Displaying your images

by NatureViews on July 19, 2010

in Presentation

One thing digital has really made available to photography is the ability to easily create printed images. What has always been a problem however, is displaying the images.  Additionally, if you are growing in your abilities as an artist, what you shot last year maybe doesn’t quite live up to your expectations of what you shoot currently.  So we have two problems – many image presentations are difficult and expensive and because of the nature of art, need to be replaced at some reasonable intervals.  I do have a recommendation.

Nielsen makes a frame – the N5621, which is perfect for photographers.  The frame is produced with a groove to which the image and a backing mat is slid into the frame and secured with back clips.  An adjustable hanging wire can be changed from landscape to portrait with a simple screwdriver.  The use of Plexiglass or a front mat are completely optional and in many cases unnecessary.  Let me explain.

I print with the Epson 3800 which allows for a maximum print paper size of 17×22″.  I have the frame and backing made to 17×22″ and

image

10x15" image in 17x22" frame without front matting

everything fits perfectly without any front matting.  The print is centered, usually some where around 10×15″ or so and the results are museum quality as you can see from the photo.

Another alternative is to use a front mat with the window cut out 1/4″

24x24" frame with 12x18" image and mat

to 1/2″ larger than the image size.  In this frame, I used a 24×24″ frame with a 12×18″ image which I taped between the two mats.  You can use acid free tape etc. but realistically, the image will probably be changed before any damage from the tape ever occurs. You can add clear or ultra violet Plexiglass but you really don’t need to.  Again, it adds cost and the fact remains that images are changed often anyway.  If you want something more permanent though, you do have the Plexiglass options.

back corner hardware

To add or remove the images, you  need only to loosen two screws on the back of the frame, pull one side out, insert the image and backing and push the frame back together and tighten the screws.  Here’s what the back corners look like.  I usually add a piece of felt or a plastic bumper to protect the wall and keep the frame from moving on the wall.

Hanging wire and hardware

As I stated earlier, the hanging wire is very easy to adjust and can be configured for both portraits or landscapes as shown on the right.

Back clips and tools

Also as mentioned, clips are used to keep everything secure and slide between the frame and the backing. The only tools you’ll need are a screwdriver and needle nose pliers.  The tools and clip are shown in the photo on the left.

So, what are the costs?  Well a 17×22″ frame with backing will run around $110 and a 24×24″ around $141.  Not bad when you consider that the frame can be used time and time again. Plexiglass and Ultra violet Plexiglass will run another $20 to $45 depending on size.  Again, you really don’t even need to use Plexiglass as the image framed without Plexiglass is the best non-glare situation you can get.

Where do you get the Nielsen frames?  You might look around but I found them somewhat difficult to find.  I use a professional framer who is well know and respected by silent cinema movie poster collectors – Roy Hermann of Frame ‘n Rail. Roy’s email address is roycpf@socal.rr.com and his telephone number is (661) 251-1093.  His studio is in Canyon Country, California but Roy is great about custom making to size and shipping directly.  I use the black frames but I believe they also come in silver.  There may be other options but you’ll need to check with Roy.

So, if you’re interested in displaying your photos with a flexible and reasonably priced system but without the hassle of running to the frame shop every time you get tired of your image and want to replace it, give the Nielsen system and Roy a shot.

{ 0 comments }

Let there be light…

by NatureViews on July 14, 2010

in Equipment

Different types of photography, by their very nature, dictate the need for different accessories and one such necessity for landscape photographers is some type of flashlight.  As with all things in outdoor photography, it is important to evaluate what feature best address our photo requirements.  With respect to landscape photography, we need something that is small (I already carry too much stuff); something waterproof (I’ve been know to fall into both still and running water); something robust (things fall from my vest and pockets all the time); also, something with various brightness levels and long run times (I’ll explain later…). It would also be nice if this were free or at least cheap – somehow that specification however, never materializes (drat).

I have used and owned a number of flashlights and there are a number of good sites which even specialize in only flashlights – one in particular I highly recommend is BrightGuy.

