Category Archives: HDR

Bay Bridge Lights

In this image of the Bay Bridge the moon seems to be “captured” within the tower of the Bay Bridge. The image is a hand-HDR blend of six exposures at shutter speeds from 1/2 of a second to 8 seconds. During one of the exposures the lights for The Bay Lights, an art installation and project by Leo Villareal that will come on “for real” on March 5, 2013 appeared briefly (in testing mode I guess), and I painted them in on a layer at about 30% opacity. Note that this light show has nothing to do with the 75th anniversary of the Bay Bridge, which has come and gone—and is simply a rather wonderful art installation.

Moon Captured by the Bay Bridge - Black & White by Harold Davis

Moon Captured by the Bay Bridge – Black & White © Harold Davis

The sequence of exposures in this image was shot during Saturday’s smashing moonrise adventure workshop—which I feel was good photographically and a very successful workshop despite the break-in of my van. I started with color images, combined them, manipulated them in post-production to create an image with an extended range of tonal values—withthe results shown below. To finish the image, I then converted it to black and white, using layers and masking to control how each section of the image converted.

Moon Captured by the Bay Bridge - Color by Harold Davis

Moon Captured by the Bay Bridge – Color © Harold Davis

Also posted in Digital Night, Monochrome, Photography, San Francisco Area

Stanford Memorial Church

This is an HDR fisheye shot looking up at the ceiling of the Stanford Memorial Church and its rather wonderful mosaics.

Stanford Memorial Church by Harold Davis

Stanford Memorial Church © Harold Davis

Also posted in Photography

Foundation of all those fables

Wandering on the slopes of Mount Tamalpais, high above Stinson Beach, the Bolinas lagoon, Duxbury Reef, and the open Pacific the seascape below was cloud-covered. As the sun began to set, thermals opened an area offshore and I was reminded of a quote from Thoreau of Walden fame: “Who has not seen in imagination, when looking into the sunset sky…the foundation of all those fables?”

Sunset from Bolinas Ridge by Harold Davis

Sunset from Bolinas Ridge © Harold Davis—Click to view larger

There’s magic in the sunset sky, yet we’re scared to succumb to such a simple infatuation. Beauty can make us grumpy, and put us in mind of postcards. Actor Dustin Hoffman cynically put it this way: “I envy people who can just look at a sunset. I wonder how you can shoot it. There is nothing more grotesque to me.”

Photography can be many things. I’m here to tell you it is okay to shoot sunsets. Personally, I cannot look at one without being moved, and recognizing  the foundation of fables as day turns to night.

Also posted in Landscape, Photography

Lush and Faux

In New York’s Central Park the lush—but artificial—landscapes make the cityscape look almost pastoral in its beauty. Central Park is the landscape architecture masterpiece of Frederick Law Olmsted and Calvert Vaux, created in the mid 1800s.

Central Park by Harold Davis

Central Park © Harold Davis

Almost everything about the landscape of Central Park—lakes, meadows, hills, and rocks—was artfully and artificially created and placed. The result is an apparent pastoral paradise in which glimpses of the city only seem to enhance the lush natural landscape. The building shown reflected in the man-made lake in this image is the tower of the luxury Sherry Netherland Hotel, located along Fifth Avenue at the southern end of the park.

When designing Central Park, Olmsted and Vaux turned to the Yosemite Valley floor as a source of inspiration (Olmsted had visited Yosemite a few years before beginning the Central Park design). Compared to the wilderness landscape, Central Park seems faux (if you’ll pardon the rhyme with “Vaux”)—but certainly a wonderful enhancement to life in New York.

How the image was made: This is five exposures taken with my camera on a tripod. Each exposure was shot at 18mm, f/13, and ISO 200. Shutter speeds ranged from 1/2 a second to 1/320 of a second. I used Photoshop and Nik HDR Efex Pro 2 to create a single composite High Dynamic Range (HDR) image.

Also posted in New York, Photography

New York Night in HDR

On a rooftop high above New York the lights of the city sparkled in the night. From so far above even the noise of the city was muted—all I could hear was an occasional siren far below, echoing in the strong wind.

New York at Night by Harold Davis

New York at Night © Harold Davis

To make this image, with my camera on a tripod, I used manual exposure control to snap five exposures. I used my 10.5mm fisheye lens. Each exposure was at ISO 200 and f/3.5. The shutter speeds ranged from 2/5 of a second to 15 seconds.

I was on the road and didn’t have much time for elaborate HDR post-processing, so I simply fed the images through Nik HDR Efex Pro 2 at the default settings, with the results you see above.

