Real Europe a la Tourist (more or less)

Finally, after a couple of months of inactivity, the Blog has an entry. As usual, there are reasons for this, especially the spring season where work around the house dominates, and then the arrival of the annual tour to Europe begins. This year the tour was to Portugal, up the Douro River Valley with Viking River Cruises, which happened during the last week of May and the first week of June.

Oddly, the Spiritual Energies were not with me on the Portugal excursion. I tried to make the most of it but came to the realization that “shooting” as it is know among dedicated photographers is not the same as “shooting” while on a guided European tour. First of all, there is no tripod (meaning a lack of some kind of sharpness in details), then there is the obvious time of day that tours take place (in bright morning or afternoon light), then there is the pressure of have myriads  of people (literally) around you that are interjecting themselves into your photo attempts. All of this is not to dismiss the really hard task of taking a photo if all of these elements were not there to begin with.  This background had a serious creep into my subconscious predisposing me to a less than creative spirit of discovering the wonders that the scene presented that was before me. The foregoing is my subjective disposition to shooting photographically. How I meet those challenges, ultimately, determines if I take a great photo.

I fought the good fight, and came to the conclusion that despite the limitation that tourist group photography has, that Portugal was a unique place, especially in regard to the rest of Europe. What Portugal still had in its favor was that it was authentic! It had commercialization but it seemed to reluctantly accept this, and favored the more true, rural, and individually developed traditions/customs/foods/ways of life that it wanted. That was refreshing!

This last fact became apparent when on a so-called tasting tour in Lisbon. I did not expect much, but I was more than pleasantly surprised that behind what appeared to be ordinary  store facades there were quite sophisticated establishments. The above photo tries to capture this fact, since within its apparent humble exterior this wine bar was exceptional in how it presented wines and other Portuguese delicacies. I applaud this Portuguese spirit!.

Such was my general impression of Portugal— it was one of humble presentation which morphed  into a true display of taste and style which would equal that of more refined European establishments.

The first posted photo above was shot with a Canon 5 DS, EF24-105mm f/4L IS USM @ 24mm, f/9, 1/125″, ISO 1600, using a B+W Polarizer, and post processed with DxO Optics Pro 11, Adobe Camera Raw, and Nik Color Efex Pro. The second posted photo was taken with a Canon 5 DS, EF24-105mm f/4L IS USM @ 28mm, f/9, 1/800″, ISO 1600, using a B+W Polarizer, and post processed with DxO Optics Pro 11, Adobe Camera Raw, and Nik Color Efex Pro.

Scouting…

The other day (mid-April) I decided to further refine my photo skills by doing some scouting for future photo adventures. I did this rarely in the past but have come to see that it is an essential part of setting oneself up for successful photographic shots. [I am trying to develop this skill.]

I ventured to Beavertail, RI which sits on the very tip of the Jamestown Island at the mouth to Narragansett Bay. It is a dramatic location since it gets the full brunt of the forces of nature (wind, waves, and climatic extremes). It is the location of the Beavertail Lighthouse, which was the third lighthouse established by the 13 Colonies in the 18th Century, being known then as the Newport Light.

I have often visited this spot over the last 30+ years for in an odd way it is quite meditative.  One of my physicians who has photography as a hobby had taken a photo of this lighthouse many years ago in a winter snow blizzard. It is one shot I would like to have had a chance to take. As it goes, the location presents opportunity for many great shots, but the challenge is to meld the elements with the lighting conditions which the landscape presents.

I had taken several successful shots over recent years at this location but one type of shot has been eluding me, namely that of the Galactic Core of the Milky Way with the Beavertail Lighthouse in the foreground. The problem is that the Galactic Core requires a long exposure of 25-30 seconds but in doing so the light of the Lighthouse renders this impossible. I naturally would have to take a shot of the lighthouse in good lighting and meld this with the Galactic Core. But, the crux becomes how best to take the shot of the lighthouse to properly blend the lighting conditions with that of the dark night sky. My latest solution is to try to use a neutral density filter near sunset to approximate the light that may occur at a darker hour when the Galactic Core is captured. Stay tuned.

The current photo is a gratuitous one for while I was scouting Beavertail in weather condition which were not friendly (temperatures in the lower forties with 20 mph winds) a gull appeared just in front on me (4-5 feet away probably thinking I would have a slight morsel for it). I took several shots to capture the capriciousness of nature’s elements and life forces. The photo was taken with a Canon 5 DS, EF16-35mm f/4L IS USM @35mm, f/4.0, 1/500″, ISO 100, post-processed with DxO Optics Pro 11, ACR, & Nik Color Efex Pro.