NovaTac's Storm

Of all the lights I’ve used and had any experience with, the one which I believe meets all the objectives is NovaTac and particularly the Storm.  The Storm is really small – weighing in at 3.1 ounces with battery and will fit anywhere at merely 3.3 inches.  Anything smaller and it would be too hard to hold.  It’s waterproof down to 66 feet (beyond that, I’ve lost it anyway…).  Robust? NovaTac builds to military specifications.  It’s made of Aerospace Grade Aluminum and has a hard anodized finish with a limited lifetime warranty. Now the importance of various brightness levels is that this light runs for 30 minutes at 120 lumens, really bright!, 2.5 hours at 42 lumens and an incredible 14 hours at 10 lumens.  10 lumens is useful when you want to check the status of your camera without getting everyone around you upset at the brightness of your flashlight – it’s a very low light but just enough to get the job done.  Additionally, this light has a disorienting strobe which I’m sure will come in handy should you surprise a bear at night – or you could throw your flashlight and run, hopefully faster than your nearly departed friends.

So what are the detriments? Well, price for one – the Storm retails for $99.  You could search the Internet and get a better deal and as I’ve already concluded, you get what you pay for.  Another possible drawback is the use of CR123A lithium batteries.  This is common with technical flashlights since they hold a charge for much longer periods than typical batteries thus you generally get a bigger bang for the size in term of light and longevity.  It is however, more difficult to replace when traveling so you need to ensure that you have backups.

NovaTac has more flashlights and if the Storm doesn’t meet your needs, there are other very good alternatives. In any event, the Storm is one very technical and competent flashlight which could meet the needs of many landscape photographers.

{ 0 comments }

Photo Workshops

by NatureViews on July 8, 2010

in Education

Photo workshops are a great way to both learn about photography as well as understand some of the more scenic locations.  Not all workshops are created equally however, and there are some things you should understand before you commit your time and money.

The workshop leader should be both a good photographer and a good teacher.  There are two corollaries to this: although a bad photographer can be a good teacher, that doesn’t help.  How can they evaluate your images if their images are mediocre.  Just as importantly, a good photographer can be a bad instructor.  This is more commonplace than you might assume.  The problem here is that no matter how good a photographer is, if they can’t communicate and teach, you’re wasting your time and money.  Worse yet, some who are good also have egos which further exacerbates any good learning experience. I’ve attended some workshops where the leader literally raced the class to the shoot location, grabbed the best location, took his shots and almost ignored the students.  What a fun workshop that was.  I’ve heard of others where the leader even insults the students abilities. Again, just because someone is a good or even great photographer doesn’t mean that the workshop will be a profitable and enjoyable experience. The best way to determine this is to ask around.   Again, check them out, no matter how famous or good they may otherwise be.

The curriculum really pertains to how the workshop is run.  There should be some combination of class room instruction and field work.  For most location landscape workshops, a little class room with a lot of field exposure works best.  Why?  Understand that the students or workshop attendees will have various skill backgrounds. The class room is there to get everyone to some base level.  For example, we shoot in the morning and evening because the light is better; we use polarizers to minimize the glare and saturate the images, tripods are nice because they allow you sharp exposures in low light.  Basic stuff, but you can’t assume everyone knows this.  Additionally there are certain safety issues and other expectations which must be communicated. Outside of leader evaluations of student shots, the rest of the shop should be in the field.

The Location refers to the actual knowledge of the area.  Some workshop leaders really understand and even specialize in specific areas.  If they go to new locations, they need to be skilled in scouting out locations.  What you don’t want to do is effectively cover the costs of a workshop leader who would like to visit Ireland for the first time.  Some photographers can parachute into any location and come up with excellent images but it takes another skill – scouting – to do so.  To this degree, the best workshops are run by those who specialize in certain locations.

Recommendations - I have personally used and can highly recommend Don Smith and Gary Hart whom I list on the side bar.  Both are not only excellent photographers but great teachers and genuinely nice guys.  Although they each run their own businesses, they often will work together.  Additionally they offer individual training for those who are more advanced or want specialized training.  Another workshop I highly recommend is Charlie Cramer’s print class.  This is usually entirely class room but justifiably so and is also one of my sidebar links.  Even the pros go to Charlie’s class – he’s just that good.

Although I’ve attended other workshops, I couldn’t recommend any others without reservations. There’s no quid pro quo here, these guys are worth your consideration.