In fact, as the author of Creating HDR Photos: The Complete Guide to High Dynamic Range Photography, one kind of HDR or another informs most of my photography.

Want to learn my HDR thoughts and techniques?

I am giving my much requested all-day HDR Bootcamp workshop on Saturday, Jan 12, 2013, in downtown Berkeley, CA. The workshop tuition is $195.00. Click here for information and registration.

Here are some comments of participants from my previous HDR Bootcamp workshop:

  • “Great day to learn how to better take and process single and bracketed images for maximizing dynamic range.”
  • “Excellent. Great new material and clear explanations of techniques and new software.”
  • “Harold offered an excellent overview of HDR technique. He took the time to ensure that each of us was able to follow along in making HDR images manually and then in processing them in several different software programs.”
  • “Incredibly helpful workshop. I feel like I now have the knowledge to do HDR the right way.”
  • “This ‘Bootcamp’ was well organized , well paced, good value-added content. I enjoyed it and got a lot out of it.”

Click for the Jan 12 2013 HDR Bootcamp All-Day Workshop information and registration.

Also posted in New York, Workshops

Photographing Flowers on a Lightbox for Transparency

So far as I know I am the inventor of my process for creating images of flowers using a lightbox that are transparent—actually, images that seem translucent. This process relies on digital capture and post-production techniques and would not have been possible in film photography.

Like all photography the technique relies on illusion. Specifically, the illusion in this case has to do with the fact that lighter areas in an image can appear more translucent to the human eye—whether or not they actually are. The reality is that the effect has to do with color differential rather than degrees of opacity, but this is not the way the difference is perceived.

Papaver and Iridaceae

Papaver and Iridaceae © Harold Davis

The technique for creating these images involves four distinctive stages, with aspects worthy of commentary at each stage:

  1. Manually bracketed HDR (High Dynamic Range) photography using backlighting
  2. Combining the bracketed exposure sequence using hand-HDR
  3. Adjusting the combined image
  4. Placing the image on a scanned or textured background (this step is optional)

The key observations about the HDR process I use in this technique are that it is high-key and that it is manual. High-key means that I throw away everything to the right of the histogram, I am really only looking for frames that are “overexposed” (at least according to the in-camera light meter). Manual means that I am not using an auto-bracketing program. There is more information about this style of HDR in Creating HDR Photos on pages 82-85.

In my book Photographing Flowers: Exploring Macro Worlds with Harold Davis there is a spread showing both the photographic setup I use for this technique and the manually bracketed exposure sequence that I used with a specific image (pages 184-185).

Putting together the bracketed exposure sequence is also a manual affair. Essentially, I start with the lightest image (to use as the white background) and use Photoshop to selectively paint in the contrasting areas I want for the final image. Usually this involves 4-6 different exposures and layers. I then often very selectively paste in some structurized details from an automated HDR program such as Nik HDR Efex Pro.

Schizanthus Grahamii and Iceberg Roses

Schizanthus Grahamii and Iceberg Roses © Harold Davis

With Schizanthus grahamii and Iceberg Roses (shown above) I used a 40mm macro lens, and with my camera on a tripod shot six exposures with shutter speeds ranging from one second to 1/100 of a second. Each exposure was at f/10 and ISO 100. I combined the images starting with the one second exposure version (the lightest capture) as the bottom frame.

The image was finished by placing it on a scanned paper background. The formula I usually use is to blend the floral on white into a scanned background at 15% opacity using Normal blending mode, and (using a duplicate layer) also at 85% opacity using Multiply blending mode.

My technique for placement on a scanned paper background is shown and explained on pages 190-193 of Photographing Flowers.

Peonies mon amour

Peonies mon amour © Harold Davis

Of course, another issue is the paper I print the image on—using special Washi such as the Moab Moenkopi Unruyu I used to print Peonies mon amour (shown above) can increase the appeal of an image greatly.

If my technique for photographing flowers on a lightbox intrigues you, may I suggest the Photographing Flowers for Transparency workshop I am giving in December 2012? This is a one-time special purpose event that will include demos and a chance for participants to try their hand at the technique with my guidance.

Also posted in Flowers, Photography

Foggy Bottom

Most of the Bay area was sunny and blue, but a swath of fog washed in from the Pacific and buried the Golden Gate. From beneath the bridge pilings on the Fort Point battlements the view up of the Golden Gate Bridge seemed ancient and mysterious—subject matter that clearly beckoned for treatment as monochromatic HDR (High Dynamic Range) with its contrasts between the bright fog and the dark details of the bridge girders.

