Category Archives: Backup

FALL COLOR PHOTO TIPS…East and West.. (updated from 2007 edition)…NEW FROM NIK SOFTWARE-Color Efex Pro4……PODCAST NEWS

PLEASE READ THE ANNOUNCEMENT REGARDING Nik Software’s new Color Efex Pro4 AND OUR  PODCAST WITH NIK”S PRODUCT MANAGER Josh Haftel below!!!!!!!!

www.18percentgraymatter.com

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2011 Workshop Schedule  http://www.jackgrahamphoto.com/2011-workshop-schedule

Reg Forms & FAQ’S REGISTRATION FORM 2011v9      FAQ’S

2012 Workshop Schedulehttp://www.jackgrahamphoto.com/2012-workshop-schedule

Reg Forms & FAQ’S   REGISTRATION FORM 2012        FAQ”S

WORKSHOP DISCOUNTS   WORKSHOP DISCOUNTS

Jack’s Website   www.jackgrahamphoto.com

PODCAST:  www.18percentgraymatter.com                      WATCH FOR MY NEW E_BOOK       -COMING SOON!!!!!!!

COMING in 2012-–I will be doing a workshop on Whidbey Island , Washington May 10-13 2012  with the folks at  the PACIFIC NORTHWEST ART SCHOOL (www.pacificnorthwestartschool.org). In addition I’ll also be offering a 3 1/2 day Oregon Coast workshop with the Pacific Northwest Artschool in September—-STAY TUNED for details soonhttp://www.jackgrahamphoto.com/whidbey-island-washington-pacific-northwest-art-school

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WHAT’S NEW:

It’s been a while since I’ve updated the blog. Ongoing, I’ll be more active. It’s been a busy workshop season and will continue that way through mid November.

 WORKSHOPS: I have a few spots left for my Fall Color in Ohio Workshop  http://www.jackgrahamphoto.com/fall-color-ne-ohio-well-very-special-day-amish-oct-2011  in late October… as well as the Fall color workshop in Napa Valley, San Francisco and the Northern California Coast in early November.http://www.jackgrahamphoto.com/fall-northern-california-napa-pt-reyesmarin-headlands-sf-coastline-s-sf Registration forms are available above. These are going to be very special events. Please consider joining us.  The Eastern Sierra Workshop with Guy Tal and me, in mid October has one opening left.http://www.jackgrahamphoto.com/eastern-sierra-photography-workshop-1-spot-left

DON’T FORGET ICELAND 2012 (filling fast) http://www.jackgrahamphoto.com/ultimate-iceland    and CHINA 2012  http://www.phototc.com/tours/tour.php?tour=152    in 2012!!!!!!!!!!!!!!!!!

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www.18percentgraymatter.com PODCAST—BIG BIG BIG BIG BIG BIG BIG NEWS—THE BEST JUST GOT BETTER…—  Recently Bob Kulon and I recorded an interview with Josh Haftel, product manager at NIK SOFTWARE www.niksoftware.com  regarding today’s announcement from NIK about their newly upgraded COLOR EFEX PRO4 program( available today for download). Please take a few minutes and listen to the PODCAST. You can access the site here.   By using the code 18percent, you’ll receive an additional 15 % discount! This is a great program. The new addition has more filters as well as filter stacking (Thanks NIK). Please check it out, you will not be disappointed.  

                                      Remember  code=  18percent    &   save 15% on download  www.niksoftware.com

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Mary & Peter Andrade

GOOD READING: My good friends and past workshop attendees Mary & Peter Andrade have an interesting blog on line. http://pamphotography.wordpress.com/

These folks are good photographers with some different perspectives on some really cool subject matter. They have become good friends and though Mary & Peter are somewhat different in their approach, they have some really great images up in the blog, as well as some really good information. Do yourself a favor and check it out!

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Also, I am really proud of my son, and fellow photographer Matthew Graham. Check out his work, he’s doing some great stuff—Way to go Matt!!!

http://matthewgrahamphoto.com/wp/

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ANOTHER FRAUD  http://www.theepochtimes.com/n2/world/celebrated-wildlife-photographer-exposed-as-fraud-in-sweden-61616.html

When will these folks learn——keep this in mind when it’s tempting to cheat. Sometimes editors should ask to see the RAW FILE!

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   And finally–Don’t forget to check out the latest specials from my good friends at Hunt’s

http://wbhunt.com/specials/

                                    AND OF COURSE:  <img src=”http://www.outdoorphotogear.com/affiliate/banners/BlueGreen_OPG_banner_180x150.jpg” alt=”

   just click the banner and start shopping—-you’ll find accessories not found in your local camera store, all under one roof here. These are good people!