 

Rediscovering Lumenzia

The spirit of creativity moves in mysterious ways, and it stimulated my soul quite unconsciously, but nevertheless emphatically, to focus once again on luminosity masks. I had discovered the power of luminosity masks in photoshop about two or so years ago, and acquired Greg Benz’s Photoshop Extension, Lumenzia, a year ago. Greg has produced an exceptionally powerful editing program for photoshop that makes the difficult to achieve  fairly easy, if one knows what they are doing.

I have found that Greg’s Lumenzia Program is quite extraordinary, not only in what it is able to accomplish regarding luminosity masks, but he is able to apply these in a full spectrum of editing of photo files. Not only that, but he is constantly updating and refining his creative tools.

Now, I am far from being an ambassador for Lumenzia, but I have to call a spade a spade, and I have used and am beginning to see that what he has created is quite powerful, especially regarding the product cost point.

That being said, I am still in the process of fully trying to utilize the program he has created, but so far believe that I will be using it for some time.

The currently posted photo is of Conimicut Light House in Warwick, RI, being taken in late after noon light in mid January, 2018. It was taken with a Canon 5 DS, f/16, 5.4, ISO 100, EF100-400mm f/4.5-5.6L IS II USM @ 100mm, post processing with DxO Optics Pro 11, Lumenzia, and Color Efex Pro.

The End of Winter

Today is February 28th, the so-called last day of meteorological winter. I am happy to see Mr. Winter go, but have mixed feelings this year since it was a time of some photographical productivity. I reached my goal of getting out into the elements and also expanded and experimented with various combinations to make the hard to get shot more easy to get, simply based on practice.

To celebrate this event I am posting a shot of some withered grass and bush on Sachuest Point, RI, which caught my eye in the waning sun on a late winter’s afternoon with  storm front clouds moving in. It is quite ordinary, but thought that I could make it extraordinary just to celebrate the moment of beauty.

I used Greg Benz’s Lumenzia extension for Photoshop to craft a luminosity mask to more easily capture the foreground and reduce the water’s glare.

The grasses were shot using a Canon 5 DS, EF100-400mm f/4.5-5.6L IS II USM @ 100mm, f/10, 1/640″, ISO 320, post processed with DxO 11 Optics Pro, Color Efex Pro, and Lumenzia.

Seeking Snowy

This month has been most productive as far as the Muses effecting change in my photographic soul (meaning, orienting and grounding my soul to those things most photographically meaningful). I have used the current ornithology phenomenon of the rare appearance of the Snowy Owl this far south of the Arctic Circle, to be the impetus for me to brave the elements and start honing my skills as a photographer.

The Snowy Owl was first witnessed by me two weeks ago at Sachuest Point, RI. I had missed the most recent invasion of the Snowy Owl this far south two years ago, and I was determined not to miss it again. While I did catch this elusive emigre from the Polar regions when I visited Sachuest Point (a National Wildlife Refuge), this wary bird was perched on a rocky islet about 400 feet offshore, making a photo of any significance moot.

I was finally able to catch this elusive creature further up Narragansett Bay at a small promontory on the western shores of the Bay just south of Providence, where the Save The Bay (nonprofit) property is located.

The encounter of this owl tests the patience of mortal men (probably a survival tactic of the owl) since it literally would sit for an hour at a time in one place. I waited it out and was able to capture the currently posted photos, which in and of themselves are quite ordinary and lacking in sharpness. What the photos are not lacking in is “gesture”, which as Jay Maisel notes is a critical element of any photo worthy of print.

The first photo was taken with a Canon 5 DS, EF100-400mm f/4.5-5.6L IS II USM @ 278mm, f/11, 1/640″, ISO 250, post processed with DxO Optics Pro 11, and Nik Color Efex Pro. The owl was probably just fluffing its feathers after quite a spell of inactivity.

The second photo was taken with a Canon 5 DS, EF100-400mm f/4.5-5.6L IS II USM @ 278mm, f/11, 1/640″, ISO 250, and post processed with DxO Optics Pro 11, and Nik Silver Efex Pro.

Second Best?