Underneath the Golden Gate by Harold Davis

Underneath the Golden Gate © Harold Davis

With my camera on my tripod pointing straight up, and a wide angle focal length (12mm), I made nine exposures. Each exposure was at f/8 and ISO 200. I manually bracketed between 1/50 of second (lightest) and 1/2500 of a second (darkest).

Putting the bracketed exposures together in the digital darkroom was a bit time consuming. My primary tool was Nik HDR Efex Pro 2, but I also used some hand-layering in Photoshop. I used the color conversion process to increase contrast and to continue to increase dynamic range—so when the time came to convert color values to black and white it wasn’t hard to create an interesting monochromatic image. My primary black and white conversion tool was Nik Silver Efex 2. I also used a Photoshop’s B&W Adjustment layer, choosing the Red Filter preset.

For more about my monochromatic HDR techniques you might want to take a look at my books Creating HDR Photos: The Complete Guide to High Dynamic Range Photography and Creative Black & White: Digital Photography Tips & Techniques. Also note an upcoming HDR Bootcamp workshop and a digital Black & White Masterclass.

Here’s the color version of the image (before the black and white conversion):

Underneath the Bridge © Harold Davis

© Harold Davis

And, just for fun, here’s a monochromatic inversion, created mostly by inverting the luminosity information in the monochromatic image, kind of like what one would have looking at a film negative as opposed to the positive print that could be made from the negative:

Luminosity Inversion © Harold Davis

Luminosity Inversion © Harold Davis

 

 

Also posted in Monochrome

HDR in an old-time drugstore

What takes eight exposures, a tripod, and a range of 12 EVs? If you guessed a RAW exposure sequence manually bracketed for HDR (High Dynamic Range) with a strongly back lit window display of old bottles in a mock-up antique apothecary (with stuffed and dimly-lit shelves to either side) you’d be right regarding the image below. I shot it at the unique and wonderful Laws Railroad Museum near Bishop, CA.

Apothecary by Harold Davis

Apothecary © Harold Davis

My eight exposures were shot at a 22mm focal length, an aperture of f/8 and an ISO of 200. Shutter speed durations ranged from 1/640 of a second to 2 seconds.

Want to learn how to shoot and process this kind of HDR sequence in a variety of conditions and with a variety of subject matter? You can read my book Creating HDR Photos: The Complete Guide To High Dynamic Range Photography or you can get it from the “the horse’s mouth”—that would be me!

I am giving an all-day HDR Bootcamp workshop on Saturday, Oct 6, 2012 here in Berkeley, CA. The cost is $195.00.

This will be a hands-on workshop in terms of both shooting and processing.  I will demonstrate my unique post-processing techniques that cannot be learned anywhere else. Click here for more information and registration.

Early-bird special: Note that HDR Bootcamp (Saturday October 6), Digital Black & White Masterclass (Saturday November 3), and Photographing Flowers for Transparency (Saturday December 1) are each discounted by $20 each until August 31, 2012. These three workshops are among my most popular offerings, and I expect them to fill up extremely quickly in the next few weeks. Please register now to avoid disappointment.

Also posted in Photography

All Squared Away

I found this wall of plumbing parts in the farming tool shed at Green Gulch where I was leading the Tao of Photography workshop. To make the image I shot five exposures with my camera on a tripod, which I combined in post-production using Hand-HDR in Photoshop and HDR Efex Pro 2 from Nik Software.

All Squared Away by Harold Davis

All Squared Away © Harold Davis—Click to view larger

Even though I tried to position the focal plane of the camera as parallel as possible to the cabinet of plumbing parts there was a parallax problem. The parallax issues were considerably mitigated in post-production using Photoshop perspective transformations so the image would appear “all squared away” (the title is in homage to the Gary Larson cartoon with this caption shown here in a physics textbook).

To learn more about Photoshop transformations and their power, check out The Compositor’s Cafeteria on page 166 of my Photoshop Darkroom 2: Creative Digital Transformations.

 

Also posted in Patterns, Photography

Falcon Motorcycle

The other day I was lucky enough to get an opportunity to photograph a Falcon Motorcycle. These motorcycles are one-of-a-kind completely handmade works of art. As I particularly enjoy photographing machinery it was a real treat getting to photograph a machine that had been so carefully and artfully constructed.