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FEATURED ARTICLE…………….AUTUMN, EAST AND WEST, Tips for Fall Photography

(Updated from my 2007 blog post)  ©J Graham

Bridalveil Falls, Ohio

If you love shooting the landscape like me, fall is our time of year. Fall is when the mountains, hills and valleys light up, on fire….. and then go out in a natural blaze of glory.

I have been lucky to have lived and photographed autumns here in the west, as well as the eastern regions of the country. There some major differences in photographic technique in both regions as well as certain skills.  There are also some similarities.

For me,Michigan,Wisconsin, and the Adirondack Mountains of NY North-Eastern Ohio and of courseVermontis the most productive areas for me in the Northeast. Colorado, Utah, The Cascades and the Sierra Nevada Mountains are my favorites in the west. Northern Arizona, from Flagstaff north is also one of my favorites as is Yellowstone and Teton National Parks

In the east the Maples (Sugar, black and red) can be simply amazing. Other species add to the palate such as beech and hemlocks bring out lots of yellows and orange color. It takes a good summer of rain; along with the right climatic conditions bring out the best in fall color. The Maple trees are aided in color when temperatures reach high enough to bring back up the sugar into the tree. After the temperatures drop in the evenings, the sugar drops within the trees system. This is how the color becomes apparent in the leaves.

While the maples in the east blaze in red, the autumn color in the west is mostly shades of orange and gold. The principle tree in higher altitude regions is theAspen.

Aspens in the Eastern Sierra, California

The aspen propagates by sending root suckers through the ground. This makes for groups of trees that are all clones of each other, sometimes referred to as a vein of aspens. You can easily pick these out against the mountainsides in the west. Unlike the east where finding the grand scenic may be a bit tougher at times, I have always  found it easy to capture these veins of aspens in the west. I can remember driving south on US 395 from Bridgeport to Lee Vining (the home of Mono Lake) and shooting the aspens right off the highway.

Be sure to monitor the weather. Weather in the UP of Michigan’sCountry Fall well as most of the west can change within hours. I have been in the Sierra where the morning was 60 degrees, at the height of the fall color, and in the 30’s by sunset, with the leaves dropping. Aspens can loose their leaves overnight. Timing is very critical.

Most states offer fall color information using the State Department of Natural Resources web sites.  Go to a search engine and type in “department of natural resources, then your state.”

Let’s face it, we as photographers….pro’s, amateurs’ or just casual shooters all look forward to the fall color display to get out and capture all that nature has to offer. Unless you are lucky enough to live in an area that offer really interesting photography most of the year, once that cool air, increasing rain and fall color starts, we get that rejuvenated feeling and grab our camera bags and tripods and get out in the crisp, fall air to capture the vibrant colors of the season.

Fall in Oregon's Wine Country

Fall is all about color, and how to make the most of it. Here are some pointers that can help you come home with the best images possible during this magical season of color.

~Overcast and even rainy weather provides the best lighting for both landscapes as well as for close-ups of fall leaves, ferns, mushrooms, berries, and other subjects. Bright sunny weather creates harsh highlights, blocked shadow details, and even a blue cast due to reflected light from the blue sky.  A cloudy sky minimizes the blue cast, reduces contrast, and increases color saturation.  Rain and wet conditions serve to even increase the color saturation. Heavy rain also makes the tree trunks dark, further enhancing the color of the leaves

  •  A credo of nature photography, stated by Ansel Adams, is that “Bad weather makes for great photography”. Streams, rivers, waterfalls and forests are great subjects to photograph when it rains. Take care to keep your equipment dry as well as yourself and get out and shoot in these conditions. You might come home soaked, but making images in rainy weather will be a lot more rewarding than those on sunny days.

When making close up images, always use a circular diffuser, to soften direct sunlight, simulate an overcast sky, and thus improve the lighting for your fall close-ups. You may not think you need it, but even on cloudy days diffusers make a big difference.

  • Early morning and late afternoon lighting on sunny or partly cloudy days can provide dramatic lighting for scenic fall vistas taken in the open.  Weather fronts, which often occur in fall, can also provide sensational light, especially when areas of fall color are sunlit against a dark storm sky.
    • Let’s talk about sky. If the sky adds nothing to your image… LEAVE IT OUT.  White or overcast, less than dramatic sky is poison to an image.
    • Sunny weather is also the best lighting for photographing reflections of fall foliage in lakes, rivers, and streams.  The reflections are most dramatic when the fall color is sunlit and the water is in shade.  Try using slow shutter speeds to create abstracts from fall foliage reflected in the moving water of rivers and streams. Be careful if you are using a polarizer. This can detract from the reflections that you really want, of the color in the water. Refer to this article to get more tips on photographing water. https://jackgrahamphoto.wordpress.com/2011/07/12/2377/

    Misty, damp days can provide wonderful, moody lighting for fall color and waterfall photography.  The air is usually still, eliminating the problem of wind movement, and the moisture on leaves and rocks intensifies their color. 

