June, 2009

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Shootin’ In The Rain In Guatemala

Sunday, June 28th, 2009
Vulcan San Pedro Accross Lago de Atitlan (c) 2009 Stu Estler

Vulcan San Pedro Accross Lago de Atitlan (c) 2009 Stu Estler

High ISO’s and wide open apertures were the order of the day much of the time here in Santiago de Atitlan.

Our Workshop Leader Jeff Speigner (c) 2009 Stu Estler

Our Workshop Leader Jeff Speigner (c) 2009 Stu Estler

Lots of clouds and light rain making way for the deluge of water as the skies opened up once or twice a day, tempered by a few breaks in the clouds here and there. After all, it is the rainy season.

(c) 2009 Stu Estler

(c) 2009 Stu Estler

The ebb and flow of weather shrouded volcano San Pedro across the lake in an ever-changing veil of mist and clouds.

(c) 2009 Stu Estler

(c) 2009 Stu Estler

Of course, the last two days were clear and bright in the morning, as if word of our imminent departure had spread, and the beauty of Guatemala was enticing us to return soon.

 

 View of San Pedro From My Room (c) 2009 Stu Estler

View of San Pedro From My Room (c) 2009 Stu Estler

As the morning passes, the warming air gives birth to rings of clouds halfway up the slope. By noon a tremendous cap of billowing cumulous clouds gives the mountain the appearance of a new eruption – even though it’s been dormant for 40,000 years.

The great white and grey mushroom cap foretells the afternoon’s weather – torrential thunderstorms.

imap-001-blogThe weather taught new photographers and reacquainted we veteran instructors with the beauty and peacefulness of the soft light that embraces every subject when photographing in the rain.

 

(c) 2009 Stu Estler

(c) 2009 Stu Estler

Colors that become washed out in bright sunlight are vibrant and saturated. The brilliant flowers growing everywhere burst from the lush blanket of green that defines the landscape. Everything glistens in the wetness crafting reflections not to be found when photographing on a clear, dry day.

I was prepared for the wetness there – I knew it was the rainy season. I did my homework and so anticipated the beauty of the environment and culture.

 

 

(c) 2009 Stu Estler

(c) 2009 Stu Estler

What has completely blown me away has been the incredible talent of these kids! I felt humbled being there teaching them photography.

 

 

 

(c) 2009 Stu Estler

(c) 2009 Stu Estler

 

Although they vary in experience and skill levels, their creativity, energy and ability is amazing.

(c) 2009 Stu Estler

(c) 2009 Stu Estler

 

To see what we’ve been up to take a look at www.design4kids.org

(c) 2009 Stu Estler

(c) 2009 Stu Estler

The next workshop is already scheduled for early December. New volunteers with specialties in photography, design and the arts are eagerly welcome! Check the Design4Kids website and keep looking right here for more info.

I’m told December is sunny and dry!

Wide Angle Wonders

Tuesday, June 16th, 2009

(c) 2009 Stu Estler

(c) 2009 Stu Estler

During my Kentucky trip, the question came up about wide angle and ultra-wide angle lenses. As I mentioned in the last update, some shots require as long a lens as possible – and sometimes that’s still not enough.

 

 

I do lots of shooting with wide angles in my work, and because of that I’ve become used to seeing the “wide view”, and tend to favor the wide angle look in a lot of my personal work.

 

One thing wide angles don’t do well is individual portraits. In order to fill the frame it’s necessary to get close in to the subject, and at close distances wide angles will create all sorts of distortion – especially to faces! Not very flattering.

 

On the other hand, for shots of larger groups, and especially large groups in tight spaces, wide angles are the answer. Since you’re shooting at a more normal distance, each individual is not as close to the lens, and distortion is minimal or not an issue.

 

Wides, and especially ultra-wides, are essential in shooting interiors when you want to capture the entire space. And they can be great for sweeping landscapes too.  The key to using wide angle lenses without getting weird distortions is not to have any part of the subject too close to the lens.

 

However, in art, and that includes photography, there are no hard, fast rules, and sometimes using the distortion effect from wide angles creates an unusual, interesting viewpoint.

 

Take a look at these photos of the sculptures at Lexington’s Thoroughbred Park, a small fountain and sculpture area on a downtown corner. The opening photo above was taken with a 16mm (equivalent) lens.

 

Just a quick mention of equivalent focal lengths. Even though digital has become the standard for photography, there are numerous digital sensor sizes, and one factor that determines whether a specific focal length lens will give a wide, normal or telephoto field of view is the relationship to the size of the sensor.