Falcon Motorcycle by Harold Davis

Falcon Motorcycle (color) © Harold Davis—Click image to view large

To capture the subtle shapes and forms of the motorcycle’s engine it will surprise no one who reads my blog to learn that I used High Dynamic Range (HDR) techniques. This image was created from seven exposures. Each exposure was shot at f/11 and ISO 200. I used a tripod, and manually bracketed the shutter speeds in a range from two seconds to 1/200 of a second.

Falcon Motorcycle by Harold Davis

Falcon Motorcycle (B&W) © Harold Davis—Click image to view large

In post production I combined the exposures using Nik Software’s HDR Efex Pro 2 and hand-layering in Photoshop.

My original thought had been to produce a monochromatic final image, but when I saw the results in color I decided the color version looked pretty good too!

I converted the color version to black and white using Nik Silver Efex 2, Photoshop Black & White adjustment layers, and a monochromatic HDR version processed from the original seven files.

These images will make stunning prints I think on Moab’s wonderful pearlized metallic Slickrock paper.

By the way, I’ve been asked a number of times recently why I often choose to shoot my HDR sequences using manual shutter speed bracketing rather than in-camera auto bracketing (which at first blush would seem easier). The answer, as I explain on page 76 of Creating HDR Photos, is that auto bracketing programs do not in fact capture enough extended dynamic range. So if you want to create HDR multi-shot imagery like mine you, too, will need to bracket manually. I plan to write a future blog story on the mechanics of keeping the camera absolutely still while one manually brackets.

Also posted in Bemusements, Monochrome, Photography

Creating HDR Photos is shipping

Creating HDR PhotosBriefly noted: My new book Creating HDR Photos: The Complete Guide to High Dynamic Range Photography is now shipping on Amazon. We are very excited about this book—you won’t find garish HDR in my book, you will find gentle and painterly HDR as well as information that shows you how to blend HDR exposures by hand, and puts HDR in the historical context of photography.

Here’s the book description from Amazon: Since the days of the first photographs, artists have used various techniques to extend the range of lights and darks in their photos. Photographic masters such as Ansel Adams and Edward Weston spent countless hours burning and dodging their prints to create images with extended dynamic range.

With the advent of digital photography, new horizons in extending dynamic range are possible. HDR techniques now make it easy to extend the dynamic range of an image well beyond the capability of the human eye.

In Creating HDR Photos, bestselling author Harold Davis covers the complete HDR workflow, from choosing the subjects that work best for HDR through processing RAW files to unlock the dynamic power of HDR. You’ll learn how to photograph multiple exposures and blend them into a single HDR image using various software programs. Best of all, you will find out how to control the style of your HDR images, from subtle to hyper-real, using a range of photographic and post-processing techniques.

Packed with stunning image examples, Creating HDR Photos brings this essential digital technique within every photographer’s grasp.

Click here to order Creating HDR Photos: The Complete Guide to High Dynamic Range Photography from Amazon.

Also posted in Photography, Writing

Too much information

An abandoned cement field in West Oakland near the docks was filled with large, rusting metal pipes, maybe ten feet in diameter. What was their original purpose? Why were they left behind? Who knows.

The vast area was fenced, but it had obviously been entered many times—getting in was no problem. Once inside I felt the need to stay alert regarding my surroundings, although as far as I could tell I shared the scene only with trash, weeds, wall art, and the gray sky of a misty day. The damp, overcast weather helped saturate the colors you see in this image.

Pipes, West Oakland by Harold Davis

Pipes, West Oakland © Harold Davis—Click to view larger

As I often do these days in the field, I manually bracketed for HDR. Usually, this means about a 10 EV exposure range—plus, of course, whatever one can tease out of the RAW files. Specifically, for this image I shot ten exposures ranging from 1/200 of a second at the darkest end to 4 seconds at the lightest end. Each exposure was shot at 130mm, f/36, and ISO 200, using a tripod.

It turns out that this was definitely too much information! Running the combined exposures through HDR processing led to an average looking image that showed the interior of the pipes along with assorted booze bottles and trash. This was definitely not the look I wanted to achieve because I knew things would be much more dramatic with a contrast range between the blackness of the pipe interior and the riotous color of the graffiti on the wall behind.

So I reprocessed the image, mostly using a single exposure, to enhance the high contrast drama, adding a little color to the central paintings using a low opacity version rendered by Nik HDR Efex Pro 2.

If you look carefully, you can still see an old booze bottle caught between the two pipes. I could have retouched this out, but decided to leave the bottle in the image as a reminder of the authentic environment this image was made in.

