I recently returned from a family vacation. Although I mostly took snapshots, I did bring my Gitzo 1-series tripod for the occasional sunrise photo. Here’s the eastern shore of Kauai at sunrise, captured with my Fujifilm X-T1 and 10-24mm f/4 OIS Fujinon lens. The combination of the 18-135mm and 10-24mm lenses made for a great travel kit. Most of the time I shot with the 18-135mm, but in this instance I used the wider zoom to get the great perspective of the sky and ocean. Because I had my tripod, I was able to stop down to f/11 and get a 1/30s exposure, causing the motion blur in the waves. I really like the way the water blurs just enough to give this image a dynamic feeling.
When I’m on the road scouting locations or leading workshops, I use my MacBook Pro as my field computer. I store my images on a portable USB 3 hard drive and I use Lightroom on my laptop to manage, keyword, and process images.
The challenge with this approach is that Lightroom by its very nature is a single-user application. Unless you store your Lightroom catalog file on a portable drive, it means that you’re going to have to set up two catalogs: one on your main computer and one on your laptop. Keywords and adjustments are not stored in your images unless you use DNG files, so simply copying the images from the laptop to your desktop computer won’t preserve all your Lightroom adjustments. Continue reading Traveling with Lightroom: Moving images between two computers→
I’m pleased to announce that I’ve teamed up with Deborah Sandidge to develop a series of urban-oriented creative photography workshops that we’re calling “Digital Underground.” In these workshops, we’ll explore interesting locations with an emphasis on creative techniques and twilight/evening shooting. We’ll take a fresh approach to popular locations using long exposures, HDR, monochrome, infrared, and other creative digital techniques. We will also explore each location to include both popular and lesser-known shooting spots.
The best part of these workshops is that we’re deliberately keeping them small; ten photographers is the limit. That means you’ll get lots of personal attention from both myself and Deborah in the field, and we’ll be personally reviewing each photographer’s images during and after the workshop.
To kick off our 2014 series, we’ve chosen a really dynamic location: fabulous Las Vegas, Nevada! We’ve created a tremendous itinerary exploring not only the lights of the Las Vegas strip, but also some other cool locations like a ghost town and a private night photography session at the Neon Museum Boneyard.
As someone who does a lot of outdoor/landscape photography, great locations are important to me. Being in a photogenic location is a wonderful way to experience the outdoors. However, when you photograph a location can be just as important as where you are. The “when” of photography occurs on multiple scales. Within a day, within a year, and even across years. Consider one of my favorite locations to photograph, the South Dakota Badlands.
If you visit the Badlands like most tourists, you’ll arrive at a nice time during the summer after you’ve had your morning coffee. By this time of day, the sun is nearly overhead, and you’ll get photographs like this one:
Packing for a photo trip is never as easy as it seems. You either A) over-pack and make yourself miserable schlepping a 45-lb bag through airports, or B) forget some seemingly innocuous piece of kit that you wish you had. Of course, there is also option C) you bring too much stuff and still forgot something important. Here are some packing tips that I still need to remind myself about from time to time, so I figured blogging it would help get me straight.