As with snow scenes, relying on your camera meter may result in misty scenes that are too dark, so you may need to open up by ½ to 1 f-stop to retain the pearly light and luminosity that permeate these quiet foggy fall days.

  • A polarizing filter can be used to intensify colors and minimize reflections from wet rocks and leaves.  An exposure increase of 1 to 2 f-stops will be needed, depending on the amount of polarization.  Your camera meter will adjust the exposure automatically when you attach a polarizing filter.  With most modern digital cameras, a “circular” polarizing filter is needed to ensure an accurate exposure reading. Don’t forget your graduated ND’s as well. www.singh-ray.com
  • Use color to your advantage. Complimentary colors add to impact images. Green foliage combined with the reds and oranges work well. So does yellow aspens against blue skies in autumn.
  • Look for different subjects such as reflections of the fall color in water pumpkins, covered bridges, buildings that can compliment the fall color. Make use of the color. Don’t just go after that grand landscape.
  • Keep your compositions as simple as possible. Remember; don’t try to write a novel in your photographic composition, write the sentence that tells the story. Use the rule of thirds, graphic lines and make your image using a key element as the anchor. Simple is always the best.
  •  Always use a tripod. Walk around with your camera before committing to a spot while it’s on your tripod. Choose your lens properly to get the shot you want.

              

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  • Get out and stay out. You can use this saying in two instances. Especially in the East where we might require getting onto private property to get that “winner” shot, always ask first as to avoid hearing that phrase. Make sure you have all the right clothing and equipment to be able to get out in bad weather. Stay out as long as you have some light. Your best light is always during the golden hours in the morning and evenings.

Most of all enjoy the color display that happens only once per year. In just a few short weeks (at least where I live) it will only be a dream and the realities of winter will set in.

Finally here are a few websites to help you monitor the fall color:

www.foliagenetwork.net

http://usparks.about.com/od/fallfoliage/a/Fall-Colors.htm

http://www.chiff.com/a/fall-foliage.htm

http://www.weather.com/activities/driving/fallfoliage/

http://phototravel.com/fall.htm   (more than you’ll ever need!)

http://www.wxnation.com/fallfoliage/ (lots of cams)

For the west —- www.calphoto.com

                   

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BREAK THE RULES.. but know them first! / News and Notes

WORKSHOPS:: www.jackgrahamphoto.com/photo-workshops (2011 & 2012 schedules are there)        PODCAST: www.18percentgraymatter.com

JACK GRAHAM PHOTOGRAPHY MAIN WEBSITE: www.jackgrahamphoto.com

 

OCTOBER 2011—–FALL in NE OHIO & a day with the AMISH —FILLING FAST   http://www.jackgrahamphoto.com/fall-color-ne-ohio-well-very-special-day-amish-oct-2011

 

 

             ICELAND 2012—FILLING FAST   http://www.jackgrahamphoto.com/ultimate-iceland

 

 

 

 

 

 

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News & Notes:

Outdoor Photo Gear recently had a reprint of an article from this blog on their site (they gave an excellent blog area). Today they used one of my photographs on their home page……

thanks guy’s !!     www.outdoorphotogear.com if you haven’t visited them (click on the banner below) & check them out. They are a truly 1 stop shop for the coolest photo accessories and more around.

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Naturephotgraphers.net (www.naturephotographers.net also published a new essay of mine “The 10 Commandments of Photography” recently. http://www.naturephotographers.net/farchives.html  Give it a read, as well as the other articles from Guy Tal and Alain Briot. NPN is THE premier online forum for photography.

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And don’t forget my friends at HUNT’S PHOTO & VIDEO. http://www.huntsphotoandvideo.com/ ., by far the best in the industry—Call Gary Farber for the best pricing and selection, yes better than NYC!!! (800) 221-1830 x 2332 and tell Gary I said hi!

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And finally a new website advertising workshops both in the USA and abroad is up and running. . All Photo Adventures also contains lots of good tips from some excellent photographers.

They were kind enough to post an article from me as well https://www.allphotoadventures.com/protips.aspx .

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INTERNET EXPLORER 9 vs. FIREFOX & SAFARI

Let’ talk about looking at images on the web on your monitor for a minute. I bet a lot of you didn’t know this. Internet Explorer 9 is not color managed. I REPEAT—NOT COLOR MANAGED!!!

FIREFOX and SAFARI is color managed and will ensure sRGB is read correctly. The problem is with Internet Explorer 9. If you are using IE9 often the greens & yellows will have hues significantly different from your original image. Why this is I have NO idea.