This past winter has cast upon me the challenge to continue my growth by both studying and practicing the art of photography.  I have done this with surprising gusto because I did not think it within me. Anyway, I revisited Vincent Versace’s arduous method of producing photographs for “fine art” printing. Vincent’s knowledge of the field has been a guide worthy of a king’s ransom. But, for this poor soul at this stage of my life, I find it far beyond my capabilities and aspirations. However, I have adopted his many insights as an ideal to be aspired to and then use these as a measure to adapt to the current capacities I possess.

In counterpoint to Vincent I have also been studying the method of practical photography by Bryan Peterson whom I find as equally adept at creating worthy photographs of the lived world. Bryan’s techniques are capable of being easily utilized in one’s own work flow, at least in actually taking the photograph without any attention to post-processing (in other words, taking a great photo before all else).

This dialectic has left me in the creative tension of trying to choose what best works for me and yet produce the best possible photo I can of a particular situation.

That being said, (i.e., the studying part), I have also met the challenge of getting outside this winter to shoot in conditions with are winter-ish. I must say I am proud of myself, and have actually enjoyed the experience of living on the edge of endurance (a wonderful aside is that it has allowed me to feel completely alive as I used to feel when I was younger and facing the elements).

All of the above leads to the point that I am trying to make. Both of the posted shots are critical existential moments of movement of wild life, i.e, deer running to escape something, and a hawk trying to find a meal. Both of these moments actually occurred in split seconds of the moment, meaning I had to absolutely have the right settings in my camera and the camera had to be responsive to my needs to capture the in-focus, properly framed shot. 

I almost had it! That was my conclusion. Both of the posted shots were hand held and rapidly captured based on subject movement. I thought I was on automatic focus, but there clearly was not a really sharp image captured in both situations. Maybe the subjects were moving too quickly. Maybe not. My point is: You must have responsive equipment based on what you are trying to capture. You must allow for the elements (heat, cold, moisture, fog, light, etc). You have to be ready with your settings based on your anticipated need.

The first photo was taken at Sachuest Point National Wildlife Preserve in Rhode Island at a split second when the deer suddenly appeared. It was taken with a Canon 5 DS, EF100-400mm f/4.5-5.6L IS II USM @ 255mm,  f/11, 1/640″, ISO 1000, DxO Optics Pro 11, ACR, Photoshop CC2018.

The second photo is of a Red Tailed Hawk taking off from a field directly in my direction. It was taken with a Canon 5 DS, EF100-400mm f/4.5-5.6L IS II USM @ 400mm, f/11, 1/640″,  ISO 2500, post processed with ACR, DxO Optics Pro 11, Color Efex Pro.

Flux Incarnate

Needless to say, I find myself in an inchoate state of photographic growth. Meaning, there are acquired skills trying to reach another level of development. However, the threat remains ever constant that I may make wrong choices and not grow at all. Is this what is called “creative tension?” If it is, then, I guess, I have it. But it beats being stagnant!

The photographic tension revolves around developing an “eye” to discern subtle changes in a photograph which either makes it or does not make it “exceptional” (that is, not ordinary). This involves a multitude of parameters to juggle all the way from capturing, processing, and then printing the photograph as seen by my eye.

“Having put my hands to the plow” re photography, the challenges remain forever great to overcome obstacles to achieving a continued process of seamlessly capturing what I perceive worthy of capturing, i.e., the ephemeral moments of my life.

The foregoing is an attempt to explain the complex state I am in…somewhat perplexing but also exhilarating in its aspirations.

The currently posted photo is of a White Pine by my house in the very cold and snowy January of 2018. My challenge to my self this month was to get out in the cold and capture the extraordinary in the ordinary. Whether I met that challenge is open to debate. However, the effort was none the less sincere. The main object was to capture a Snowy Owl (maybe I still will), but I will settle on the smaller creatures of creation, in its stead. The photo was taken with a Canon 5DS, EF100-400mm f/4.5-5.6L IS II USM @214mm, f/8, 1/640″, 800 ISO, post processed with Adobe Camera Raw, DxO Optics Pro 11, Gradient Map in PS, Color Efex Pro, and Viveza.

Staying Alive

Whether I want to admit it to myself or not, the whole issue before us (myself, my loved ones, and the living creatures around me) is how to stay alive!

After 70+ years of life I have found that the most prominent element of what is around me is: staying alive. I have somewhat subconsciously realized this all of my life, but now it has reached critical importance. Probably because there is only so much time left for me to expend (?use up?). In other words, time is running short, as it were.