 

There’s a lot more to it, and I’ll go more into depth on that another time, but for now it’s enough to know that relative focal lengths are still quoted as the equivalent field of view to a 35mm frame (or a “full-frame” digital sensor, which is the same dimensions as 35mm film).

(c) 2009 Stu Estler

(c) 2009 Stu Estler

 

 

 

 

 

Anyway, back to the horses. While walking up to the sculptures, I took this overall view from behind the fountain. Not very interesting composition and lots of clutter from the street behind, but it documents the site. Could still make you do a double-take if you came up on it not expecting what is there.

 

 

Since the fountain was being used as a wading pool by a number of families and small kids, I wanted to eliminate that from my composition and concentrate on the horses.

(c) 2009 Stu Estler

(c) 2009 Stu Estler

 

 

 

 

 

The first shot from in front is at normal standing height, using about a 45mm lens – within the 40-55mm “normal” range. It avoids the clutter and confusion from the waders, but the sculptures still get a little lost in the trees behind them.

(c) 2009 Stu Estler

(c) 2009 Stu Estler

 

 

 

 

 

Next, I knelt down from the same spot with the same focal-length lens, giving a different perspective and getting more sky behind the sculptures. Not a bad shot and it works pretty well.

 

 

But I wanted to really exaggerate the look and feel of the running thoroughbreds, so I chose to use the ultra-wide 16mm.

 

The resulting view (the opening photo above) was taken just a few feet in front of the lead horses in the sculpture, kneeling down and looking up. It accentuates the feeling of being in the middle of the track as the horses rush by (and over!) you. The distortion of the lead horses amplifies the feeling.

 

I’m a big fan of working a subject form all vantage points, using different lenses and compositions. Sometimes the strangest view turns out to be the most interesting!

Old Friends, Horses & A Taste Of Kentucky Bourbon

Saturday, June 13th, 2009

Back from a trip out to Lexington, Kentucky – very appropriately named the Thoroughbred Capital Of The World. Everywhere you go and everything you do, you’re reminded that this is horse country.

 

I didn’t go there to visit horses though (although, as I said, they were an inevitable part of the agenda).

 

Twelve years ago my good friends moved from here in Maryland to Lexington to be closer to family and for a different quality of life. I’d made a trip out there right after they moved, but as I talked about in my post about uncle Rudy, life sort of got in the way and I hadn’t been out to see them since, nor have they returned here to Maryland.

 

I would regularly think “I need to get out there and see them”, but never made the trip. I knew that if nothing else got me there, I would go out for the high school graduation of their daughter Alex. I’ve known her since she was a baby and watched her grow up, until they moved away. Well, this was the time.

 

She was just five or six when they moved to Kentucky, and it is a joy to see the young woman that she’s become. Always creative and talented, she carried her love of ballet throughout her school years. Now she’s on to college and an amazing future full of possibilities.

 

Isn’t it interesting – sometimes we feel that we’re close to people, think of each other as good friends, yet unless we’re in frequent contact, we tend to become detached. A true expression of close friendship is when you can be separated by distance and time, then finally see each other again and feel like you’re picking up the conversation in mid-sentence.

 

This was that kind of weekend. We’re that kind of friends. Although we hadn’t seen each other in twelve years it felt like it could have been twelve hours. Sure, we’ve all grown in our lives, but the core feelings and beliefs that originally brought us together haven’t changed a bit.

 

We even all agreed that we all looked just like we did twelve years ago (except, of course, Alex). Like I said, we’re GOOD friends.

 

Mike has become a tremendously talented photographer, creating wonderful photos of ballet, and of the horses that define the area. I hope to share some of his images with you soon.

 

In addition to the graduation and celebration, the weekend itinerary included a visit to a premier stud farm and Lexington’s Keeneland race track where many past and no doubt future triple crown racers train.

(c) 2009 Stu Estler

(c) 2009 Stu Estler

 

Even if you have no particular attraction to horses you can’t help being drawn to the incredible beauty and power of these thoroughbreds. You begin to appreciate and understand the pristine farms that surround the area, with their miles of plank fencing and “stables” that rival the most exotic luxury homes I’ve seen.

 

Photographing these animals grazing in the field or at rest can be done with many cameras and in a variety of conditions. To truly capture their power and grace on the track, however, requires SPEED. Fast, long lenses and high ISO are the order of the day to freeze these creatures in action. Having an advanced SLR which allows you to follow with continuous auto-focus is highly desirable. And of course, the more you practice, the better your skills develop.