Many folks often discuss, and often critique images using IE9. I think you see my point. To do this kind of exercise correctly, use either Firefox or Safari. If everyone is not on a color managed browser such as in FIREFOX or SAFARI (as well as a calibrated monitor) we are all looking at hues & colors that often are drastically different…….Consider this when viewing images on your (hopefully calibrated) monitor.

One way around this if you want to continue to use explorer 7 on up…. is here http://www.gballard.net/psd/go_live_page_profile/embeddedJPEGprofiles.html#

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New D400 from Nikon? I am hearing lots of rumors about a D400 coming in August. This would make a lot of sense since the D300 line, though extremely successful, has about reached it life cycle. Historically,  Nikon has unveiled follow-up cameras about every 2 years, and this August makes 2 years since the D300s came on the scene.

I would guess the MSRP on the D400 to be around that of the D300s. The “Sweet spot” these days for DSLR’s is $750- $1500.  Competitively, along with Canon & Sony there are many fine cameras in those price points. The D 400 will compete with all of them…………………………..I guess we’ll see in a few weeks!

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Break the Rules….but know them first

© Jack Graham all rights reserved

In all of the many books that attempt to teach one how to be a better photographer, I would bet that there is only a handful that actually talks about breaking the rules. We are so entrenched in getting things right, and following the many common rules of photography, we sometimes forget to experiment and let our creative side flourish.

So what are the “rules”? Without going into each specific photographic “rule”  suffice it to say, before going out into the field attempting to make quality images one must have a good understanding of what works and what doesn’t work. It’s hard enough to “See” an image, but then how do want to communicate that through the lens. What mood do you want to project, and what equipment do you use.

I maintain that if you can be adept at the following basic “rules”, use the light to your advantage and slow down and give yourself the ability to see, you’ll come away with more quality images.

If you understand the basic rules, but do not incorporate them into your photography, you are in essence not using the rules at all and in turn, your images will reflect this lack of understanding. In some ways if you don’t adhere to the accepted photographic rules, you’re already breaking them, however by using accepted photographic rules; you’ll be more successful when you attempt to break them. It takes patience and lots of technique when you break one or more of the cardinal rules of photography. One had better study them, know them inside and out and understand these rules are accepted protocol.

I recently was told that a rather well-known nature photographer, when asked about rules, replied that he has no rules. I admire this person’s work and guarantee, he follows the common rules of photography, but at times successfully breaks them and comes away with great images. In this essay, I am doing to discuss a few common rules of photography and how you might successfully break them, let your creative juices flow and be successful in your photography.

Let’s look at a few, certainly not all basic rules of photography. I’ll demonstrate the use of them and how you can break them to a degree, but still come away with a pleasing image.

LIGHT

RULE: Bad light is bad light and good light is good light. Usually, but not always.

I know some excellent nature photographers that only shoot in the “sweet light” Sweet light is defined by the effects of the sun during the time of day when the sun is at a very low angle or when conditions provide for warm and dramatic light. Typically ½ hr before sunrise and ½-3/4 of an hr after sunset is when this sweet light occurs.

You must know and if possible if possible visualize the light under certain atmospheric conditions in order to make your time in the field successful.

Monument Valley in "sweet light"

BREAK the RULE: However, Can you break this rule and make acceptable images? Certainly for macro photography and in areas where you can control your environment, shooting only at certain times of the day are not relevant. In certain circumstances, you can come away with quality images.

The image on Monument Valley was shot at the so called”Golden hour”, in very good light.

Oregon Coast

The second  image was taken about 2PM on the Oregon Coast with a rather bright, but partly cloudy afternoon. First I limited all but a touch of sky and made the movement of the grasses the subject. I shot this 2/3rds under exposed to darken the image a bit. One might see this as being shot on an overcast day, but it was far from completely overcast.

 

 

 

 

 

 

 

COMPOSITION:

RULE: Always follow the rule of thirds………………….  Well, not always

The rule of thirds is the most important rule of composition. It is intended to place subjects in areas that are aesthetically pleasing. This rule was not invented yesterday. It’s stood the test of time

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The “Rule of Thirds” divides each image into three areas both horizontally and vertically.  In turn, a grid with nine squares, similar to a tick-tack–toe board is created.  Each of the individual points of those squares is where your subject could be placed.  The basic idea of this rule is to avoid centering an object.

Following the rule. The male cardinal is  nowhere near the middle of the image. The rule of thirds is followed in this image.

In the two images below, it is easy to se why moving the center of the image just a bit makes for a much more pleasing image

This center of this image is kind of bulleseyed
the center is off center

 

 

 

 

 

 

 

 

 

 

 

 

BREAK THE RULE

Hawaiian Church

There are a few special times when centering an object or subject works. Most often is when the leading lines are all moving in concert to the center of the image.

