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NOISE REDUCTION IN DIGITAL PHOTOGRAPHY
TRAVEL
PHOTOGRAPHY
EXPLORING
TURKEY
& ALASKA
DYNAMIC
AIRSHOWS
EQUESTRIAN
PORTFOLIO:
EVENTS Lois Greenfield
10 TIPS
for Better
Travel Photos
DEMYSTIFYING
THE DIGITAL NEGATIVE
PHOTO ENCAUSTIC PART II:
ALTERED WORLDS
May/June 2013
phototechmag.com
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Previous Page | Contents | Zoom in | Zoom out | Front Cover | Search Issue | Next Page
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THE WORLD’S NEWSSTAND®
_________________
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pg. 41
pg. 54
Photograph © David H. Wells
Travel Journal
CONTENTS: 12 On the Road
Argentina, Italy, Mexico, New Mexico
and Laos
On Photography Harvey Stein
4 Interview: Brian Taylor and the

Photographic Narrative On Location
Mixed Media Meets Historic Techniques
Robert Hirsch
17 Turkey and the Art of
Travel Photography
Going Beyond the Postcard Approach
Portfolio Steve Dreyer
38 The Subtleties of Expression 27 Images in the Wilderness

A Conversation with Lois Greenfield Alaska: Braving the Wild Landscape
Bree Lamb David Shaw
Reader Assignment 34 Airshow Photography

Writing from Waterloo Wellington
54 10 Tips to Make Better Airshow, Breslau, Ontario
Travel Photos Fly Bys: How to Capture Adventure in
Putting It Together to Get “The Moment” the Air
David H. Wells Kevin Pepper
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FROM THE EDITOR May/June 2013 Vol. 34 No. 3
For me, the start of any great trip was always the breakfast at the beginning Publisher S. Tinsley Preston III
of the journey. It set the mood for the on the road adventure that was sure to
follow. Travel is a bit more challenging these days, but I often yearn for the Editor Wendy Erickson
Great American Road Trip or some other impossible journey that still is on
the proverbial bucket list. Creative Director Lisa Cordova
Production Roberta Knight
To inspire your quests for meaningful photographs, we’ve gathered some
unique locations and dynamic events: David Shaw guides you through the Online Content Coordinator Bree Lamb
Alaskan wilderness with his awe-inspiring photographs and Steve Dreyer
travels off the beaten path to Turkey. Harvey Stein shares his travel journal Newstand Distribution
with commentary about five of his photographs. Rick Sheremeta introduces Curtis Circulation Company
the equestrian sport of Eventing in Montana, and Kevin Pepper points his 730 River Road, New Milford, NJ 07646-3048
camera skyward at the Waterloo Wellington Air Show in Canada, all offering 201-634-7400 Fax: 201-634-7499
useful technical tips and hints on how to make better photographs along
the way. Retail Distribution
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Photographs” with the special opportunity to save big on a Fotofeedback
portfolio review of your travel photographs! Whew, I’m getting exhausted Advertising Sales Manager
just writing this. Roberta Knight
rknight@prestonpub.com
______________
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suppliers who contributed items and services! Rickard List Marketing
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In the studio and digital darkroom, Jill Skupin Burkholder is back with Part II 631-249-8710 x 118
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The article Introduction to Identifying 19th Century Images by Maureen Taylor

in the March/April issue of photo technique has been updated because of PRINTED IN THE U.S.A. by St. Croix Press Inc.
some inaccuracies and is available to everyone on our website phototechmag.
_________
com.
___ We regret the error.
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On the Cover
On Location Continued... Michael Lloyd Bartholome
43 The Event at Rebecca Farms Michael Lloyd Bartholome is a painter

Photographing an and photographer who has received
Equestrian Competition national awards for his graphic
merchandising. Michael is currently
Capturing the Training, Ability and pursuing his love of nature and art with
Strength of a Horse and the Bond photography and other mixed media in
Guanacaste, Costa Rica. You can reach
Image © Michael Lloyd Bartholome

Shared Between Horse and Rider him at headvase@optonline.net
______________
Rick Sheremeta
Nikon D7000, Nikon AF-S VR Zoom-Nikon

200-400mm f/4G IF-ED ll Lens. ISO 1400 at
Technique 400 mm, -0.7 EV, f/4, 1/2000
7 Noise Reduction in
Digital Photography
How to Manipulate Noise to
Your Advantage
Steve Anchell
22 Photo Encaustic: Part II

Altered Worlds
More Artistic Possibilities with Wax
Jill Skupin Burkholder
49 Demystifying the Digital

Negative: A Short Primer
Explore Simple and Convenient Digital
Options for Negative Production
Tom Persinger
Gear, Apps & Good Stuff

42 Special Product Raffles!
Canson Digital Darkroom Paper
Gum Printing and Other Amazing
Printing Processes
by Christina Z. Anderson
La Sardina Camera
PrintedArt
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Yeti Camera Strap
Page 56 Chris Boswell ___________

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Also on our Website...
The Fuji X-E1: Pint-Sized Photo
Powerhouse
Camera Review
David Saffir
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ON PHOTOGRAPHY
The Wolf On My Island, 2011. 15x22 inches. Handmade book, illustrated with toned gelatin silver photographs.
Brian Taylor and the

Photographic Narrative
Robert Hirsch
Brian Taylor innovatively explores alternative processes in- premeditating a scene and conjuring up images that
cluding historic nineteenth century printing techniques, mixed merge the outer appearance of a subject with our in-
media and handmade books. Taylor is a Professor of Art in ternal thoughts about it.
the photography program at San Jose State University where
he has taught for 30 years. The following are highlights from RH: Why work in this manner?
our recent discussions.
BT: I want to photographically portray scenes from
Robert Hirsch: How would you describe your ar- my imagination that do not exist in this world. Like
tistic voice? most artists, I hope my visions are worthy of your
time and consideration. Along with such egotism, I
Brian Taylor: My photographic practice involves vis- also keep in mind Ernest Hemingway’s idea of a “crap
ualizing the poetic interior views of my subjects and detector,” working hard, scrutinizing one’s art and not
communicating these visions to others. Most photog- wasting a viewer’s time.
raphers act as hunters in search of a preexisting scene:
without a specific image in mind, they stalk the elusive RH: Discuss the evolutionary arc of your work.
“wild” photograph. In 1941, Ansel Adams didn’t plan
on photographing a moonrise over the tiny town of BT: Having studied with Oliver Gagliani, a master of
Hernandez, New Mexico. Another approach involves large format photography and the Zone System, I have
4 photo technique M/J 2013
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BRIAN TAYLOR AND THE PHOTOGRAPHIC NARRATIVE ROBERT HIRSCH
conservative roots. Ansel Adams and Minor White

were my early heroes. Ansel reminded us, “Every mu-
sician must learn to play their instrument before they
compose their own piece.” My strict Zone System ed-
ucation taught me how to play the instrument of black
and white photography so I can now break the rules
and improvise. Eventually, I came to realize that a tra-
ditional photographic voice was not my voice. I want-
ed to imbue my photographs with more of a human,
handmade touch.
I have the highest respect for fine black and white

printing, but now I commit heresy by drawing, paint-
ing and tearing photographs. I savor the tactile plea-
sures of making art by hand. I enjoy the organic ex-
perience of brushing non-silver photographic emul-
sions directly onto textured watercolor paper. I take
pleasure in the physical surface and beauty of archival Somewhere, A Man’s Shoes Are Wet, 2005. 15x22 inches. Handmade
19th Century processes, for they require the artist to book, illustrated with toned gelatin silver photographs and hand coloring.
slow down and contemplate the image being printed.
RH: How do you define your approach to the BT: Contemporary art trends aside, it will be a sad day
landscape? when beauty no longer has value in our lives. I aspire
to make beautiful art because it’s the best way to en-
BT: My definition of a landscape includes everything gage people, to have them pause and consider your
from mountain ranges to inner city sidewalks. I am artwork no matter the content, whether it is scathing
drawn to the intersection between nature and the ev- social commentary, lighthearted humor, or dealing
idence of mankind, where the outreaches of civiliza- with issues of mortality. Beauty is a measure of per-
tion begin to blend into wilderness. fection. It lets you know when all of the pieces are fit-
ting properly. I am reminded of the old English gun
RH: How did you come to make handmade books? makers who would pick up a finished gun, weigh it in
their hands and then give their highest compliment:
BT: I often feel that the single photograph is just “It feels all of a piece.” For me beauty is when all the
not enough, that I have more to say. I started making pieces fit together.
open books in the early 1990s and continue to find
it wonderfully liberating. By juxtaposing one photo- RH: What are the social implications of your
graph next to another, a relationship is created that is work?
greater than the sum of its parts. Sometimes I’ll even
tear pages in the gutter of my open books to include BT: Some photographers, like Robert Adams, whose
just a few words between two images, like Haiku, ex- work examines the changing landscape of the Amer-
panding the work’s narrative possibilities. ican West, feel photography is really not a powerful
medium to bring about social change. I share his view
RH: Why is a narrative vital to your art making? that art’s purpose is to help viewers get to YES. This
is the recognition there can be hope in art, which can
BT: Beyond the trillions of images that have been serve as an affirmation that helps people reengage
taken since the birth of photography, one can safely with the world. Such a reengagement may well im-
say everything on our planet has been photographed. prove our society.
Why make yet another photograph of something that
already exists? What people have to offer is their nar- RH: What is different between analog and digital
rative, their story of living in this world. I offer Brian tools?
Taylor’s (often quirky) perspective.
BT: I live in San Jose, California (Silicon Valley) and
RH: What role does beauty play in your work? years ago I was asked to beta test a new software pro-
phototechmag.com 5
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ON PHOTOGRAPHY
All Images © Brian Taylor

Little Pink Houses, 2006. 16x22 inches. Handmade book, illustrated with Places of Magic: Stonehenge, 1987. 16x20 inches. Gum bichromate
toned gelatin silver photographs and hand coloring. exposure over cyanotype, with mixed media.
gram called Photoshop. This lead me to realize that RH: What makes someone a good picture maker?
making digital photographs meant sitting in front of
a monitor pushing pixels around a screen, while tra- BT: Visually, we should remain an open vessel and
ditional photography has you standing up, interact- work against how our brains filter out much of what
ing with the world more, moving around a darkroom. we encounter. I tell my students they should go home
Each of us is free to decide how we want to work and thoroughly exhausted from keeping their eyes open for
choose the medium that feels right. photographic possibilities. Look at lots of photographs.
Go to galleries and museums and scrutinize work so
RH: How has digital imaging affected your role closely that guards yell at you. Read poetry to learn
as a photo educator? how to express your ideas in an economic way.
BT: For today’s students, it is a 100 percent digital Give yourself permission to explore anything in your
world and we owe them a relevant education. And yet, art. Do not criticize yourself or your art too soon, but
there appears to be a “rediscovery” of film and silver once you have made the work subject it to rigorous
prints among many young photographers. They feel a scrutiny before sending it out in the world. Form a
greater sense of achievement in claiming their hand salon group with your friends. I am part of a group
touched and created the image in a now exotic dark- that meets once a month and we give each other won-
room−it feels more of an accomplishment than tap- derful feedback. You will always get differing opin-
ping Control P on a keyboard. ions, however in the end the most important thing
is to trust yourself.
RH: What have you learned about photography?
Editor’s Note: You can see more of Brian Taylor’s work at
briantaylorphotography.com
BT: Susan Sontag posited that photography gets be- Robert Hirsch is author of Light and Lens:
tween an experience and us. For me it is the opposite. Photography in the Digital Age, Exploring Color
Photography: From Film to Pixels; Photographic
In the chaos of our over stimulated lives, photography Possibilities: The Expressive Use of Equipment,
allows me a deeper connection with the world; I never Ideas, Materials and Processes; and Seizing the
Light: A Social History of Photography. Hirsch
look so closely as when I have a camera with me. One directs Light Research, a consulting service
of my artistic ambitions is to organize this turmoil and that provides professional services to the fields
of photographic art and education. For details
crystalize it into a narrative that makes sense of our about his visual and written projects visit:
human condition. lightresearch.net. Article ©Robert Hirsch 2013.
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NOISE REDUCTION IN DIGITAL PHOTOGRAPHY STEVE ANCHELL
Noise Reduction
in Digital Photography
Steve Anchell
Much has been made of digital noise being similar to
grain in film. And like film grain, the photographer
needs to decide to use it or lose it, often depending on
the image. For example, if the image is a landscape
meant for large format reproduction, then noise is a
bad thing, with less being better. On the other hand,
if the image is a street scene or a music show, then
noise can add a gritty, gutsy feeling, one that is lost by
eliminating all the noise. Even if you choose to keep
the noise it helps to know what it is and what causes it
to occur. With a little knowledge you can manipulate
noise to your advantage, either accentuating or min-
imizing its appearance.
It may help to know that noise is not unique to digital