{ 0 comments }

Horology

by NatureViews on June 28, 2010

in Equipment

If you came here thinking this post’s title “Horology” was a XXX lesson, shame on you!  Horology refers to the art and science of timekeeping.  Now, there are a number of things that you need for landscape photography in addition to the obvious camera, lens and tripod – if nothing else, this may be good justification, to the higher authority, (read wife).  One such important piece of gear is a good outdoor photography watch. I thought though, that this would be a good time to get a real understanding of watches, since most only understand Rolex and Timex – and to that they only know one is more expensive.

We can generally divide watches into two major categories – mechanical and quartz (eg Rolex and Timex).  Now, as a parallel, one could assume that mechanical would be like a typewriter and quartz would be like a computer with word processing.  But life doesn’t always work in parallel.  Quartz watches, although generally more accurate, are also generally junk – with some exceptions which we’ll discuss.  No offense, but there are very few, high quality quartz watches.  They are substantially cheaper and outside of a very few manufacturers show up as one time productions to meet the Christmas rush.  Even so called name branded watches are just the same old cheap watches that others sell without the brand.  I didn’t mean to pop any bubbles there but once I get into the specifics of what comprises a good watch, you’ll understand.  Now, if you’re thinking “I can buy five Yugos for the price of one Mercedes” – you’re missing the point and need to go to the back of the line……

mechanical movement

A mechanical watch is essentially the same spring and gear mechanism which was invented reportedly as early as 1250  – only with better materials, processing and other innovations.  The guts of the watch – the part with springs and gears – is know as the movement.  To many who appreciate watches, this is the most important element.  Patek Phillippe, whose watches are totally hand made, are some of the most prized movements available and actually appreciate in value.  Now a mechanical watch can be manually wound or automatically wound.  Most are automatics which mean that they have a balance level on the movement which winds the watch through the movement of your wrist.

Let me discuss some of the features of a watch:

The transparent cover or crystal on the watch is normally made of plastic, glass or synthetic crystal. Obviously this is the range of cheaper to better.  The synthetic crystals can be mineral crystal or sapphire crystal, sapphire being very close in hardness to diamonds. This is another of the distinguishing features of why a good watch costs more.

The crown or winding mechanism is use to wind and set the watch and will actually screw into the case of the watch to provide water proofing.

The case can be made of any number of materials from plastic, stainless steel to gold and platinum.  Within any of the metal the finish may be smooth or satin. This becomes a personal preference, but to me, the brushed or satin finishes look better and doesn’t scratch quite as easily. In cheaper quartz watches, the metals used are often plated and deteriorate quickly – again, another reason good watches cost more.

The strap can also be made of various materials, again from rubber to leather and from stainless steel to gold or platinum.  In addition to an obvious price spread, the practicality of the various bands need to be considered.  Leather may look good but tends to absorb body moisture,  stretches and needs to be replaced often. For outdoor use, gold and platinum are out of place both because of price and because it looks weird to run around outdoors photographing in gold and platinum – I don’t know, your call…  Rubber and stainless steel are best for sports use, with rubber taking an edge because of it’s lighter weight and resistance to scratching.

The buckle on the strap needs to be understood.  The typical tang buckle which involves a pin (the tang) and buckle work great with rubber straps.  It will however, quickly destroy a leather band and a far more practical deployant clasp should be considered for leather and other straps.

One of the other feature, critically important for outdoor use is visibility. Watch faces look great in the store or during the day.  Much of landscape photography is done in low light conditions and without proper luminosity are worthless. Additionally, since you usually travel to shoot landscapes, a watch which can be seen in the night is extremely useful. Very few watches have enough innate light to be truly useful.

Putting this all together, I highly recommend two watches for outdoors photography. The first is a Luminox Navy Seal 3001 which has a carbon reinforced case with Mineral Crystal, security gasket crown, rubber silicon strap a Swiss Quartz movement and great luminosity.  For around $180 on the Internet, it’s hard to beat this watch.

Luminox Navy Seal

Luminox Navy Seal

Ball Fireman II

The second watch costs more at around $1,000 is all stainless steel with sapphire crystal, an ETA mechanical automatic movement, screw down waterproof crown and unbeatable luminosity – the Ball Fireman II.

Both watches are available on the Internet (although the Ball is more difficult to find) and are really best in class for the purpose of landscape photography.