The image of the church on the left is a good example of a centered subject. In this case the subject takes up most of the frame. The  flowers act as a leading line , bring you right up to the stairs and the front door of the church.  Though the subject is in the middle, the image looks just fine.

Pigeon Point Lighthouse, California ( image shot on Fuji Velvia--remember film?)

It is important to determine how much negative space you want to have in your image. Negative space is the area around the subject.  For example, if a subject happens to be is long and thin or on the smallish side, having more negative space will make the subject look lost within the image. Conversely, too little negative space might cut off the subject. …. And you may want that! Remember, if it works, break the rule.

Have I ever broken the centering rule, yes, when it works. If I choose to center an object because its shape allows the image to be more pleasing.  Circular objects are a good example.  A photo looking up into a domed ceiling usually works better with some centering

A round flower often needs centering to avoid cutting off portions of the petals. Buy why not cut off the petals, break the rule and get creative.

I never make breaking rules a habit, but sometimes it works.  In the end I usually use the “Rule of Thirds” as my guideline.

 

 

 

VERTICAL or HORIZONTAL

The other main decision with composition has to do the deciding if the subject lends itself to a horizontal or vertical image.

RULE: The amount of negative space required to make a pleasing images is a major factor in determining which format is the best….) and then as always, consider the rule of thirds in both formats when making the image)….. And think creativity. If I break the rule, would it improve my image?”

As a photographer when in the field I will typically shoot both formats of a subject if there is any question as to the best format. I then make the decision at a later date which format works for me. Usually, each format conveys a very different feeling.

When I photograph waterfalls, trees or flowers with long stems, I tend use the vertical format. However if the same waterfall, flower or tree is photographed without the long stem or falling water, then the horizontal format might be considered over the vertical so there is more space surrounding the subject.

Both images are of the identical waterfall.

Again, if breaking the rule makes for more pleasing images, then by all means do it.

 

 

 

 

 

 

 

 

 

HORIZON LINES in composition are critical.

RULE: Horizons should generally be low to feature the sky, or high to the foreground.  They should always be level straight and level.

Again, thinking creatively, you may want break this rule. Most often if I do, I exaggerate the horizons, making somewhat of an abstract image. You either want to follow this rule to the tea, or really break it and use your imagination.

   

The horizon line in the image of Monument Valley is almost right down the center of the image, however in this image I think it works quite well.

 

 

 

 

Green Heron on the prowl

One area I almost never break the rules is when photographing subjects that are not stationery.  Birds in flight, moving objects like boats, planes or cars should point in a direction they are moving towards.  Without this direction they look like they are running out of the frame and into an invisible dead-end on the end of the image.

Big Horn Ram, Wyoming

But I sais almost.  The ram below is almost dead center. I wanted to show the path from where he came from in the background. Did I break the rule, of course, but purposely to show the environment he lives in and appeared from.

 

 

 

 

 

 

 

 

 

 

Exposure

Exposure is basic. One must take Aperture, Shutter Speed and ISO into consideration. Each has an effect on the other, though by themselves are separate considerations.

Rule: Smaller apertures will always give more depth of field, and a larger less. and a slower shutter speed will always cause more blurring, and a faster less. A higher ISO ( though modern technology is changing this drastically) will always create more noise in an image  Proper exposure comes from knowing how these three affect each other and thus making the right choice for each scene.

Oregon Coast, underexposed by 2/3 of a stop

Rule: Exposure itself should match whatever the lighting is in that situation.

Moonlit landscape at Death Valley... about a 40 second exposure at F4, ISO 400

For example, a moonlit landscape should look moonlit and not like mid afternoon. The rules for ISO, aperture, and shutter speed, are not debatable.  However, a we can use these rules them to convey a feeling using light. I often try to replicate the scene as I observed it when making the image. However, experiment, and perhaps underexpose your image (usually overexposure will be less advantageous). You may find a totally different feeling being felt. If it’s interesting and pleasing, by all means break the rule!

Even is you have an acceptable composition, a bad exposure will destroy the image. Break the rules of exposure only after you master them. By the end of a workshop, my attendees are usually sick of hearing me preach getting the exposure (and composition for that matter) right in the camera. Editing often can not fix everything.

Photographers use rules, or lack of, and creativity to make pleasing images. We all are different and see in different ways.  This is what makes each image and each photographer unique.  Remember; break the rules only when you have mastered them. Be creative

We are all using creativity when we photograph a subject. Just breaking the rules doesn’t work by itself. One should spend time experimenting with the composition and the light, Using your creativity is the way to make pleasing images while breaking the rules.  If a certain rule of photography blocks out your creativity, then choose to use it or try something different. Creativity along with other parameters is what makes one photographer stand out from another

Our life is filled with rules. We stop at red lights; sports are based on rule books. There are rules that we are not permitted to break. However in the arts and science, though based on rules as well. Many great discoveries were made by someone breaking a rule………………In photography, some rules can be more definitive and some more vague.