photography, but a side effect that occurs with all
electronic devices, for example, the background hiss
of a radio, or the distorted sound of an over-amplified
guitar. In many cases it is accentuated by heat. Heat
caused by the rapid movement of electrons across a
circuit, and ambient heat from physical surroundings.
Both of these have an adverse effect on the quality of
digital images and the appearance of noise.
Something else to consider: as the camera sensor ages,

noise becomes more pronounced. This means that
unlike film cameras, digital cameras should be re-
placed every few years. A general rule of thumb for
high-end cameras is after every 100,000 actuations Figure 1. Mel Brown at Christo’s Lounge in Salem.
(shutter releases). This image was taken towards the end of the set and the noise
is substantially worse than at the beginning due to the sensor
becoming overheated. Leica M9, 50mm f/2 Summicron lens.
In digital photography although there are several ISO 2500, f/4 @ 1/30 second.
types of noise, three types are the most prevalent.
These are color, luminance and hot pixels. Major camera Which brings me to ruminate as to why camera
makers address this noise with some degree of success, makers are vying to squeeze more pixels on sensors
particularly in high-end cameras. than ever before. There are two reasons, one is because
they can and it helps to sell cameras, and the second
All three are more pronounced when too many pixels is because they assume you will be able to minimize
are squeezed onto the surface of the camera sensor. noise through the use of software.
phototechmag.com 7
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TECHNIQUE
They can do the first because photographers have no

choice other than to buy their over-pixilated cameras;
they can do the second because there is software
available to reduce the noise, including a High ISO
Noise Reduction (NR) setting in most high-end cam-
eras. The problem with the software solution, including
the High ISO NR camera setting, is that eliminating
noise almost always results in some degree of image
degradation, particularly in the area of sharpness.
As far as the High ISO NR setting, I suggest leaving it

turned off. It slows down the write speed of the camera
and produces a less sharp image. The NR algorithm it
applies can be done with a greater degree of control in
Lightroom (LR) or other NR software programs with
Figure 2a. Dominoes at Night, Havana. This image was recorded using an
ISO 3200 setting on a Leica M9. The exposure was f/5.6 at 1/25 second. better results. The following is a brief explanation of
the three kinds of noise, which I feel are important
photographers to know about.
Luminance noise is an overall effect that is similar to

film grain, to which it is often compared. It is evenly
distributed across an image and is usually the result of
using a high ISO. With most pre-2011 camera models
that would be ISO 800 or higher. With newer cameras
that would be ISO 1600 or higher.
Color noise appears on the screen or in the print as

small red, green, or blue dots and is mostly seen in
shadow regions. Long exposures, more than one or
two seconds, will often greatly increase the incidence
of color noise, as will simple underexposure. Moving
the histogram to the right, that is, overexposing, will
Figure 2b. This closeup detail shows a high incident of hot
help to eliminate color noise, though it may result in
pixels, which appear as white pinholes throughout the image. image blur due to the long exposure time.
Both luminance and color noise can be controlled in

the camera by using wider aperture lenses such as
f/1.4, f/1.8, f/2.8, for shorter exposure times, and a
lower ISO whenever possible. However, using a large
aperture will limit your depth of field, should this be
a consideration.
The last of the three, hot pixels, is not as prevalent

today as it once was due to software solutions built
into newer cameras. Hot pixels appear as white pin-
holes in an image. There are several causes, but the
most common is due to the sensor heating up. One
is leaving the camera in the heat, say the front seat
of your car where the sun strikes it, or in the trunk.
Another is simply photographing too fast, or for
Figure 2c. Applying the Lightroom Grain−Medium preset sustained periods, which often happens with action
eliminates the hot pixels. photography; electrons passing through the sensor
cause it to heat up.
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Figure 3. When using the NR panel in LR, start by eliminating color noise before reducing the overall luminance noise. When the noise is substantially
reduced, add sharpening.
I often photograph musicians, such as drummer Mel _______________________________________

Brown for Christo’s Lounge in Salem. I will photo-
graph almost continuously for a full 45 minute set.
The first few images will have significantly less noise
than those toward the end−in fact, in images made
the last twenty minutes the noise almost overpowers
the image in areas of fine detail. Figure 1 was taken 23
minutes into a set and shows substantially more noise
than those taken earlier.
As mentioned, there is a simple algorithm used by

many camera makers that recognizes hot pixels and
replaces them with the most likely color, based on an
average of its nearest neighbor pixels. This works very
well in most cases, but in extreme cases hot pixels may
still appear. A simple fix that works most of the time
is to add a light or medium film grain pattern to the
image. These are often available as presets in image
processing programs such as Adobe Lightroom 4.
Figures 2a-2c.
A side benefit to using film grain is that it creates

an even pattern across the entire image, helping to
improve the appearance of luminance noise, while not
eliminating it.
phototechmag.com 9
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TECHNIQUE
Figure 4. Noise correction using DxO Optics Pro 8, including adding micro-contrast to improve the overall result. DxO is a stand-alone program that
considers every aspect of image enhancement.
Although eliminating hot pixels is fairly simple, color flexibility to sharpen the image by moving it to the
and luminance noise are problematic. Most, if not all, right. Too far though, and the grain effect comes back
approaches to noise reduction depend on smoothing with a vengeance.
the edges of the pixels, resulting in varying degrees
of sharpness loss in the image. LR4 has a fairly good The final slider in the LR Noise Reduction panel is
noise reduction program, under the Detail panel. used to increase or decrease the contrast of the image.
Figure 3. In a way this is a “touch-up” tool to repair some of the
damage done by the other corrections. In a seriously
If you use the Noise Reduction program in LR start noisy image it can help. But if you go too far to the
by reducing the Color Noise first, even though Adobe right the image might start looking “blotchy” in some
has placed Luminance on top. Preview the image at areas. As with all noise corrections, use judiciously.
1:1 then slowly move the Color slider to the right
until the color pixels disappear, then stop. In order to Overall the noise reduction program in LR does a
maintain as much sharpness as possible don’t go any pretty good job−better even than the one in Photoshop
further than you need to. Once the color pixels are (PS), though it doesn’t allow local control, as does PS
gone, they’re gone. (local control is available in LR through the brush
tool, but there is no custom control as there is with the
The Color Detail slider controls how the edges will be NR panel). But is there a better way to tame noise?
affected. The default is 50 and I usually don’t like to go Actually, there are several noise reduction programs
much more than that. available. Two good ones are Noiseware Professional
and DxO Optics Pro 8.
With the color noise minimized move to the Lum-
inance slider to minimize the overall grain effect. DxO Optics Pro 8 is a stand-alone suite of powerful
Again, slowly move to the right until the luminance tools for correcting everything from lens distortion to
noise smoothes out. You may need to leave some lum- noise. DxO is exceptional in that the company based
inance noise simply to keep the image from becoming their software on acquiring and testing as many camera
too soft. The Luminance Detail slider works similarly and lenses as possible and creating profiles based on
to the Color Detail slider, but you have a little more each individual camera. So when you upload an
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Figure 5. Noiseware is a plug-in for use inside PS, PS Elements and Apple Aperture. Of the three programs shown it allows the user
the most control over noise reduction.
image for correction the program reads the embedded If you are looking for a professional program that con-
EXIF metadata file and tailors the corrections to the tains complete image enhancement tools, even beyond
camera and lens that was used. There is probably no those normally found in image editing programs such
better all-in-one image enhancement or correction as LR, then you should consider DxO Optics Pro 8.
program available. Figure 4. If you have PS or Aperture and all you need is noise
reduction then Noiseware may be a better choice than
Noiseware is one of three programs developed by purchasing the entire DxO suite.
Imagenomic. Their other two products are Portraiture:
Skin Retouching and Realgrain: Film and Grain.
Figure 5.
Noiseware works as a plug-in with PS, PS Elements Steve Anchell is a photographer and writer.
He teaches digital and darkroom classes at
and Apple Aperture. What makes Noiseware unique is Oregon State University. Twice a year he leads
that instead of using the standard method of applying a groups of photographers to Cuba.
For more information visit his web site,
median filter to the image to subtract noise, Noiseware www.anchellworkshops.com
has created its own proprietary noise-filtering algor-
ithm. This program has the most complete set of Resources
controls for reducing noise while maintaining quality Adobe Lightroom 4-adobe.com;
_______ DxO Optics Pro 8-dxo.com;
_____
Noiseware Professional-imagenomic.com
__________
and sharpness.
phototechmag.com 11
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TRAVEL JOURNAL
On the Road
Harvey Stein
All Images © Harvey Stein
Woman in Recoleta Cemetary, Buenos Aires, Argentina

I took my students to this world famous cemetery to photograph the tombs and buildings
that closely surround the cemetery. Eva Peron is buried here. We went on a Sunday
morning in February, 2012, summer in Buenos Aires, and it so happened that there was a
major burial about to happen. The richest lady in Argentina was being buried, as a result,
there were throngs of media and people milling about waiting for the ceremony to begin.
This woman was standing beyond the crowd, I liked her bearing, strong look and colorful
attire. I used on camera flash as the main light, underexposing the ambient light two-
thirds of a stop to slightly darken the background. As a result, she is brighter than her
surroundings and she becomes even more prominent. I used a 16mm focal length lens.
This allows me to be close, involved with her and simultaneously get lots of environment
into the image.
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ON THE ROAD HARVEY STEIN
Two Woman Talking, Siena, Italy

I taught photo workshops in Italy from 1996 to 2008, and it’s one of my favorite countries.
It offers great food, history, art, scenery and very accommodating people. And a favorite
city is Siena, it feels very medieval in its architecture and streets. For this image, taken
in 1999 with my Leica M4, 35mm lens, I was standing at the entrance on a bus (this is an
outdoor bus station) waiting for it to leave and saw the two ladies talking very excitedly.
I waited and took probably four photographs, this being the best. Of course, her facial
expression says it all. But I also enjoy the passengers waiting on the other bus, each is
in his/her own space and world, some weary, some patient, some daydreaming. I always
carry my cameras, especially on buses, trains, airplanes, even subways. You never know
when a great photo opportunity will occur.
phototechmag.com 13
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TRAVEL JOURNAL
Hooded Figure, Querétaro, Mexico