Okay. Maybe this is a bit over the top as far as blog dialog is supposed to go, but in the Winter of Our Discontent (read as God- Forsaken-Curse-of-a-Present-as-this) and as far as a Winter as hard as this (despite the denials of which the current President is saying regarding Global warming), then this is quite reasonable to say that I am in a phase of a somewhat gray-view of reality.

“So What!,” says the countering voice within me. “Falling in Love is Miraculous. It is realizing this fact that is important.  I am in love with my wife. As always, I am involved with carrying on the process that I started when I was an infant, namely—living the wonders before me.”

I shoot photography to capture/steal moments. Moments which exist within a fraction (sometimes) of a second, but which are revealing and transcendent.

The currently posted photograph was taken in early morning at the beginning of January 2018. Life has been harsh this year with frequent winter storms of snow and wind. I have been feeding the birds, but the larger animals are on their own. Hence, the coyote seaching for his breakfast meal. It’s been hard for me watching this display of life trying to survive this winter: this ranges from Hawks killing other birds to survive to smaller birds fighting to get seeds from a feeder. That being said, the photo was taken with a Canon 5DS, EF100-400mm f/4.5-5.6L IS II USM @ 400mm, f/9.0, 1/500″, ISO 2000, post processed with Adobe Raw, DxO Optics Pro 11, gradient map in PS, and Silver Efex Pro.

More Versace

It’s been a fascinating month of photographic growth.

I embrace this monika phrase (of growth)  simply because it capsulizes this process of capturing the ephemeral into a static frame, which is the moving process of understanding the dynamic process of trying to capture the un-capturable. Now, that is a phrase sequence which I wish did not happen. But, be that as was it may, I have re-visited Vincent Versace’s approach to photography…which, in my estimation, is profound in its simplicity.

Be that as it may, I have re-read Vincent’s book, Welcome To Oz 2.0, and have absorbed another 10% of the incredible  amount of insight/information in it.  This process has allowed me to get to the point of achieving the images I believed I was taking when I pressed the shutter button on my camera. I have another 80-90% of the Versace Process to go, but I am optimistic.

I have found that the Spirit which invades Vincent invades me. I may not have the talents/skills of Vincent, but I will  proceed onward.

The current photo is of Occupessatuxet Cove, taken on December, 2017, toward the evening. I like the composition of the shot but the technical precision of the  shot is missing. The phot was taken on a Canon 5DS, with a EF100-400mm f/4.5-5.6L IS II USM lens @ 400 mm, f/8.0, 1/160, ISO 640, post processed with Adobe Camera Raw, Photoshop Creative Cloud,  using a gradient map and Nik Color Efex Pro.

Rediscovering Versace

 

About two years ago I made a significant jump in advancing my photographic skills by reading two books, Welcome to Oz, and From Oz to Kansas, by Vincent Versace. They were encyclopedic books to get through since they contained both a broad and specific attention to detail, outlining what it takes to make a good photographic print, i.e., a process starting at how you conceptualize what you want to take a photo of and proceeding all the way through to the final product of making  the print.

I started on the journey two years ago of trying to master those techniques/skills and am still trying, but with the satisfaction that I am making progress. At the start of incorporating the points that Vincent presents in his books I chose the strategy of only adopting some at a time since the points are numerous. I believe I understand what I am doing now more than I ever have—some of this is conscious and some unconscious— but I think there is direction in what I am doing and not just random growth.

In any event, I have come to the realization that I can not only take photos and then just have digital representations of them (i.e., digital files). I must make prints to make any appreciable progress. I hesitated in buying a printer primarily because of the cost factor, but decided the time was right now since Canon offered a deal that was hard to resist; essentially getting a professional printer (Canon Pixma Pro 100) for a quarter of the cost. I could not go wrong.

I am quite happy with my decision not only because it is a quality printer (at an extremely attractive price) but also because it has allowed me to control more of how I can fashion in print the vision of what I actually saw at the moment with my camera. More will follower later regarding this.

The photo of the Northern Flicker was taken during an early December snow, and was not planned but hastily taken by sticking my head outside to my deck quickly so as not to frighten my feathered friend. A Canon 5 DS, EF100-400mm f/4.5-5.6L IS II USM @ 400mm was used with settings of f/6.3, 1/500″, ISO 1250, post processing with Adobe Camera Raw, Photoshop CC, DxO Optics Pro 11, using a Gradiant Map, and Nik Color Efex Pro.