GUY TAL added as co leader on Eastern Sierra Workshop in October / Canson Paper/ F-STOP CAMERA BAGS

Jack Graham Photography Workshops( remaining 2011 & new for 2012) www.jackgtrahamphoto.com/photo-workshops …… workshops filling quickly!
NEW PODCASTwww.18percentgraymatter.com   featuring GUY TAL
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Double"O" Arch, Arches NP, Light Painted, late at night

Hello Everybody,

 Things are very busy here these days, trying to get caught up on work after being gone so much.

 I’ll be posting another blog edition next week with some helpful photographic tips and some new images.

 I do have a three announcements I would like you get out:

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1)  Last week I sent out a tease in my newsletter about a very special co-leader that is coming on board with us in the Eastern Sierra photography Workshop this October 13-16

 I am happy to announce that my good friend and photographer extraordinary GUY TAL www.guytal.com  will be with us for the workshop. Guy lives in Torrey Utah, within Capital Reef National Park. His work is as good as it gets and his knowledge and contributions that he will add to this workshop will be more than you ever expected. Adding Guy is akin to adding Babe Ruth to an already good baseball team.

Guy and I became friends many years ago on NPN (www.naturephotographers.net ). I have 2 of his prints up on my wall in my studio.

I would encourage you to check out his work and writings (his e-books are superb—I just read his brand new on the plane back from the east coast and I highly recommend it.)

Creative Processing Techniques,….Understanding the Digital Studio….By Guy Tal   available here: http://guytalbooks.com/
Sunrise at North Lake

 

 

As far as workshop size goes, as of today we are at 9 attendees. We’ll most likely add another 3 or 4 at more. Between Guy and me you will receive an enormous amount of personal attention.  On my workshops, I am here for you. A workshop is NOT an excuse for me or for Guy to take lots of pretty pictures on at your expense. From personal experience, I can let you know Guy has the same dedication to out attendees as I.  Check out some of the referrals here: http://www.jackgrahamphoto.com/referralsDon’t wait to long to register–We’ll be full quickly!

I am sure you all are going to be quite pleased and frankly blown away with the time in the Sierra. I wish it was October tomorrow!

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2) NEW PAPER: I am experimenting with some new photographic paper and am really pleased with the results. It is from CANSON. This is not a new company by any means, but one of the world’s oldest paper manufactures.

My paper of choice currently is Ilford’s Gold Fiber Silk paper; however, after printing a few prints on Canson’s Infinity Baryta Photographique, I must say that after using up my last box of Gold Fiber Silk, I’ll be switching to the Chanson product. http://www.canson-infinity.com/en/baryta310.asp

                                                                  The B & W inage shown here is the print I made. The blacks & whites were amazing!

Though very similar to the Ilford GFS (a very close 2nd to the Canson IBP) paper, the CanImageson IBP paper is lightly whiter, thus more like the paper used for great B & W images. The surface is as smooth as Ilford’s but whiter.  I printed a B & W image first and the blacks and dark tones were discernibly more brilliant improved over the Ilford paper.

I would suggest trying a pack for yourself. Paper can be quite subjective. This is just my opinion.

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3) I just received my new TILOPA BC camera bag from F-Stop Gear  http://fstopgear.com/              http://fstopgear.com/en/tilopa-bc

I will be using it in the field in the coming weeks and will give you a review. At 1st glance I am really impressed. These guys “get it”….Stay tuned!

 

 

 

Mesa Arch, Canyonlands NP a different look with some "glow" effect added, thanks NIK Software!

News…June 2010

Logan Pass, Glacier NP, Montana

     It’s been a cool and wet spring here in Oregon. May was the wettest month in 15 years (and one of the coolest. June is following suit, however I think we are finally breaking out of the doldrums.

Proxy Falls, June 2010

 Our waterfalls are still gushing like early spring and Mt Hood still has plenty of snow on it. Included in this blog are a few images made in the past few weeks wither on my own or while conducting some workshops in the area.

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WORKSHOP AVABILITY

Please visit www.jackgrahamphoto.com for details and registration forms:

OREGON COAST                                         July 15 -19   –2 spots left

FALL in the EASTERN SIERRA-                 Oct 14- 17— sold out

FALL in SW Washington and NW Oregon Oct 27- 31— 2 spots left

FALL IN THE BAY AREA/ NAPA VALLEY  NOV 4-  7—   3 spots left

BIG HORN SHEEP& WYOMING WINTER LANDSCAPES /CODY Wyoming-Dec10-14 –Sold out

One on One workshops are available … please consider attending—see below

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NEW UPDATED WEBSITE: For those who may not have visited recently, I’ve revised my web site a bit, added some new content and upgraded the Links (lots of new ones!) and E-Commerce sites. I’ll be posting new images weekly, so please take a look when you get a minute…. www.jackgrahamphoto.com

PHOTOSHELTER: Many images that are not found on my website are available via Photoshelter http://jack.graham.photoshelter.com .