The moral, of course, is that there is no real problem overshooting in the field. If I don’t need all the information, I can just discard it at the processing stage. Better to have it in case I need it, and end up not using it, than to regret undershooting. As experienced photographers know, mostly you can’t go back because things are never the same twice.

Also posted in Bemusements, Photography

Seeing beyond the obvious

In the great seafaring Aubrey-Maturin novels by Patrick O’Brian, the bad guys often get their just comeuppance using a ruse de guerre that in hindsight should have been obvious. Admiral Ramage, the protagonist of a somewhat less literary but still entertaining eponymous naval series by Dudley Pope, puts it this way: we expect to see the obvious, therefore the obvious is what we do see, even when there is something else going on.

The photographer’s job is to see beyond the obvious.

Grace Cathedral Ceiling by Harold Davis

Grace Cathedral Ceiling © Harold Davis

At the very least, seeing beyond the obvious means being acutely aware of one’s environment. Visual explorations help, as does looking up, down, and to the sides. The view straight ahead is not the only one! Ignore preconceptions and prior expectations whenever possible.

In this spirit, when I recently visited San Francisco’s Grace Cathedral with my camera, the view that most interested me was straight up, with the exposed structure supporting the ceiling looking for all the world like the skeleton of some large beast.

Also posted in Bemusements, Photography, San Francisco Area

Making the Basilica

I’ve been asked a number of times about the process behind the making of my images of the Basilica Mission Dolores, shown below and in Looking for Light. This is a monochromatic style that I’ve developed intentionally that is based upon High Dynamic Range (HDR) shooting techniques. For other examples of this presentation style, which is intended to partially evoke an old-fashioned etching look see my Agaves and Choosing the Path. You’ll find some hints about how I do this below.

Basilica Mission Delores by Harold Davis

Basilica Mission Dolores © Harold Davis—Click to view image larger

Shooting Technique

The most important part of this process is the HDR shooting technique. It also helps to start my photography at the very beginning with a final image pre-visualized in black and white—even though a RAW capture by definition includes all the color information.

As I explain in Creating HDR Photos: The Complete Guide to High Dynamic Range Photography, when I shoot for HDR I am careful to use a sturdy tripod. I find that manually bracketing the shutter speed works best. The sequence of seven RAW captures I made for this image are shown below in Adobe Bridge. All exposures were using a 12mm wide-angle focal length at f/9 and ISO 200. My shutter speeds ranged from 1/8 of a second (the darkest) to 20 seconds (the lightest).

Original RAW exposure sequence shown in Bridge

Original RAW exposure sequence shown in Bridge

Nik Mono HDR Preset

Because I knew that my ultimate destination was black & white, one of my first steps was to run the seven captures through Nik HDR Efex Pro, choosing the Soft Mono HDR preset. This is preset converts a bracketed HDR set of captures to monochromatic by setting the saturation slider to 0%. Results are shown below.

Nik HDR Efex Mono Preset

Nik HDR Efex Mono Preset

Having processed the files this way, I put the Nik HDR monochrome version aside for use at a later stage in the process.

Color Version

I created the initial color version, shown below, by layering dark and light versions together in Photoshop. The basic scheme was to use a fairly light exposure (#2881, at 8 seconds) as the background, then selectively paste a lighter exposure over it for the darker areas (#2882, at 20 seconds). Areas that were too bright—such as the windows—were controlled with a darker exposure (#2878, at 3/5 of a second). Note: you can see the different exposures in the figure showing Adobe Bridge above.

The initial color blend is shown below.

Initial Color Version © Harold Davis

Initial Color Version © Harold Davis

Rarely do I construct one of these images without finding flaws that need to be retouched. In this case, I decided to remove a woman sitting in a pew, a devotional man at a niche, a fire extinguisher, and a cut-off statue. The layers panel with each of these corrections is shown below and to the right.

At any normal viewing size one can hardly see these issues, but on Retouching layersmy large monitor when I zoomed in they were clear. It’s a funny thing—even though some issues are hardly noticeable at a conscious level, I do find they make a significant difference in terms of the viewers overall impression of an image once they are cleaned up. Viewers may not be able to identify why they respond to one of my images, but it is partly because I’ve taken the time to really clean the image up.

It’s worth going to the trouble involved, because half measures do not avail us! Let’s face it, this kind of post-production work is fairly arduous. If I am going to take the time to do it in the first place, I’d really like to get everything right that I can.

And, in case you are wondering, yes, I also had to retouch these issues in the reserved monochromatic version to conform to the color version.