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sights not even imagined here, and the warmth of the people is intoxicating. I’ve been
photographing there since 1993 and hope to do a book of my photographs made there.
This image was taken in March 2008 during a silent procession in Querétaro as part of the
Easter holiday. The procession dates back to the 14th Century and it’s been said that the
Ku Klux Klan got the idea for the use of hoods from this event. I plan workshops around
major proceedings in the country. For Mexico, an amazing week is Semana Santa, Holy
Week. It’s filled with religious processions, mostly at night, that offer exciting shooting
XW[[QJQTQ\QM[1][MLÆI[P_Q\PI[TW_[P]\\MZ[MK\PI\XZWXMZTaM`XW[ML\PMXMZ[WV
and simultaneously underexposed the background, but with enough light to give some
details behind the person. He is stopped, but his slight movement caused some ghosting
on his left side and my movement caused blur in the background. I’m low, shooting up
with a 28mm lens, for me, this all adds to the mysteriousness of the scene.
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ON THE ROAD HARVEY STEIN
Carly Through the Van Window, Outside Taos, New Mexico

I love New Mexico, it’s like being in another country, it thrives with three cultures, Anglo,
Hispanic and Native American, often in an uneasy truce. The state is beautiful, startling
and a bit surreal. I’ve taught workshops there for the International Center of Photography
(usually in August) for the last 10 years. Carly was a student in the 2011 workshop; we
were traveling in our van from Taos (our base) to Las Vegas, New Mexico, an old town
with a storied western past. We stopped to photograph a landscape view off the road and I
asked Carly to stand behind the open door. The frame of the window provides a compelling
visual, and looks quite large in relation to Carly and the background as a result of the
16mm lens. An added benefit, not that I noticed right away, is a profile view of Carly in
the mirror. I love using mirrors, window frames, etc., anything that enlivens the images
with strong lines and shapes.
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TRAVEL JOURNAL
Three Youths, Luang Prabang, Laos

I traveled to Laos, Cambodia and Thailand differences shown among the three. One is
for my workshop in February, 2011. It was wearing a tee shirt and without shoes, one
\PM ÅZ[\ \QUM QV )[QI NWZ UM IVL _PI\ IV is somewhat bundled up, one is smoking
adventure. In nearly a month, I must have and wearing gloves. I enjoy the youth
photographed nearly 1,000 people, and not leaning on the tree, as if it were made for
one person I approached said no; a paradise him to use exactly in this way. Because the
for photographers who specialize in TQOP\Q[[\QTTTW_1][MLIÆI[PM`XW[MLI\
photographing people. I found these three 1/25th of a second and again employed a
young men hanging out off a main street 16mm lens at 640 ISO.
in Luang Prabang, a French influenced,
beautiful, small and accessible town on the Harvey Stein is a photographer,
teacher, lecturer, curator and author of
Mekong River in Laos. I was photographing five books of photographs: Parallels:
A Look at Twins (1978); Artists
monks asking for alms very early one Observed (1986); Coney Island (1998);
morning. It’s around 7am and lots of people Movimento: Glimpses of Italian Street
Life (2006) and his last book, Coney
are already on the streets. This is the Island 40 Year (2011). His newest
book, Harlem Street Portraits, will be
first image of 10 that I did of this group (I published this fall.
always try to take many images of a subject, He is the director of photography at Umbrella Arts Gallery in
New York City and has curated/juried 24 exhibits since 2007.
people included, if I like the situation). In Stein’s photographs have been published in magazines such
as The New Yorker, TIME, LIFE, Esquire, American Heritage,
subsequent images of them, I got closer Smithsonian, Glamour, Forbes, Playboy and People. He is a
and we spoke some English. But I like this faculty member at the International Center of Photography and
teaches his own workshops in Asia, Europe and Latin America.
photo best, for it’s environment, and the See more of his work at harveysteinphoto.com
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TURKEY AND THE ART OF TRAVEL PHOTOGRAPHY STEVE DREYER
Hagia Sophia, Istanbul
Turkey and the Art of Travel Photography

Steve Dreyer
There are many articles on travel photography that hit the usual “hot button” checklist, but many
photographers want to make their images more unique than the typical photos seen in travel brochures
or on the web. This article is about my recent trip to Turkey and how I approached several situations in
the field. Turkey had never been on my list—until recently. A country divided between Asia and Europe,
it seemed like a great place to make interesting images, even of often-photographed locations.
phototechmag.com 17
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ON LOCATION
This is not so easy when you are seeing a country for

the first time and on a schedule. After all, you don’t
want to miss anything as you go from place to place.
In this article I describe why I took certain types of
images and what went into making them in the field,
which is where it all starts.
The photographer makes the picture, but you also need

to decide on the right equipment to put in your bag.
It’s always a balance between traveling light and taking
what you might need based on your research. I took
my Canon 5D Mark III, which is great for low light,
high ISO and normally high noise situations just in
case I could not use a tripod for long exposures. I took
a wide-angle zoom and a couple of longer fixed length
lenses. There are times when a relatively heavy, more
obvious DSLR is not what you want, so I pocketed my
Canon S95 point and shoot, which came in handy.
My pre-trip research included reading about histor-

ical and modern day Turkey, looking at Google Maps,
weather projections, reading blogs and yes, looking at
travel brochures (mostly to know what I did not want
to do). I like to have spontaneity in my work, but I
did write down notes and ideas about what might
be interesting in Istanbul, Cappadocia, Ephesus and
Bodrum. Following are notes from some of these
places that might help you if you travel to Turkey and
other locations.
Istanbul
I knew I was going to see the Blue Mosque and of
Cave for Sale, Cappadocia course I photographed it from the outside, as you’d
see in just about every travel brochure. But I was
I wanted to capture historical, cultural and modern more interested in taking photographs of interest-
aspects of the country during my trip. I spent time ing angles and ceilings inside of the Hagia Sophia
in Istanbul, Cappadocia, Ephesus and Bodrum. All Museum and the underground Basilica Cistern. It’s
different, and all a photographer’s dream come true. easy to forget, but looking above, below and to the
sides of where you are standing can produce the most
Before the Trip interesting images.
It’s always a good idea to think ahead about your
goals. It may be that you are on a client assignment, Originally built as a Byzantine church and mosque
preparing for an exhibit, intending to create a book, in Istanbul, Hagia Sophia is considered by many to
or posting work on your web site. Many people simply be one of the most interesting structures in the world.
want to enjoy and record memorable, more traditional Many of the photographs that you see focus on the
images of the sites they visit. It doesn’t matter what outside of the building or the wide expanse of the
your goals are, but it’s important to think about them inside, with visitors appearing in the images.
ahead of time so you’re not disappointed on your
return.I like making fine art images and those that tell I planned to make images of the inside of the build-
a story, either real or imagined by the viewer. I want ing. I looked from side to side, but I was mostly struck
to capture the essence of a place and the people in it. by the interesting symmetrical patterns on the ceiling
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and wanted a tight shot to show them off. Of course

the ceiling was far from where I was standing, but I
was prepared with a long lens. I shot multiple expos-
ures with a fixed aperture so that I could get detail
in the figures and reduce blown-out light through
the windows.
Cappadocia
Cappadocia is known for its cave houses that are built
into the sides of mountains. And it can be difficult
to see them as high noon approaches because of the
deep shadows. Sometimes you just have to get up
close to get away from the sun if you want to make
an image that brings back the feeling that you had
when you were there. Rather than show a large
mountain with many caves, I chose to get close to one
of them and stood on a rock to bring me to the level
of the entrance.
Taking photographs of local scenes that tell a story is a

good way to differentiate your images from the usual
and bring back special memories. I was walking to a
restaurant that was known for its food, and particularly
for its tomato sauce. As I approached the building I
saw a woman stirring the sauce in a large outdoor
pot over a hot flame. But aside from the sauce-in-the-
making, I was fortunate to notice and capture the sign
on the wall behind it, which will always remind me of
those cave dwellings in the rocks! (See phototechmag.
__________
com
___ for more of Steve’s photos from Cappadocia).
Ephesus
I was interested in seeing Ephesus for examples of the Ruins, Ephesus
Roman influence on Turkey. The tourist site of the ru-
ins was very crowded, and I’m not a big fan of tak- capture images at a market, especially when there are
ing photos of other people taking photos, even if they a lot of people milling around. It’s useful to do a quick
are of the well-known and often-photographed sites. walk around survey and then wait for an expression,
If you want a different perspective (pun intended) look a conversation or an activity that catches your eye.
up and see what others are taking from afar. Doing so A lot of patience and a quick press of the shutter are
and shooting tight can uncover details such as ancient definitely required.
text and architectural elements, and will often pro-
vide you with a more memorable and interesting view Amphorae, which are of different shapes and size, were
of things. used on ancient ships to transport liquids, grains, olives
and other items. In more recent times, sponge divers
Bodrum recovered many of them from shipwrecked vessels. I
One of my favorite places to go is to a local market. saw amphorae safeguarded behind glass cabinets. It
They do tend to be very colorful because of the food was a challenge to photograph them because I didn’t
that’s on display, and that’s what you usually see want any glare or reflections in the photograph. One
photographs of. But color can be distracting, and way to take care of this is to use a polarizer. If you are
I am a fan of black and white street work, as it can indoors, as I was, you’ll need to use a large aperture
create a special feeling about a place. It’s not easy to and high ISO and let in more light, which can result
phototechmag.com 19
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ON LOCATION
Vendor Counting Change, Istanbul Street Market, Bodrum
in some noise. I took several photographs of them, as Summary

I thought they were interesting, out of the ordinary I relaxed a little at the end of the trip in a modern
travel-related images. They might even look good on hotel in Bodrum, assuming that I was done with my
the wall as artwork! photographic journey. Then one night I looked at the
pool, and surrounding it were several brightly lit mo-
Street Photography dern structures that by design resembled the conical
Being in the right place at the right time cannot shapes I saw in Cappadocia more than a week earlier.
always be planned, but if you always take your camera
with you and look for signs of people going about I could have just used my tripod to take photos of the
their business, you may be lucky enough to spot an modern conical shapes. But I wanted them to look
everyday activity that will remind you of the place older, like the wonderful natural structures I had seen.
you’ve visited. I was leaving one of the tourist sites and Getting in close and a little bit of work in the digital
happened to turn around to see a vendor counting, darkroom gave me something more memorable than
and it looked like weighing his change. what was in the hotel’s brochure.
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All Images © Steve Dreyer

Amphorae, Bodrum Modern Conicals, Bodrum
I like to try new ways of viewing the world when I