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ALABAMA HILLS

As some of you may know, there is an effort to make the Alabama Hills a National Monument. The Alabama Hills Stewardship group (local citizens, local politicians and concerned citizens). Some of these folks do not want National Monument status, which they feel would give to much control over the BLM, but  Some form of resolution will be coming down perhaps as soon as later this year. As photographers who have been to this beautiful area in the Eastern Sierra, we know that this area is very fragile and should be protected. Meeting between all concerned are held monthly in Lone Pine. I urge you to be part of this effort by contacting the following & voice your opinion

www.alabamahillsstewardsgroup.org/about  Kevin Mazzu

David Kirk, BLM David_Kirk@blm.gov

The Alabama Hills BLM www.blm.gov/ca/st/en/fo/bishop/scenic_byways/alabamas.html

The Alabama Hills Advisory Council Update

www.blm.gov/ca/st/en/info/newsbytes/2009/395_extra_-_.html

Quite a number of National Monuments and Scenic areas have come about from these grass route efforts.

PRO NATURE PHOTOGRAPHER, www.pronaturephotographer.com is a new website dedicated to the business of outdoor and nature photography was launched last February by Charles Borland, a 30 year veteran in the nature photography business.  Issues facing today’s pro nature, travel and adventure photographers are discussed. I have found this website to be very informative.

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NIK SOFTWARE

As some of you know, I am not an “over do processing” kind of guy. I try and make my images look as close to what I witnessed when making the photograph as possible. Yes I use CS4 & Lightroom, but more and more I am using my NIK software to complete the process. You can read about my processing in my current E-Book for sale http://www.jackgrahamphoto.com/jack-graham-e-book-series-1 .

From Define 2.0, which to me is the state of the art noise reduction program, to Sliver Efex Pro, for Black & White conversions… NIK is simply the best and easiest to use. Not only that, their web site www.niksoftware.com offers tutorials, webiners and more product information than you’ll ever need.

And for an added bonus…. When purchasing any product from NIK you can receive an instant 15% discount by using the code JGRAHAM when checking out.

I recommend looking into “The Complete Collection” that includes all of Nik Software’s latest award-winning plug-in software titles for Photoshop®, Lightroom® and Aperture™ including: Dfine® 2.0, Viveza® 2, Color Efex Pro™ 3.0, Silver Efex Pro™, and Sharpener Pro™ 3.0. All products now feature Nik Software’s patented U Point® technology, giving photographers the most powerful tools for precise and natural photographic enhancements and corrections without the need for complicated selections or layer masks.

The Complete Collection offers two editions, the Complete Collection Ultimate Edition and the Complete Collection for Lightroom and Aperture. The Ultimate Edition includes support for every plug-in to work in Photoshop, Lightroom, and Aperture, and offers Color Efex Pro 3.0 to work in Capture NX 2 as well. The Complete Collection for Lightroom and Aperture includes support for each plug-in to only work in Lightroom and Aperture

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ONE on ONE PHOTOGRAPHY WORKSHOPS—Field & Studio

Getting personal instruction tailored to your specific needs, is a great way to become a better photographer. I am now offering one on one photography workshops in the field with a follow up session in my home studio. This is a chance to receive my personal undivided attention and have 100% undivided mentoring.

In the field, our time will be focused on everything from composition, technique, handling difficult lighting challenges, proper use of your equipment, how to make evocative images, to seeing an image and more. By letting me know your needs and expectations, I will customize a program that will meet and probably exceed your needs and expectations.

In our home studio session, we will review your images, either from the days shoot or ones you bring along with you. We will also discuss post processing and printing in depth. You will have full access to a state of the art computer system, including dual monitors with Adobe Lightroom and Photoshop as well as the complete NIK Software system is available. We discuss the processing and printing topics in depth as well as pricng one or two of your images. Other applications, such as web use or other marketing strategies will also be covered.  

Here in the Portland Oregon area there is a wealth of amazing photographic locations. You can seem many images of these areas on my website. I am close to the Oregon Coast, Columbia River Gorge, and wine country of the Willamette Valley, the Cascade Mountains and Mt. Hood.

My One on One day rate is $500.00.

However during this special offer, you can sign up for a full day of field work as well as an evening in the studio for $400.00 per full day. As these days are limited, I recommend that you make your reservations as soon as possible so we can work with your schedule as well.

This one on one workshop includes transportation from my home (I drive —you don’t!). You also have the opportunity to schedule 2 or more days at a special rate of $350.00 per day.

