- but this was a gorgeous colorful moment that I really wanted to share with you all. And that's what I think about that. Have a great day- Nate from Maine, Usa.
P.s. Any of my good photographer friends out there want to tell me what they may have changed about this shot, or how they may have gone about approaching it differently? I'd be super chuffed to hear from yeh. I.e.: critiques welcomed whoever would like! See ya!