Editor’s Note: You can see more of Steve’s photographs from Turkey on
travel, and have been making a conscious effort to the photo technique website and his website listed below.
create images that are different from what I can
see in brochures and on the web. It’s difficult to be Steve Dreyer is a New York-based photographer,
educator and writer specializing in fine art color
unique with every one of the images you bring home and black & white images. His work, which
from your travels. But planning, thinking ahead and includes landscapes, street photography and
portraits, has appeared in numerous art exhibits.
making the attempt in the field can be very rewarding.
I recently told a friend that I wanted to write this Steve also delivers workshops and creates
eBooks on a variety of photography topics,
article about making more interesting travel photos. including composition, digital workflow and
post-processing software. For more information,
He smiled and told me that this topic came up during visit his web site at stevedreyer.com and his blog
a conversation he had with another photographer, at stevedreyerphoto.com
who said something like “if I want the everyday travel
photos, I’ll buy postcards.” I couldn’t have said it Resources
Canon-usa.canon.com
_________
better myself!
phototechmag.com 21
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TECHNIQUE
Three Trees
Photo Encaustic: Part II
Altered Worlds
More Artistic Possibilities with Wax
Jill Skupin Burkholder
Beyond the Basics paint aisle, having our imaginations tickled by the colors and
A photography student showed up on the second day of an smells of classic art supplies.
encaustic workshop with a huge smile on her face. After
learning the basics on Day One, she had gone into a local In the “photo technique” article “Photo Encaustic: Part I−
art supply store that evening and roamed the aisles. “For the The Basics & Beauty of Beeswax,” I gave step-by-step
first time,” she said with a grin, “I felt like I belonged there.” instructions on how to print a photograph, attach it to a
I knew exactly what she meant. As photographers, we share board and apply a coating of encaustic medium (a blend of
a history of chemistry, foul concoctions and magical toners beeswax and damar resin). Next, we gave the photograph an
but rarely do we get the chance to enjoy a stroll through the artistic dash of texture and darkening using pigment sticks to
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PHOTO ENCAUSTIC: PART II JILL SKUPIN BURKHOLDER
create an atmospheric vignette, gracing the corners

with distinctive shadows. We covered the critical
rule of encaustic−to heat fuse each layer and to use
materials that accept wax and are porous.
“Photo Encaustic: Part II” takes a plunge into
the altered world of mixed media and encaustic
painting−a creative place where photographers can
romp and play with abandon.
Adding Color with Masks and Stencils

Color is added to an encaustic piece in two
ways. Pigment sticks are crayon-like mixtures
of pigment, wax and oil that can be rubbed
directly on a wax surface and blended with
linseed oil. This strong color is added on the
final layer of the encaustic piece and left to air
dry (some pigments have a dry time of weeks
Enhancing texture with a pigment stick
or months).
The other popular colorizing method is to

slice a tiny bit of pigment stick and add it to
a small amount of melted encaustic medium.
This brings us to another piece of equipment
for your encaustic studio−the electric pancake
griddle with a temperature control. On this
hot surface, you can rest a large number of
small metal containers (cat food or tuna cans)
each holding a different color of encaustic
medium. All of your colors can be lined up
in a row, every one with a separate natural
bristle paintbrush. The good news is that you
never have to clean your brushes if the can is
cooled with the brush in the wax!
The hot pancake griddle is also called a

The palette with colors
palette, a useful surface for mixing colors of
encaustic medium. For safety, purchase a flat,
surface thermometer that gives a reading di-
rectly from the griddle surface (available from
R & F Handmade Paints). Wooden clothespins
can be clipped onto the cans to assist you in
rearranging your palette. No need to get high
tech here!
The pigment stick and encaustic medium

together is known as encaustic paint. Pigment
in powder form can also be used to make
paint but the added danger of having airborne
pigment particles is not worth the trouble for
most photographers working in encaustic.
How big a chunk of pigment stick is combined

with how much encaustic medium? Here’s
Painting a color using a masked area
phototechmag.com 23
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TECHNIQUE
Stencils are removable objects or sheets with open

areas that can be painted to form patterns. They can
be made of plastic, tape, cardboard or other materials
such as lace or netted drywall tape. For best results, the
encaustic surface should be smooth, without texture
and the stencil should be pushed into the wax to form
a seal. Sometimes it’s helpful to coat the back of the
stencil with spray adhesive to help it cling to the wax.
After the encaustic paint is applied, the new surface is
fused briefly with the heat gun before the stencil form
is removed. This keeps the design edges from being
destroyed by the fusing process.
Layers of Images
So what happened to the “photo” part of Photo Encau-
stic? In Part I, we attached the photo directly to a
board and built the piece from the photo upward.
Using netting as a stencil
Actually, photos can be added at any point in the
creation of a piece−the bottom, the middle or the
top layers. This layering effect allows for intriguing
combinations of overlapping images or a glimpse of
old letters, postcards or other ephemera.
The key to successful photo layering is to print pho-

tos onto porous substrates that allow wax to travel
through the material. Handmade Japanese papers
such as Gampi or Mulberry can be purchased in a
thickness heavy enough to easily go through an ink-
jet printer.
Be sure you are using papers that have NOT been

coated for inkjet printing. Most high tech inkjet
surfaces are made to prevent ink from traveling into
the paper. It’s this feature that keeps digital fine art
papers from allowing wax to permeate the paper.
Most of these will not work well for encaustic.
Incorporating collage elements with photography
Exceptions to this rule are the cotton and silk inkjet

one of the great things about encaustic. You can create materials by Jacquard. Both fabrics make a beautiful
color having a range of transparency from deeply print and when the paper backing is removed accord-
opaque to a light tint, simply by adding more clear ing to the directions, images can be waxed into an
encaustic medium. encaustic piece with no problem.
Now that you understand how to make medium in Images can appear to be floating in an art piece with-
a variety of colors and transparencies, there are de- out showing any evidence of paper edges by printing
lightfully easy ways to paint shapes and areas. Masking on extremely thin, porous paper. An inexpensive yet
refers to covering areas, keeping them free of paint. strong printing material is interleaving tissue, usually
Blue painter’s tape (from the home improvement store) used to protect photographs during storage. Although
adheres nicely to the waxy surface, masking off areas being a printing paper isn’t its intended purpose, the
of your art piece. Use this “tape mask” to color half of extremely thin sheet is archival and available in many
a board or place two strips close together to make tiny sizes. It must be taped onto another piece of paper as a
stripes. It’s up to you! carrier when going through the inkjet printer.
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PHOTO ENCAUSTIC: PART II JILL SKUPIN BURKHOLDER
With any of these materials, the method is the same.

The printed image on paper or cloth is laid onto the
wax surface of the encaustic piece and a brush full of
hot wax is stroked over the surface. Then the layer is
briefly heated or “fused” using a heat gun.
(Almost) Anything Goes in Collage

Do you have copies of your Grandma’s diary or your
Uncle’s enlistment (or commitment!) papers? Combine
them with photography to expand a photo project. It’s
advisable to photograph the precious pages and print
them using an archival inkjet printer just as you would
print photographs.
Collage refers to the putting together in an assemblage

a variety of objects in order to make a new form.
Photos and old letters blend well and there are other
possibilities including lace and textiles, decorative
Brushing wax onto an image layer
papers, newspaper clippings and more. Botanicals can
also be layered into an encaustic piece if the flower or
plant is perfectly dry. fects can be created in certain areas such as along the
edges and corners or specifically placed to enhance
Adding Texture and Dimension the visual impact of the piece. It’s easy to do. Simply
Encaustic can build roughness on a surface using load your natural bristle brush with hot encaustic
brushstrokes to make interesting textures. These ef- medium, give it a second or two to cool and vigorously
____________
______________
_______________
______________
_____________ ___________
phototechmag.com 25
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TECHNIQUE
to contain a higher percentage of beeswax to the

damar resin. The softer wax allows the paper to bend
without cracking, opening up some creative encaustic
possibilities for book art.
A Few Gentle Reminders

It’s always best to review safety concerns. Good venti-
lation is extremely important when encaustic medium
is heated. Carcinogenic substances can be released
by the wax, therefore place the hot wax near an open
window with a fan to move the fumes away from the
All Images © Jill Skupin Burkholder

work area.
Heat guns are hot and cool very slowly. Take care
when handling your tools to prevent burning yourself
or others. Many color pigments are harmful if ingested
or if exposed to a break in your skin. Wear disposable
gloves whenever you handle pigment.
Braided Girl
A Shared Inspiration
brush it back and forth over the area to be textured. It’s easy to become immune to the constant refrain
The wax is deposited onto the piece with one stroke from photography experts saying “anything is pos-
and then raises with the back and forth motion. sible” and “you are only limited by your imagination.”
Sometimes in today’s digital world, our limitations can
Take care when you fuse with the heat gun because take the form of a lack of Photoshop skill or having no
the texture can melt away. Only apply heat until there time to maneuver through a steep learning curve.
is a slight sheen on the wax. That’s enough fusing to
unite the wax with your new texture. Working with encaustic brings the very same thrill felt
by artists throughout the ages−a row of cans holding
Textured areas are not your only option. Adding wax to a mix of good colors, some brushes and the desire to
the photograph’s subject can augment certain images. create—it makes art seem so delightfully simple.
For example, the bark of a tree can show intriguing
dimensions when wax is applied with a small brush,
following the contours of the tree patterns. If too much
wax is applied, simply use a pottery tool scraper or Jill Skupin Burkholder is an artist-photographer
needle to give your piece some finesse. Enrich the whose work includes handcrafted techniques,
walking the line between painting and photography.
texture by adding a touch of pigment stick, rubbing Her bromoil prints and encaustic work are included
the color into the creases of the wax. in public and private collections.
Jill lives at the base of the Catskill Mountains in

Paper Works and Encaustic New York with her husband, digital pioneer Dan
Burkholder. You can learn more about her photo
Most encaustic art uses a wooden panel or board as a encaustic workshops and images at jillskupin.com
rigid support to keep the hardened wax from bending
and cracking. Fortunately, this isn’t the only option. Resources
Encaustic Medium (available premixed with 1 part Damar
Resin to 8 parts beeswax, Pigment Sticks in several colors-
Some photographers are now using paper as the pri- rfpaints.com; rfpaints.com; Low tack artist’s tape-utrecht.com;
_______
mary support, dipping images in encaustic wax and Archival Tissue-archivalmethods.com;
_____________ Cotton or Silk Inkjet
Fabric Sheets by Jacquard-amazon.com;
_______ Gampi or Mulberry
carefully displaying the “waxed” paper by hanging Japanese papers-paperconnection.com.
____________
the piece using magnets or pins. The light traveling
through the encaustic paper glows with a translucency Other supplies: wooden panel or birch plywood; linseed oil;
waxed paper for a clean work surface or silicon cooking mats;
that enriches the imagery. vinyl gloves; small metal containers (cat food or tuna cans);
Ephemera for collage (postcards, letters, etc.); natural bristle
paintbrushes (1 in. wide, one for every color used); stencils; blue
Artists creating dipped and waxed papers retain painter’s tape.
some flexibility by modifying the encaustic medium
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Images in the Wilderness

David Shaw
An abstract image of the sun reflected nearly perfectly in the calm water of
a pond along the Noatak River in Gates of the Arctic National Park, Alaska.
August 2012.
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ON LOCATION
The Wild Landscape lake you want to explore? Simply turn your boots and
The river, far below, looked like a thin silver ribbon as it go. Distances covered and areas explored are only
wound in bends out of sight to the west. At nearly midnight limited by physical capabilities. Photography however
the shadow of the mountains was finally encroaching on the can be impeded by the limited amount of equipment
wet tundra of the valley floor. But from my perch high above, that can be carried. Every lens, body and accessory
the sun would remain for another hour at least. packed must be carried on your back, mile after long
mile. When I load my pack, my kit is pared down to
When I raised my camera to compose an image of some the minimum: a wide to mid-range zoom (in my case
strange monolithic rocks, it occurred to me that I was quite a Canon 24-105L), a single body, an ultralight tripod,
possibly the first person to ever photograph those stones. When a polarizing filter and a handful of batteries and
I clicked the shutter the mechanical sound and glow of the memory cards.
digital screen seemed incongruous in the arctic silence.
Basecamp trips are a common type of wilderness trip for
Wild places offer rare opportunities for photographers will- photographers, and allow an intimacy with the land-
ing to explore. There are chances to make unique images, scape not often available on other types of trip. I use
not just new perspectives or interpretations of already well- them regularly when I lead expeditions in Alaska’s
photographed landscapes. The challenges, however, are as remote arctic. On such trips we’ll fly in a small bush-
unique and abundant as the opportunities. Access, weather, plane to a lovely spot, land on the tundra or a riverside
equipment, and perhaps most importantly, the ability to gravel bar and set up camp within yards of where
open yourself mentally to the moment, are challenges dif ficult we stepped from the plane. A few years ago I led a
to overcome. photography trip to the coastal plain of Alaska’s
Arctic National Wildlife Refuge. We set up along the
Types of Trips Canning River midway between the mountains and
Backpacking offers unrivaled freedom for exploration. the Arctic Ocean. During our time, we got to know
A peak you want to climb? A ridge, canyon or distant our surroundings in detail. We knew where the best
A forest pond reflects the mountains in Wrangell St. Elias National Park, Alaska. July 2006.
28 photo technique M/J 2013 The Colorado River is blurred by the long exposure of the Grand Canyon by moonlight, Tuckup Canyon,
Grand Canyon National Park, Arizona. March 2012.
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ON LOCATION
A small glacial pond or tarn, glitters in the wild Baird Mountains of Alaska’s western Brooks Range, as seen from the window of a small bush plane. July 2012.
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IMAGES IN THE WILDERNESS DAVID SHAW
view of the tumbling stream could be found.