By attending one of my One on One workshops, you will also be entitled to a 10% discount on future Jack Graham Photography Workshops (group workshops) as well as discounts on NIK Software, Lensaby, Think Tank, Hunt’s Photo & Video and Photograph America Newsletter.

If you have questions that are not answered here, simply email me at jack@jackgrahamphoto.com or call me at 503-625-1430. You can sign up using any credit card. Simply call or email us with your information.

After your appointment scheduling is complete, I will email you with all the information needed for out time together

 (One on one workshops are available out of the area as well. In addition to the day cost, other travel, lodging costs are additional)

 IMAGE REVIEW AND MENTORING………I am availabel by the hour for image reviews and mentoring sessions either in person or by the phone. Simply upload you images to a hosting service like Photoghelter, Zenpholio, Smugmug etc and away we go. My charge is $40.00 per hour and can be paid via MC or Visa. Of course this service is always complimentary, at any time to my current workshop alumni

2009 WORKSHOP SCHEDULE

Folks,

Below is my 2009 Workshop schedule. Workshop descriptions and information will be available soon at www.jackgrahamphoto.com. You can always email me at jack@jackgrahamphoto.com to request further information, sign up information etc. I have managed to keep my costs relatively consistant in light of the econmomy.

HOWEVER………… I HAVE A PRE 2009 OFFER  of a 10% discount FOR THOSE WHO SIGN UP PRIOR TO JAN 1 2009.

IN ADDITION…………. NANPA MAMBERS receive an additional $50.00 Discount (www.nanpa.org). NANPA membership must be confirmed.

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2009   JACK GRAHAM PHOTO WORKSHOP SCHEDULE   /”photo classroom in the field”©

FEB  5-7       DEATH VALLEY NP             LIMIT 12             $795.00

FEB 18-22    NANPA SUMMIT (Albuquerque, New Mexico)

MAR 5-8      JOSHUA TREE NP             LIMIT 12             $695.00
MAR 20-22  NFRCC CONVENTION (Buffalo NY)  www.nfrcc.org

APR 23-26   SOUTHWEST/PAGE AZ/SLOTS             LIMIT 8             $695.00

MAY 14-17   COLUMBIA RIVER GORGE                    LIMIT 8            $695.00
MAY 27-31   COLUMBIA RIVER GORGE            GREAT AMERICAN WEEKEND PHOTO WORKSHOP                                                                                        www.gaphotoworks.com

JUNE 4-7    MACRO & MORE with MIKE MOATS——COLUMBIA RIVER GORGE & OREGONCOAST…………………………………….                LIMIT 14   $ 675.00

JUNE 11-14  SPRINGTIME in the PALOUSE–  South Eastern Washington          LIMIT 8   $695.00

JUNE 25-29  OLYMPIC NATIONAL PARK — OLYMPIC PENNINNESULA–WA    LIMIT 8  $795.00

JULY 15-20 ORAGON COAST – Cannon Beach to Bandon OR.                           LIMIT 8  $ 795.00

AUGUST 6-9- HARVEST in the PALOUSE, Southeastern Washington                 LIMIT 8  $ 695.00

SEPTEMBER 16-21–OREGON COAST-Cannon Beach to BandonOR                  LIMIT 8   $ 795.00

 

 

 

 

 

 

 

 

 

SEPT 24-29/ MACRO and MORE with MIKE MOATS   SITE TBD                         LIMIT 14   $ TBD

OCT 7-11 EASTERN SIERRA   MONO LAKE, Bodie, Bristlecone Pines, Alaabama Hills ………………………………………………………………………………………………..  LIMIT8    $ 725.00

OCTOBER ???  FALL in NE OHIO  Bob Kulon Leader  www.bobkulonphoto.com

OCTOBER 28-NOV 1 –FALL COLOR 3 SISTERS WILDERNESS , OREGON —-LIMIT 8      $795.00

NOV 5-8  FALL COLOR–COLUMBIA RIVER GORGE, MT HOOD AND MT ADAMS AREAS  …………………………………………………………………………………………….LIMIT 8       $695.00

DEC 3-6  WYOMING BIG HORN SHEEP WILDLIFE SAFARI– CODY WY             LIMIT 5       $795.00

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In addition

I am available for Speaking engegements as well as presentations. Contact me for further information.

ONE on ONE , individual field Workshops are available here in Oregon. We shoot sunrise to sunset. Cost is 300.00 per day. This includes transportation in the field.

ONE on ONE  individual workshops are also available out of the area as well. Cost is $300.00per day + travel expenses. Customer arranges transportation

WORKSHOPS and Speaking engagements are SPONSERED BY:

 www.photographamerica.com

 

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 Jack Graham

jack@jackgrahamphoto.com