Monochromatic Conversion

With the color version complete and retouched, and a monochromatic HDR version reserved, I am ready to do the overall monochromatic conversion. This involves a layer stack with different monochromatic versions combined at varying intensities using several Blending Modes—Normal, Luminosity, Screen, and Soft Light.

In the case of the Basilica, I started at the bottom of my conversion layer stack with the default monochromatic conversion from Nik Software’s Silver Efex 2. I layered on top of it the reserved HDR mono version selectively applied via a layer mask, and a second mono HDR layer applied overall using  the Luminosity Blending Mode at 20% opacity.

To finish the conversion I added a layer to add texture and softness. I created this layer using the Topaz Wood Carving filter applied to the color version. This filter is found in the Topaz Simplify plugin, and my results are shown below.

Topaz Wood Carving

Topaz Wood Carving filter applied to color version

Flattening the monochromatic conversion layers led to the finished image shown at the beginning of this story.

Conclusion

Effective shooting for HDR is pretty straightforward if you have a good tripod, some patience, and use manual exposure controls to bracket the entire dynamic range of the scene you are shooting. For a full explanation of the technique please see Creating HDR Photos.

Crafting a unique and subtle look in post-production from an HDR shoot is not always straightforward. It helps to know where you might be going by pre-visualizing the results at the beginning of the process.

Even when I have some idea of the benchmark steps along the way, there is usually no firm recipe for my HDR conversions, and I do quite a bit of experimentation as I go along. So you should regard the steps I’ve explained in this story as waypoints on your conversion journey—subject to your own creative ideas, and not fixed in stone.

Also posted in Monochrome, Photography, Photoshop Techniques

Looking for Light

What matters most is light. A good photographer has hungry eyes, and will visually examine the world for potentially interesting subjects. But the subject matter itself is nothing without exciting light and its interplay with the world. Light and lighting convey emotion and faith—whether the subject is a church or a country road in the woods near a Zen retreat.

Basilica Mission Delores by Harold Davis

Basilica Mission Dolores © Harold Davis—Click image to view larger

Mission Dolores is the oldest building in San Francisco. A separate building, the Basilica Mission Dolores was built after the great 1906 earthquake. Inside the Basilica Mission Dolores, the chiaroscuro illumination with its moody contrasts between light and dark got my full attention.

Pew by Harold Davis

Pews © Harold Davis—Click image to view larger

“If you change the way you look at things, the things you look at change.”

 

Intensive Workshop: Photography in Paris with Harold Davis, October 14-21, 2012

My Photography in Paris with Harold Davis workshop is limited to six photographers. I’ve organized the October 14-21, 2012 intensive photographic workshop in Paris as a small, selective group so each photographer will get intensive individual attention.

About the workshop: This will be an intensive photography workshop in the field. In a small group I will be able to give a great deal of individual attention and feedback—and I think everyone who has ever attended one of my workshops will tell you that they’ve gained insights about how to see photographically—changing the way they look at things—as well as how to process their photos. (Check out some of the recent feedback on the Photography with Harold Davis meetup site.)

Paris is certainly a subject that will inspire anyone’s photography, and help them move their work up to the next level!

Workshop curriculum: This is largely a field photography workshop, and we’ll focus our lenses on Paris in autumn and the sometimes stark, sometimes colorful compositions of this season, Paris at night, and Paris in black & white. There will be individual assistance in obtaining the best results. The following topics will be emphasized in the field:

  • Oberving light in the field, pre-visualizing the impact of light and lighting, and changing the way one looks at things
  • Using manual exposure controls for creative impact
  • High Dynamic Range (HDR) photography for a natural look
  • Seeing in black & white for monochromatic excellence
  • Taking advantage of unusual lighting and exposure situations

There will also be ample time for image review, and for explaining how to best post-process images, particularly HDR and black & white.

About the workshop tuition: I’ve been up and I’ve been down in my life, and I certainly know that not everyone has the tuition money to join my Paris workshop. But I did want you to understand that the fixed costs are the same whether it is a smaller workshop or a larger workshop. Dividing out the costs, the smaller group does cost more per person than a larger-sized group, it is simply the way it has to be.

As I’ve noted, space is extremely limited and this workshop is filling up, so if the opportunity of photographing Paris with me and a selective group is of interest to you, please register right away to avoid disappointment.

Click here for the complete itinerary details of the Oct 14-21, 2012 workshop and click here for online registration. Note that I am offering a $200 rebate to anyone who completes an accepted workshop registration by Friday, July 7, 2012.


Also posted in Monochrome, Photography, San Francisco Area