We could find the male Rock Ptarmigan on
his territory above our camp whenever we
wished. Nests of Golden Plovers, fields of
tussocks, caribou trails, bear tracks and per-
spectives on the mountains were all known,
explored and photographed. But there were
drawbacks. Several times during our stay we
peered up at the mountains and wondered
aloud what opportunities lay there. We lived
in a three or four mile radius of our camp,
the landscape and wildlife further abroad
were untouchable.
Equipment can be more flexible on base-

camps as long as you stay within the carrying
capacity of the airplane. I’ve guided trips
where I’ve carried every piece of gear I could
possibly need including a 500mm f/4 lens,
two camera bodies, 70-200 f/2.8, wide angles
and macros. Other trips, due to flight restric-
tions, have been more limited.
River trips and photography go hand in hand.

Boats offer mobility and the ability to carry
reasonable loads of equipment. A year ago,
I spent three weeks paddling the Grand
Canyon. The large rafts could carry an extra-
ordinary amount of gear. Not just photo-
graphy equipment of course, but big tents,
gourmet food and coolers full of beer. That
kind of luxury is rare on wilderness trips. My
photography kit on river trips includes wide
angle and telephoto lenses (though rarely the
big 500mm), a couple of bodies, tripod and
very importantly, dry bags and watertight
Pelican cases.
You Have No Idea What You Are in For

For two years in a row I’ve guided canoe
trips down the same stretch of river during
mid-August. The first year, the weather was
immaculate. For 10 days we had glorious
blue skies, rarely tarnished by even a passing
cloud. In those 10 days we put on rain gear
once. Once! That, to my knowledge, is a
standing record for Alaska’s Brooks Range. It
was warm, almost hot. We swam in the clear
blue water of the river and basked on the dry
tundra. It was amazing, it was beautiful, it
was perfect for everyone...except me.
phototechmag.com 31
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Guided vs. Independent Travel:

Pros & Cons
Independent
Pros
s Your own itinerary
s Generally less expensive
s Food choice
s Pick your companions
s Flexibility in the field-shoot when
and where you want
Cons
s Must own or rent necessary
equipment (can add to cost)
s Requires experience
s No local expertise
s Camp chores
s Logistics and planning
Guided
Pros
s Supplied group equipment
s Local expertise
s Safety
s Professional wilderness skills
s Less cooking and camp chores
s More time for photography
Cons
s Costly
s Lost flexibility
s Unknown companions
(Almost) The Best of Both

Worlds: Custom Trips
Most high quality outfitters offer cus-
tom trips that can be catered to your
needs. (Some even offer photography
specific trips.) You collaborate with the
company to choose the best itinerary,
locations, and type of trip, but you still
get to choose your companions and
rely on the expertise and labor of the
guides. The drawback? Customized
trips can be expensive.
A group of hikers explores the lower reaches of side canyon in Grand Canyon National Park, Arizona. March 2012.
The fact is the weather was just too damn good for experienced, the endless sun, and how we needed our
photography. Sure the light was amazing, but the sunscreen and lip balm far more than our rain gear.
perfectly blue skies had no texture, no interest, nothing Then there was a pause, and he said without irony,
to catch the evening color, just blue. After the trip, “Yeah, it could have been better.”
a friend (who had also been photographing in the
Brooks) and I got together to talk about our trips. We The same trip a year later started with such potential.
reminisced about the incredible weather we’d both We had a beautiful first couple of days. High clouds
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IMAGES IN THE WILDERNESS DAVID SHAW
All Images © David Shaw

Two Brown Bears fight over a fishing spot near Brooks Falls in Katmai National Park, AK, USA. July 2009.
caught the sun; lovely late-night light lingered on the light seem endless, disappointment and frustration rise
tundra. Then on the afternoon of the third day, the quickly to the surface.
weather arrived bringing high winds and blowing
rain. For a day or two it was an interesting change. But every condition, no matter how rotten, is good for
The skies were shifting constantly. Lenticular clouds some kind of image. Think it through. Tell the story.
rolled passed like an invading fleet of UFOs and the Feeling down because of the rain? Take that emotion
wind tore great gashes of blue into the overcast sky. and mix it with the place. What kind of image would
These provided a compelling backdrop to the dark show that best? Even in the worst of conditions, there
mountains. But it didn’t change, not for the rest of the are unique images to be made.
17-day trip. Sure the skies had texture, but that didn’t
make up for the fact that I’d seen enough lenticular Experiment. Play. Dammit, go outside. Journeys into
clouds to last a life time, and I was sick and tired of the wild are stories to be told. Tell yours.
battling the wind and flooded river as we paddled,
setting up and taking down wet tents and listening to
the gusts tear through the willows at night.
David Shaw is a professional photographer,
writer, guide and wildlife biologist living
Understanding and then coming to terms with the fact in Fairbanks, Alaska. He spends an
irresponsible amount of time watching
that you have no control over the weather allows you to birds. Dave leads trips into Alaska’s
discard your hopes and expectations and simply begin wilderness each year for Arctic Wild
(arcticwild.com) where he always looks
to see. For most photographers, long wilderness trips forward to working with photographers.
are life vacations. They cost a lot of money, time and Check out his website, read his blog,
download his ebook on wilderness
energy. When things don’t go as planned like when the photography and follow him on Facebook
rain falls, the wind blows, or textureless gray and flat and Twitter at wildimagephoto.com
phototechmag.com 33
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PORTFOLIO
Air Show Photography:

Writing from Waterloo Wellington Air Show
Breslau, Ontario
Kevin Pepper
An air show has this emotional effect. Maybe it takes

you back to our childhood aviation fantasies, or may-
be it’s the raw speed. Whatever the reason, it’s an ex-
cellent day out with friends, family and your camera.
As with any photographic genre, there can be

real expense. Your gear can range from dis-
count specials to the ones that breaks the bank.
You know the kind, the long lenses that leave
others with lens envy. No matter what gear you
own, remember, it’s not always the gear that
takes the great photo, it’s the space between
your two ears that will make quality photos.
The following is a list of gear that I took to the
air show this year:
Camera and Gear:

s/LYMPUS% $3,2
s"LACK2APIDSHOULDERSTRAP-ANFROTTOTRIPOD
Lenses:
s/LYMPUS MMF FORTHOSEFLYBYS
at low level and crowd photos.
sXTELECONVERTERTOSTRETCHOUTTHEFOCALLENGTH
to capture high flying aerials.
s/LYMPUS MM F WIDE ANGLE FOR

some ground photos offering a different per-
spective of planes and people.
Memory and Batteries:

s!TANYGIVENTIMEINMYCAMERABAG)WILLHAVE
three spare fully charged batteries to make sure
I have enough for a day of shooting.
Red Bull. Lens: 50-200mm f/2.8-3.5, Focal length: 200mm, Shutter speed: 1/1250,
34 photo technique M/J 2013 Aperture: f/8.0, ISO: 320, RAW image edited in Photoshop and Topaz DeNoise.
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AIR SHOW PHOTOGRAPHY KEVIN PEPPER
Corsair. Lens: 50-200 f/2.8-3.5, Focal length: 169mm, Shutter speed: 1/80, Aperture: f/16, ISO: 320, RAW image edited in Photoshop and Topaz
DeNoise.
s&ORMEMORY)LIKETOUSEASFASTAMEMORYCARDAS low me to keep it simple. A general rule is “Put your

possible as I shot in burst mode. I took two 16 GB camera on shutter priority and do not shoot at a speed
memory cards and went through 24 GB in total. Just slower than twice the length of the longest part of the
remember the really big acts happen towards the end lens you are using.” In other words, if you are using a
of the show. Nothing is more irritating than an excel- 100-400mm lens, shoot no lower than 1/800. There is
lent day of shooting only to discover you only have 14 a notable exception to this generalization for anything
shots left on your last memory card to shoot the grand with a propeller. Propeller driven aircraft are a chal-
finale you have been waiting all day to see. lenge. If you shoot them at a high shutter speed the im-
age you capture will have a propeller frozen in flight.
Practice Makes Perfect A much better alternative is to lower the shutter speed
Practice shooting fast moving subjects, before you get and capture the ever elusive “propeller blur”
to the air show. Then use the first part of the day of an
air show for more practice time to get down the tim- Prop blur occurs when the shutter speed is adequate-
ing you will need to capture the more desirable planes ly slow enough to capture at least some of the arc of
later on in the show. the tip of the propeller. This can be achieved if you
shoot anywhere from 1/125 to 1/180, but the results
I could write technical jargon on this topic for a few are hit and miss, which leads me to this, shoot in con-
pages. But for the sake of time and saving trees, al- tinuous mode.
phototechmag.com 35
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PORTFOLIO
Canadian Snowbirds. (Left) Lens: 50-200 f/2.8-3.5, Focal length: 200mm, Shutter speed: 1/1600, Aperture: f/6.3, ISO: 400, RAW image edited in Photoshop
and Topaz DeNoise. (Right) CF-18 Flyby. Lens: 50-200 f/2.8-3.5, Focal length: 200mm, Shutter speed: 1/1250, Aperture: f/8.0, ISO: 400, RAW image edited in
Photoshop and Topaz DeNoise.
You might think to put the camera on shutter priority location that gives you room to pan with the planes as
and shoot at 1/1000th of a second in the hopes that they fly by. How do you find that best spot? The best
this will help to eliminate blurriness caused by hand spot is the center of the show where all the photogra-
shake. For the average photographer this will work just phers with the big lenses will be standing. Don’t let
fine. However, all other things being equal in shutter them intimidate you.
priority, increasing the shutter speed simultaneously
adjusts your aperture, resulting in blurriness because Nuzzle up and remember my first piece of advice.
of decreased depth of field. So increasing the shutter The composition of the photos is greatly influenced
speed isn’t a perfect solution. by what’s between your ears, not the big gun the guy
or gal standing beside you has. Besides, airplanes do
I like to pan with flying images at a fairly high shut- come quite close. Shooting with 500mm or 600mm
ter speed. I set my camera on manual mode, set the lens will be frustrating when trying to capture a plane
aperture to a mid range, f/5.6 to f/11, depending on 50 feet away. This is the reason I bring the 50-200mm
brightness, and set my shutter speeds up around 1/800 lens with the 2x teleconverter. Sure, they will get clos-
depending on how bright the day is. It’s just one of er shots of planes in flight, but for those of you that
those things you will have to determine on the day of cannot afford the big lens, a 50-200 or 100-400 will
the air show. I adjust for the light and fine tune with suit your needs just fine.
my ISO and EV to get the right exposure.
Final Thoughts
When it comes to shots of the crowds or photos of Be prepared for some poorly timed shots, blurry shots
stationary aircraft, I’ll jump over to aperture priority or someone’s head in the way. But shoot to your hearts
mode. With most air shows occurring in reasonably content if you are using a digital format and do not
good weather, worrying about the amount of light delete anything until you have had a chance to look at
while shooting a lower aperture generally isn’t a prob- the images on the computer. You never know what you
lem. Shoot whatever you feel comfortable with. I gen- will miss happening in the air while you’re deleting
erally choose an aperture of f/9.0 to f/11 to get the those shots at the show.
optimum image quality out of my lens.
An air show can be a lot of fun. Don’t get so engrossed
Choose Your Location Wisely in shooting that you forget to have a good time with
Get to the show early to scope out the best possible your family. It’s good to have some great shots for your
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AIR SHOW PHOTOGRAPHY KEVIN PEPPER
All Images © Kevin Pepper