The watch you get should be selected much like your camera and lens – with a specific purpose in mind.  If you want a dress watch, you would obviously use a different selection process.  For landscape photography however, you want water proof, durable and ease of reading during low light.  These two watches can certainly double for sport or even some dress wear and they represent a range of value for inexpensive to moderately expensive.  Your interests may vary and there are a wide range of watches available all the way to collectibles but it’s hard to beat these two recommendations.

{ Comments on this entry are closed }

Dressed to kill…

by NatureViews on June 24, 2010

in Equipment

It’s hard to be creative when your freezing as you think of nothing other than how you’re feeling.  Landscape photography is by it’s very nature you against the environment and what works for home and the office doesn’t work outside. You need to completely revamp your wardrobe.

Begin by eliminating cotton – down to your skivvies.  Regardless of weather conditions, physical exertion results on moisture, which cotton, instead of breathing, clings to the body and in certain instances reduces body  temperature  resulting potentially in deadly hypothermia.  As a best case you’ll feel clammy and uncomfortable.  And yes, jeans and the typical underwear are cotton.

Dressing in layers can be really comfortable if done correctly. First of all layers are now being offered in polyester (also known as Capilene by Patagonia) and good old fashioned wool (the non itch kind to which I’m not fully convinced).

Patagonia ziptop layer

Patagonia ziptop layer

The secret to layering is to go as light as possible. A really thin top and light light down jacket (aka sweater) will keep you comfortable down to below freezing. A few tricks on the top – consider a zip mock turtle neck.  This  really helps in regulating you body temperature in any number of weather conditions.  Additionally, ensure the cuffs are tight around the wrists.  If they’re loose, cool breezes will quickly lower you body temperature. (Patagonia has a light weight layer which meets all the criteria and works well.)

The same thing goes for bottoms – a light, relatively tight fitting poly work extremely well. I’ll write later on other layers but this really covers the first layer.

{ Comments on this entry are closed }

So, that’s how it looked???

August 12, 2009 Presentation

“Did you use any filters?” Invariably someone who views a printed photo will ask this question. This leads to the rhetorical question, “So that’s how it looked?” I’ve even witnessed photo galleries place signs that state “No filters were used on these images” – I assume to preclude the above discussion. I am not aware [...]

Read the full article →

A note about NatureViews’ “Photo Sites”

August 7, 2009 Photography

The Internet is truly a wealth of information – for virtually every known discipline. It’s also unfiltered, so caveat emptor. What I’ve included on NatureViews are sites from which I draw information and inspiration. These sites include 35mm, medium and large format preferences, Canon and Nikon advocates and both those that own cameras and photograph [...]

Read the full article →

Improving on the lens cleaning cloth

July 21, 2009 Equipment

It’s perfecting the little things, down to the last detail, that sometimes makes a difference in how productive, efficient and enjoyable an endeavor can be. For example, take the lowly lens cleaning cloth. One of the problems in using these “micro-fiber” wonders is that it’s often too easy to slip off the material and end [...]

Read the full article →

Oops…

July 12, 2009 Technique

One of the most maddening problems with camera bags is that they don’t close automatically. Pick up a bag without closing the zipper and camera and lens start falling all over the place. One way of mitigating this problem is through a visual reminder. Place a yellow tag or micro light on the zipper and [...]

Read the full article →

Bags

July 12, 2009 Equipment

I have to admit it, I’m a bag freak. The problem of course, is that if I change anything with my photo equipment, than the bag that used to work, no longer does. Being the minimalist that I am by nature, the bag needs to be small and un-obtrusive – but it also has to [...]

Read the full article →

Lens Hoods

July 12, 2009 Equipment

Nothing could be more mundane yet important than lens hoods – they reduce flare, protect the lens if dropped and make the front of the lens look really refined. Yet nothing is more frustrating and even comical than taking the hood on and off while adjusting your polarizer filter. To make matters worse, it’s impossible [...]

Read the full article →

The Standard “77″

July 12, 2009 Equipment

Most of the professions lens from both Canon and Nikon are endowed with a 77mm filter size. There are of course exceptions, such as long primes and wide angles like Nikon’s 14-24 2.8, but generally speaking, 77mm is the standard. This fact should not be underestimated. Efficiency in landscape photography, as well as any other [...]

Read the full article →