(c) 2009 Stu Estler

(c) 2009 Stu Estler

 

 

If California is about wine, and Milwaukee is about beer, Kentucky is certainly about bourbon. We think of the emergence and growth of boutique wineries, breweries and distilleries and a recent trend, but several of the elite bourbon distilleries in the central Kentucky area date back into the 1800’s.

 

It seems they all say the same thing – the secret is in the Kentucky limestone water. Whatever the secrets – and each distillery has it’s own – the fine bourbon that they produce is a long step above the typical off-the-shelf mass-produced liquors. Even though I’ve never been a devoted bourbon aficionado, I was duly impressed.

(c) 2009 Stu Estler

(c) 2009 Stu Estler

 

 

 

The tours typically take you through the actual distillery that produces the product. Some areas are the actual production facilities, while others, like the barrel-making display here, are set up to show the process which actually takes place elsewhere.

 

Photo opportunities abound and are welcomed and encouraged, though you may have to be at the head of the tour group or lag behind and wait for the rest of the people to move on if you don’t want your shots full of strangers.

 

Traveling to an unfamiliar location provides tremendous opportunities to look at things in a new way and stimulate your creative juices. Doing your homework to know what to anticipate is important, and exploring on your own can reveal unexpected treasures. Still, local knowledge, whether in the form of a professional tour guide or someone who is familiar with what the area offers, will afford insights that you may miss on your own.

Design4Kids Photography & Design Workshop

Tuesday, June 9th, 2009

Just a week and a day to the beginning of the 2009 Design4Kids workshop in Santiago de Atitlan, Guatemala. This year’s “dream team” of volunteer instructors has been assembled and is ready to go.

 

Started by FotoKids founder Nancy McGirr, this is the second Design4Kids workshop and the third workshop with the young people in Santiago. They continue to learn and develop their photography and graphic design talents with the purpose of operating their own design studio in the Atitlan area.

 

As in the past, the group will receive a real assignment from an actual client, and they will determine the client’s needs, design the concept and create the project. The team of volunteers is made up of commercial artists, graphic designers and photographers who will guide them along in the process.

 

The kids will be polishing their skills in design, photography and Photoshop, and along the way, they’ll develop and expand their creative talents, and learn possibility thinking that will teach them new ways of looking at themselves, the world and their own potential.

There’s more about the project and the team at http://design4kids.org and a complete overview of the Fotokids organization at www.fotokids.org

Experimenting The Possibilities of Digital Photography

Wednesday, June 3rd, 2009
(c) 2009 Whitney Klare

(c) 2009 Whitney Klare

    

I’ve mentioned my friend Whitney, Rudy’s granddaughter, and her passion for photography. She’s sent me a few samples of her work, and with her permission, I’d like to share them with you. She’s already an accomplished photographer, with a great eye for composition and design. From her work, I’m beginning to see that she has a strong interest in abstracts, in using the many tools of digital photography to create a vision of an alternate reality.

 

This got me thinking about how even when our intent is to create an image that doesn’t exist in our physical world, all of the skills and creative processes of photography still apply.

 

Being “old school”, and learning all of this well before digital came on the scene, I’ve been well trained in “getting it right in the camera”. Even with film and print-making, there are plenty of options for manipulating the image. But starting out and working with a pre-visualized result in mind is a true mark of your skills.

 

It’s valuable and important to develop your ability to do it “the right way”, both in shooting and in image processing and making adjustments, not to satisfy some “rule”, but because it gives you so much more control over getting the results you want.

 

Even with an abstract, and much more so as your images come closer to a vision of “reality”, being able to pre-visualize the shot you want, and understanding and working with the elements of light, composition and design to get those results at each step, makes your work that much more powerful.

 

(c) 2009 Whitney Klare

(c) 2009 Whitney Klare

 

 

A true testament to your skills is to be able to visualize an image that isn’t there in front of you, shoot it and adjust it so that the final result makes people believe that it is the reality that was there. That’s when they say “Wow, how did you get such an amazing shot – I’ve never seen it look like that!” (Whatever “it” is).

 

Those of us from the “old school”

realize that it was Ansel Adam’s not-so-secret print-making work, together with an exact system of exposing and processing his film that created the magnificent images that he pre-visualized.

 

So keep shooting, keep experimenting, and keep learning and developing your skills.