CF18. Lens: 50-200mm f/2.8-3.5, Focal length: 182mm, Shutter speed: 1/1000, Aperture: f/6.3, ISO: 320, RAW image edited in Photoshop and Topaz
DeNoise.
portfolio, but living the excitement with your child

who may have childhood aviator fantasies of their
own is more important.
Editor’s Note: There are air shows year-round all over the world,
especially in fair-weather locations. Use a web search to find ones
near you. Professional photographers, Kevin Pepper, Hal Schmitt and
Scott Slocum and are teaming up to offer a “one of a kind” aviation
workshop you will not find anywhere else. For more information
on the workshops, visit _____________________
photographers-lounge.com/international-
workshops/2013-workshops/cavanaugh-workshop-1.
___________________________
Kevin, a Canadian Sigma PRO

photographer, took his first photograph
at the age of 13 after watching his
dad produce photos with his Olympus
OM SLR. A landscape and nature ____________________________________
photographer by heart, his images have
been used by National Geographic
website, TVO and Sun Media and
Olympus. A regular contributor to
PHOTONews Canada and a contributor
to The Canadian Nature Photographer. Kevin lives in Cambridge,
Ontario. He offers workshops for photographers looking to refine
their own photographic skills and operates the Photographers
Lounge, a company dedicated to introducing amateurs to today’s
top photographers. Learn more at kpepphotography.com
Resources
Camera & Lens: Olympus.com; Shoulder Strap: ______
blackrapid.
com;
__ Tripod: Manfrotto.us; Software: Photoshop-adobe.
____
com,
__ Topaz DeNoise: topazlabs.com; Waterloo Wellington
_____________________________
Air Show: waterlooairshow.com
phototechmag.com 37
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PORTFOLIO
Wu-Kang Chen, Dust, Ballet Tech
The Subtleties of Expression

A Conversation with Lois Greenfield
Bree Lamb
Lois Greenfield is a New York City-based photographer it is her expertise coupled with her insatiable curiosity that
whose work focuses on capturing human movement in its continues to be the driving force behind her success.
most elegant and evocative forms. To label her a “dance
photographer” is to overlook her insight and investigation Bree Lamb: I’ve read that you studied anthropology
into the subtleties of such powerful modes of expression. With in college and I found this to be really fitting given your
over 25 years of experience in personal and commercial work, photographic interests. The human need for music and
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A CONVERSATION WITH LOIS GREENFIELD BREE LAMB
Fang-Yi Sheu
movement is a deep one yet often difficult to verbalize. LG: Unlike Muybridge’s studies I am not looking
Do you think your anthropological studies influenced for an answer or to analyze the mechanics of a jump.
your interests and techniques, if so how? But like him, I am interested in moments beneath the
threshold of perception, moments only recordable
Lois Greenfield: I never saw a connection between by camera. The fact that so many of my dancers are
anthropology and my dance photography until I portrayed floating would make it a different kind of
realized that my relationship to photographing dance study, as floating is effortless, a non-action. These
is that of an outsider. The anthropologist enters another moments make the dancers look angelic.
culture not to become a part of it but to analyze it. I am
looking at dance from another perspective, that of a I am interested in capturing the evocative nature of
photographer. I am translating their movements from movement, not the analysis of it. As to the role of
the stage to the camera, l’m not looking at dance the science in my photos, gravity, or rather the absence of
way it was intended to be seen. it, is usually a theme in my images.
My goal is not to represent dancers but to collaborate BL: How does your training as a documentary photo-
with them outside the constraints of choreography. grapher and having to respond, adjust and compose
Freed from the circumscribed steps in a dance, the on the spot translate in the studio capturing movement
dancers I work with improvise, knowing that I will of dancers?
pick up moments that are expressive, even though not
part of a dance. LG: In both situations the photographer has to work
very quickly. A photojournalist has to have quick re-
BL: I can’t help but be reminded of Eadweard flexes to snap the right confluence of moment,
Muybridge’s human locomotion images. Do you ever lighting and composition. As a studio photographer,
look at your work as scientific studies as you discover I determine the lighting in conjunction with what the
the subtleties of human movement that our eye often dancer is going to do. I don’t shoot dances, rather I
cannot see? work on an individual moment that may or may not
phototechmag.com 39
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PORTFOLIO
All Images © Lois Greenfield

Alexandra Apjarova, Tatyana Brikulskaya
come from choreography. I refine that moment, asking shooting pace? Can you sense when you’ve “gotten”
the dancer to repeat the movements a few times. As the shots and is there a definitive end to each session?
to the question of composition, I am very particular
about both the shapes and the relationship between the LG: I have had three studios since the 1980’s, two of
dancer’s forms, as well as the details of their gesture. them had 20 foot cycloramas with a soft floor (grey
‘Marley’ or wood) so the dancers could really move,
When I began working in a square format years ago, not just pose. I was shooting film until 2003, so I never
I started looking for a compositional strategy that really knew what I was shooting until I saw the contact
involved the inclusion of the negative’s border as a sheets. But I did have a good sense of whether or not
narrative partner. As to the decisive moment, since I I got something exciting. The best part about looking
am photographing split seconds of movement, 1/2000 at the contact sheets was finding wonderful surprises I
of a second to be exact, I have to anticipate what the wasn’t aware of while shooting. In any event, although
movement will look like and press the shutter before it I have never worked with a dancer who has told me
happens. If I wait to see the moment, I will have mis- they are tired, there is an arc of energy and inspiration
sed it. The documentary photographer has the luxury to every series I shoot. At first the dancers are very
of seeing the shot before deciding the click the shutter. spontaneous, but after 10 or so tries the shot starts to
look dead, so I just move on to another idea.
BL: Your ability to anticipate movement and click the
shutter at the precise moment continues to distinguish BL: How important is pre-visualization for a series,
your work in this field of photography. What is your especially when working on a commercial assignment?
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A CONVERSATION WITH LOIS GREENFIELD BREE LAMB
What is your collaboration with art directors? varying angles to each other? Is it all done in cam-
era or are there any post-processing techniques that
LG: Most commercial assignments start with a layout you employ?
from an art director. Often, however, the art director
will tell me the concept they are trying to achieve and LG: I NEVER use post-processing to make group shots
leave the rest to me. Of course we do a casting session or to reconfigure the dancers within the frame. The
to choose the models who can give the client the ‘look’ dancers are simply jumping, some higher and perhaps
they want as well as what I need to make the shot. some lower, some in front and some behind. And yes,
During the shoot I collaborate with the art director on they might be on different angles to each other.
the poses, lighting etc., as the point is not only to make
a beautiful photo but to convey their message about the BL: How do you keep your work fresh and innovative?
product they are selling.
LG: That’s a good question. It’s both easy and hard to
BL: How does your workflow change when switching do. Easy because I always have new ideas, hard because
from personal projects to commercial assignments? when an artist creates a signature style, it’s often hard
to not work in that style. Working with different kinds
LG: On my personal projects I don’t usually start off of dancers can bring fresh energy and inspiration. And
with a specific intention, I am more like a careening giving oneself constraints can often catapult an artist
vehicle driving down the road, or off the road, trying to the next level.
new ideas with props or lighting as well as movement.
Where we end up is anybody’s guess! On a commercial BL: What do you emphasize to your students when
project almost every detail is decided in advance or on teaching workshops?
the set. The models and wardrobe are given the most
attention as the viewer is supposed to identify with or LG: Funny you ask that, I am currently on my way
aspire to look like the people in the ad. back from Istanbul where I taught a weeklong course
at Robert College, a very well known high school for
BL: Can you tell us about your studio setup? What exceptional students. The first thing I wanted to con-
equipment do you use? vey to them was that you don’t have to “know” what
you are doing before you start. Inspiration can come
LG: I use Broncolor strobes and a Leaf Aptus 75 at any time during a shoot, usually when you are not
digital back on my 500cm Hasselblad. My camera has worrying about it.
no autowinder or autofocus!
I am more into creative process than creative product.
BL: How is the atmosphere different when shooting on If I knew what the image looked like before I took it, I
various locations? Is the setup extensive? would end up with far less interesting images than I do.
My process of discovery as I shoot leads to photographs
LG: All my set-ups are simple, whether on location or that are beyond my imagination.
in my studio.
BL: How do your lighting and photographic choices

emphasize the “expressive potential of movement” I
have heard you refer to?
Editor’s note: Lois Greenfield teaches workshops throughout the year,
LG: I usually prefer a sculptural lighting for the dan- visit loisgreenfield.com/workshops/index.html for more information
and dates.
cers. The expressiveness comes from the dancers’
Bree Lamb received a BFA in
gestures and facial expressions which give a purpose Photography from Pennsylvania State
to their movements, a purpose the viewer may not be University in 2007. She has spent the
last six years working for different
privy to, yet we know its there. I don’t often shoot the organizations including the Center for
“peak moments,” as I find other moments have more Photography at Woodstock, Wildenstein
& Company, Fovea Exhibitions, Mesilla
narrative potential. Digital Imaging Workshops and photo
technique magazine. She is currently
pursuing an MFA in Photography
BL: Can you describe your process for creating images at the University of New Mexico.
that include several people who are elevated and at breelambphotography.com
phototechmag.com 41
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GEAR, APPS & GOOD STUFF

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THE EVENT AT REBECCA FARMS RICK SHEREMETA
The Event at Rebecca Farms

Photographing an Equestrian Competition
Rick Sheremeta
When most people think about a sporting event, the as one through a series of fluid moves in a ring. Next
sport of Eventing is the furthest thing from anyone’s is Cross-Country, a course run over several miles in
mind. In fact a good number of people may have never length and a demanding test of endurance, bravery
even heard of it. Eventing is a grueling test designed and reliance between horse and rider—all meant to
to assess the training, ability and strength of a horse, simulate battlefield conditions that might be encount-
together with the bond and trust shared between ered by a cavalry horse. The last of the trials is Show
horse and rider. The roots of Eventing began as a Jumping, vaulting over a series of hurdles of vary-
means of testing military horses that had to possess ing heights and breadths within a confined arena.
highly disciplined traits. The events are divided into The Event at Rebecca Farms has been held annually
three categories. The first, Dressage, is an equestrian in July just outside of Kalispell, Montana, since its
art form likened to ballet. Dressage requires great inaugural year in 2002. It is one of the world’s premier
physical control and grace as horse and rider move eventing competitions.
phototechmag.com 43
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ON LOCATION
Challenges Canon 550EX flash, Hoya Pro1 Digital Circular Polar-

My goal at The Event is to capture the spirit of comp- izer filters for each lens, extra batteries and C-Cards.
etition—to record not just the action but the charm, On bright sunny days I use a Lowepro Field and Street
charisma, beauty and emotional aspects. I look for Belt to carry water and accessories.
scenes and subjects such as the surprise on a com-
petitor’s face at the apex of a jump, a smile of admir- If there’s even a hint of rain, I make sure I have a
ation, a far-off nostalgic look, an expression of joy for breathable rain jacket and use the Lowepro Compu-
an accomplishment, empathy from disappointment, Trekker AW Backpack to keep my gear dry, and an
or simply the beauty of what I observe. AquaTech Sport Cover for camera/lens protection.
I’ll also bring along a golf umbrella, which is good to
For me, the most exhilarating aspect of Eventing is the hunker under for an extra layer of cover.
Cross-Country segment. With a course that’s almost
three miles long there are unlimited opportunities to Pre-Planning
make a great variety of exciting images. Unlike other Start with some pre-planning. Think about how you
sporting events, in Cross-Country there are few limits will be shooting—up close, from a distance, or both?
to where spectators can wander—the main rule is to What’s the weather forecast? I take my time to scout
stay out of the way and not get run over by a horse. things out early. A little patience helps, there’s no par-
ticular rush—things get under way mid-week and
Equipment continue through the weekend with the higher class-
I work with two camera bodies and have used a variety ifications competing on Friday thru Sunday. I like to
of lenses over the years. I’ve come to rely on a two- survey the dressage and jumping arenas, part of the
lens zoom system—one a wide angle and the other a cross-country course and the paddock and stabling
telephoto. I use a Canon 5D Mark II with a Tamron areas. Each jump or hazard is unique in character and
17-35mm wide angle and a Canon 1D Mark II with it’s important to know where everything is located, in
Canon EF 70-200mm f/2.8 telephoto. I also carry a addition to the schedule of events.
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I endeavor to visualize exactly what I want to ac- produce the desired shutter speed, f/stop combination
complish, understand the constraints (if any) and how that I find acceptable.
best to achieve my goal. I note where the sun’s coming
from, the background and the rider’s direction, and When my main concern is control of action, Shutter
where the best vantage point is. By taking my time, I Priority Mode is preferred. It’s all about the subject,
logically think about the methodology for each shot/ scene, type of action and how you wish to portray
scene to get the look I’m after —so when the actual it—fast to catch a specific instant or slow to achieve
time comes to push the shutter I can concentrate on a blurred effect suggesting motion. I’ll use a shutter
taking the picture without a lot of other distractions to speed of 1/1000 sec. or faster when I need to freeze
worry about or decisions to make. the action. I like to set Auto Focus for AI Servo (For
Nikon use Continuous Focus). That way the lens will
Exposure and Shutter Speed continuously acquire focus as the subject moves to-
When covering outdoor events where ambient light wards or away from me. I also change my “AE Lock”
can vary due to rapidly changing weather conditions button to function as “Focus Lock” (Nikon cameras
or cloud cover, I’ll work with an automatic camera generally have a dedicated “AE-L/AF-L” button that
mode—either shutter or aperture priority. I make a defaults to both AE and AF lock). This gives me the
conscious decision of how I want the scene to be f lexibility to pre-frame the scene and maintain in-
rendered. This may require experimentation to see itial focus on a desired location. Here’s an example
what works best in each particular case. I find it best of how I put this to use to capture a horse as it moves
to use evaluative (aka matrix) metering on these through completing a jump and accelerating towards
occasions. When setting up at each new location, the next obstacle:
or when ambient lighting changes significantly, I’ll
take a few test shots to check exposure, reviewing s 3ET UP AT A LOCATION AND DECIDE WHERE THE MOST
the histogram each time. If my histogram is off, I’ll desirable location is in the scene for the horse and
change exposure compensation and/or ISO setting to rider.
phototechmag.com 45
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ON LOCATION
s0RE FRAMETHECOMPOSITIONCHOOSINGANAPPROPRIATE focal length as you pan while shooting in continuous

zoom lens focal length. mode. Although this sounds a little complicated, and
is somewhat awkward at first try, once done a few
s0RE FOCUSONTHEDESIREDSWEETSPOTBYPUSHINGTHE times it’ll become second nature, and you’ll end up
shutter release halfway to focus, while maintaining the with more high quality images.
selected focal length.
If I’m looking to create a more artistic effect, I’ll
s0USHTHE&OCUS,OCKBUTTONINANDTHENRECOMPOSE select a slow shutter speed, typically from 1/10th to
for the desired view while still holding the shutter 1/60th second—the slower the shutter speed the more
release halfway. Once everything is framed for the blur in the photograph. With slower shutter speeds,
right composition, focus doesn’t wander, it will be the trick is to pan with the subject while holding
locked for the intended subject (in this example it will the shutter release down—even with a very slow a shut-
be locked on the equestrian team for the instant they ter speed such as 1/10th second, this technique will
soar over the jump). still maintain a degree of recognition to the horse/
rider. I shoot with varied slow shutter speeds so that
s7HENTHESUBJECTFILLSTHEVIEWFINDERPUSHTHESHUT I have a range of blurred effects from which to select
ter release all the way down, and at the same time during editing.
release the Focus Lock button, following the horse.
This method insures that not only the initial frame Depth of Field
is focused and composed, as intended, but all sub- There may be situations where control of depth-of-
sequent shots will also be sharply focused as long as field is more desirable, particularly as a means of
the shutter button is held down—you can even change keeping background distractions in check. For this I
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use aperture priority. How the back- and using the equestrians as back-
ground is rendered plays an important ground. This was contrary to the
part to the success of any image. At normal way of looking at things but
outdoor venues where spectators can it opened the door for a lot of experi-
roam almost at will, control of back- mentation on my part. I’d also alter
ground disturbance can pose an ad- aperture settings to yield images
ditional challenge. with a varying depth-of-field range.
When control of depth-of-field is not
To diminish troubling background of critical importance, I strive for a
elements, I normally shoot wide- mid-range f/stop for the best image
open minimizing depth-of-field, or quality—generally f/8 or f/11 depend-
I’ll change my perspective or angle ing on the particular lens.
of view to eliminate distractions __________________
entirely—often all it takes is to move Filters and Lighting

just a few feet one way or the other. On sunny days, you can’t beat a
On this assignment, part of my task circular polarizer for enriching color,
was to include images of spectators knocking out glare and adding
making them a part of The Event. So oomph to clouds. Another tool I use
I intentionally included them in the regularly is flash. It’s especially useful
background whenever possible—how to fill in shadows and for adding
to do this, enhance the scene and not catchlight when photographing riders
detract from the grace and beauty up close—particularly to catch expres-
of equestrian activity? Pre-planning sions after completion of a ride. I work
and pre-visualizing the overall com- hand-held when covering outdoor
position is the way to accomplish it. action events, and don’t generally use
on a tripod or monopod. It’s been said
I also sometimes reversed the main over and over again but is always
subject, concentrating on spectators worth repeating—the best light is early
phototechmag.com 47
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ON LOCATION
All Images © Rick Sheremeta

morning and late in the day. There’s no exception
Editor’s note: The Event at Rebecca Farm takes place this year July
here—that’s when you’ll get your best images. 25-28; to learn more about the sport of Eventing or to attend The Event
at Rebecca Farm visit rebeccafarm.org.
Photo Ops Rick Sheremeta is an award-winning

artist who has come to be acknowledged
Eventing is definitely about equine action. But, there is as a nationally recognized writer, and
also much more to be seen and documented. Photo- accomplished photographer. He is joined
in that effort by his wife and partner Dody.
graphy is all about taking advantage of opportunities Rick was recently named OVERALL FIRST
that present themselves and they are only limited by a PLACE WINNER in the 4th Annual Montana
Wilderness Association’s “Picture Wild
photographer’s imagination. Montana” Photo Contest for his entry
entitled “Granite Park” and has been featured in many other one-person
and group Photography Exhibitions. To learn more about Rick Sheremeta
Try your hand at photographing an equestrian comp- and his workshops, or view his work visit alpenglowproductions.com
etition—you’ll find prospects for great photos no matter
what your interest—all you need to do is be there, have Resources
an open mind, take lots of photographs and remember AquaTech-aquatech.net;
_______ Canon-usa.canon.com;
_________ Hoya-hoyafilter.
_____
com;
__ Lowepro-lowepro.com;
_______ Tamron-tamron-usa.com
_________
to have fun.
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DEMYSTIFYING THE DIGITAL NEGATIVE TOM PERSINGER
Demystifying the Digital Negative: A Short Primer
Print from digital negative from the series Tales of Travel and Adventure
Tom Persinger
One obstacle faced by those working with historic cameras were used in the 19th Century and are still
photographic processes is how to quickly and easily favored by photographic purists today. This technique
create a reliable negative−a method that doesn’t in- not only requires a large camera and film, but also a
volve complicated steps, calculations, graphs and all high degree of skill and tenacity. It can be cumbersome
of the tedium that might cause one to fall into a glazed and laborious, but also greatly rewarding.
stupor. Another challenge is consistency of procedure.
If you’re working in an inconsistent manner success Today, there is a digital option and it is convenient,
will be rare. If you can control both the procedure and flexible and eases the task of production. Digital neg-
the negative, everything else will fall into place and atives can be created from film or digital files and
success will be yours. manipulated for any process. And, because they are
reproducible they alleviate the stress of working with
Nearly all 19th Century prints were made using con- one-of-a-kind film negatives. There is no one right
tact printing methods, which means that the negatives way to create a digital negative. I recently began using
were the same size as the finished print. Ergo, the a method that is simple, straightforward, and to my
bigger the print, the bigger the negative! Large format great surprise, enjoyable.
phototechmag.com 49
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TECHNIQUE
You will need a computer, scanner, Photoshop and In dim light, coat the support with emulsion using the
all of the items necessary for print making: brushes, rectangular line as a guide and note relevant details on
chemistry, hygrometer, paper, print frame, etc. in- the back (number of drops, formula, brush type, etc.).
cluding a consistent ultra-violet (UV) light source. Wait a few minutes and dry completely with a hair
There are several options, ranging from simple do- dryer. Place a piece of unused transparency material
it-yourself creations like a fluorescent light fix- on top of the emulsion and place into the print frame.
ture with black-light-blue (BLB) bulbs to expensive (This will factor in the density of the transparency
and cumbersome graphic arts plate burners. These giving a more accurate test).
digital negatives were made using Arista OHP Trans-
parency material. Expose the support under the UV light source while
using an opaque/non-reflective material to select-
Download and install the free Photoshop script ively hold back light. Following the noted exposure
ChartThrob:http://www.botzilla.com/blog/archives/ times, incrementally reveal more of the sensitized
000544.html.
_________ Installation is as easy as right-clicking paper and when complete process as directed. The re-
the link, selecting “Save As”, choosing the proper lo- sulting print should look like a step wedge with tones
cation on your hard drive and restarting Photoshop. from near white to very dark.
There are straightforward directions on the web site.
The point at which the emulsion no longer darkens
The following process requires printing, scanning, with additional exposure is known as first black. This
pushing a few buttons in Photoshop and an afternoon is the time that will be used for future exposures. In
of time. The result will be a custom adjustment curve this example, once the exposure reached three minutes
tailored for your process, tools and materials that you it no longer changed. If your strip doesn’t reach first
can apply to future images quickly and easily. At each black, repeat with longer exposure times. Note the
step of the way you will be rewarded with tangible time and set the test strip aside. Do not throw it away.
physical evidence of progress and improvement.
The first step is to find the first black. Take a small

strip (5x12") of the paper you want to calibrate and
note on the back the name of the paper, date, process
and humidity level. Next, lightly draw a rectangular
box on the front of the sheet about a 1/2" from the
edge. Divide the 11-inch length into smaller one-inch
segments with lines that go to the paper’s edge. These
lines will guide the creation of the test strip.
Chartthrob test chart before inversion.
Finding first black.

Open Photoshop, go to the File menu>Scripts>
ChartThrob. A window will open with options
Label the eleven spaces outside of the rectangle for chart building and analysis. Check the box for
with incremental exposure times. Kallitype is a com- Numbers (to place numerical values in the squares),
paratively fast historic process and exposure times outlines, DPI = 300, and click Build New Chart Now.
reflect that: 30 seconds, 1 minute, 1½ minutes, etc. A Photoshop window will open and the ChartThrob
For a slower process, like cyanotype, you might chart will appear. Add an Adjustment Layer>Invert
try larger increments. and Save. Follow the settings for your printer and
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output the chart on to a transparency. A chart size of Select the drop down menu from the upper right corner
about 4 or 5" square is sufficient. Using a permanent of the Adjustment palette and choose Save Curves
marker label this transparency as “ChartThrob, no Preset. For future reference, you might consider nam-
curve.” Save the f ile to your computer. ing the curve with the name of the process and paper
(eg: KallitypePlatine).
Take a piece of support and coat an area slightly larger
than this chart with emulsion. Wait a few minutes
and dry completely with a hair dryer. Place the
“ChartThrob, no curve” transparency on top of the
emulsion and place into the print frame: expose (using
the time for first black), process as directed and dry.
This print provides a good reference as to how many
tones this process and paper combination give without
manipulation.
Red boxes show the sampled areas.
Open the original ChartThrob chart. Add an

Adjustment>Curves layer and apply the new curve,
then Add Adjustment>Invert layer. The layer order
is important. The curve generated by ChartThrob is
designed to be applied before the image is inverted.
Follow the settings for your printer and output the
chart to a transparency. Using permanent marker
Kallitype print made with no curve applied. label this chart using the name of the curve (eg:
KallitypePlatine).
Place the (dry) chart on your scanner and preview.
Select the chart area and adjust the Histogram
so that the left and right points are even with the
ends of the histogram, and the gamma (mid-point)
is set to 1.0. Adjust Output numbers to 0 and 255.
If you scan at 150dpi and 5" square and there will
be plenty of data for the script to analyze. Save the
scanned image to your computer.
Open the scan in Photoshop. If necessary, change

the Image Mode to RGB. Then go to File>Scripts>
ChartThrob. In the pop-up window, check the box
to Outline Sample Areas, and click Analyze. In a few
moments, a series of red boxes will appear on the
chart. These are the areas the script has sampled to
create a custom curve. On the Layers palette there’s
a new layer called “Print Curve.” Click on this layer
and you will see the curve ChartThrob created in the
ChartThrob with one curve applied.
Adjustments palette.
phototechmag.com 51
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TECHNIQUE
The print created using this chart should show a sig- I suggest putting the transparencies and all prints from
nificantly improved tonal scale. Many will find this this exercise into a notebook or plastic sleeve for future
print acceptable and move on to other tasks, but I reference. Though it seems you’ll never forget these
urge you to repeat the process of printing and details, in a few weeks or months memories will fade
analyzing to create a second curve. Save with a name and you’ll be happy to have the artifacts to reference.
you will recognize later as being the second (eg:
KallitypePlatine2).
Kallitype print with two curves applied.
Kallitype print with one curve applied.
Now that you have the heavy lifting done it’s an easy
Photoshop limits the number of points you can add task to turn any of your beautiful black and white
to a Curve to 12. Though you can apply multiple images into perfect historic process negatives. (Each
curves to a single image. The creation and applica- process and paper combination generally requires it’s
tion of a second curve, applied on top of the first own curve, so these steps would need to be done for
usually helps to separate the mid-tones. Something each variation you want to use). All you need do is open
simple like this is often the difference between a good the image in Photoshop, apply the curves in the order
and great negative. shown, add the inversion layer, and print−it’s that easy!
ChartThrob with two curves applied. Inverted with two curves applied
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All Images © Tom Persinger

Print from digital negative from the series Tales of Travel and Adventure
If all went as planned you should now have a set

of curves that will reliably create stunning beautiful
prints! Onward!
Fall Trees at Palenville iPhone Imagery by Dan Burkholder

Safety Note: UV light levels exceed the levels found
in nature. Acute (short-term) effects include redness or
ulceration of the skin. At high levels of exposure, these
burns can be serious. For chronic exposures, there is also
a cumulative risk of harm. Danger to the eye is possible
by the fact that light can enter from all angles around the
eye and not only in the direction you are looking. Ultra
violet lights can cause cataracts, avoid looking directly
into them. Check with your UV light manufacturer for
specific health and safety information.
Editor’s note: Paper choice is dependent on the process and your Please join us this summer in Montana with
personal preferences.
David and Dan and all instructors in between.
Tom Persinger is an artist, photographer, writer and David Vestal, Ray Nelson with
the founder of F295, an international organization
that believes in the value of a heterogeneous b&w photography to Dan Burkholder
photographic approach in which digital, historic and Theresa Airey’s iPhone photography.
and self-made methods are employed and Check out our website to view all instructors
combined in the creation of a new “21st Century
Photography.” He is the author of the enormously from Albumen to Wet Plate Collodion.
popular F295 historic process quick reference
cards and the F295 Historic Process Workbook.
Contact Tom at tp@tompersinger.com
Photographers’ Formulary
___________
Resources
800-922-5255
Arista OHP transparency material-freestylephoto.biz;
__________ Photoshop- www.photoformulary.com
_____________________
Adobe.com;
______ ChartThrob-botzilla.com/blog/archives/000544.html
______________________
phototechmag.com 53
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READER ASSIGNMENT
7. The drama of silhouettes makes for a powerful

photograph. Use them to create highly graphic images
10 Tips to Make Better that give the viewer a more dramatic perspective on
the place and simplify that down to a few elements.
Travel Photos 8. Can I capture a sense of time? Use a high shutter

speed to stop the action, a slow shutter speed to pan
with a moving object or to fix the camera in one place
and let the activity blur by the camera.
9. Keep an eye on the background. Backgrounds make

or break your images. Keep it “clean” and watch your
corners!
10. Put it all together to get “the moment.” The best

travel photos exhibit two or more of the points above.
Enjoy the journey and try to make travel images
Image © David H. Wells that convey the joy, humor, irony or pathos that you
experience when you travel to other places.
For this issue’s discounted review through Fotofeed-

back, submit images that create a desire in the viewer
to experience the place, culture, food or thing (or to
California meet the person) shown in the image. I will personally
review the images tell you which ones work and why,
David H. Wells or suggest how to make them better. I do this through
the cutting edge technology of Fotofeedback where
Here are some ideas to help you make better travel you can hear and read feedback on your images from
photographs: some of the world’s greatest photographers.
1. Arrive early, stay late! The best parts of many events photo technique and Fotofeedback (fotofeedback.com) have teamed
often happen before or after the main event. up to offer subscribers a discount on an individual portfolio
review by David H. Wells based on the assignment TRAVEL
2. Ask yourself, why am I taking pictures? Do your PHOTOGRAPHY. Subscribers can get a $39 Snap photo review
photos record a mood, hold a good memory, or simply for $10! Look for the special code that begins with PTFF on your
as a marker of your presence? mailing label. Digital subscribers will find their code on the email
that announces your digital issue. Not a subscriber? Subscribe
today at __________
phototechmag.com! After you make the images, visit
3. “Work” the situations. When I am working, I may
phototechmag.com/Community/Portfolio Reviews to participate in
only photograph a few situations but I work those in
the review process. The code is only applicable to this particular
many different ways till the image says just what I want.
assignment. Select reader reviews (written and audio) with the
photographers permission, may be featured on the ________
phototechmag.
4. What is the best position or angle? I often try to get
com
__ website.
low down like a dog or to photograph from above,
like a giraffe. Both perspectives give the viewer a very
different experience.
Photograph © baileyphoto. com
5. Notice the quality and direction of the light? Where David H. Wells is a freelance documentary
photographer affiliated with Aurora Photos. See his
is the light coming from, what can I do to use that light work at: davidhwells.com. Twice awarded Fulbright
by changing my position, lens, etc.? Strive to remember fellowships for work in India, his photography
regularly appears in leading international
the importance of detail shots to add to the story. magazines. Wells has been selected as an Olympus
Visionary to produce images and provide feedback
on new product lines. A frequent teacher of
6. Vary lens. Consider all the photographic tools photography workshops, his blog, The Wells Point,
available to you, such as different lenses. appears at thewellspoint.com
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Marketplace Ad Index
Carl Zeiss SBE, LLC C2
zeiss.com
Datacolor, Inc C4
datacolor.com
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cpmdelta1.com
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Focal Point
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ISSUES Fotofeedback
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on Facebook! photo technique Magazine

55
phototechmag.com
Participate in discussions, 53
Photographers’ Formulary
giveaways and network photoformulary.com
with other photographers
worldwide. Printed Art
9
printedart.com
We look forward to
$4.00 each seeing you there! Sto-Fen Products 55
FREE SHIPPING! stofen.com
TO ORDER VISIT: 25
Tillman Crane Photography
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______________________ tillmancrane.com
The technique is back in photo technique Sneak Peek: July/August 2013

Photo © David H. Wells
The Best in 21st Century Photography

Inspiration - Instruction - Invention
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Page 56
©Chris Boswell
This photograph was taken on my second trip to The Burmese people apply a paste called thanakha
Myanmar/Burma. First time visitors will often find for beauty. The amount of detail that this girl applied
themselves in awe with golden temples, rich history to her design and the lotus flowers were perfect
and warm people. My preference is to keep off the compliments for this image.
tourist paths, explore the local markets and observe
the daily life. I endured a 24-hour ride on a hilariously
bumpy train, slept on a pile of teak lumber, ate Chris Boswell has been
delicious street food and even experienced a 7.2 involved with photography
earthquake. Photographic inspiration is everywhere. from image capture to print
production for over 25
Often local markets are covered or shaded years. Chris has worked in
making the shot more challenging. One of the best many areas of photography
advantages of digital for me, is the ability to change as a photographer in the
U.S. Navy, a black & white
ISO from one shot to the next. I was very skeptical
film specialist and district
shooting at speeds like 3200, however the detail and manager for Ilford imaging, and director of operations at
saturation is surprisingly good. custom print labs. Chris currently lives in Valdez, Alaska.
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________________
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__________________________
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Contents | Zoom in | Zoom out For navigation instructions please click here Search Issue | Next Page

NOISE REDUCTION IN DIGITAL PHOTOGRAPHY

4 Interview: Brian Taylor and the

38 The Subtleties of Expression 27 Images in the Wilderness

Reader Assignment 34 Airshow Photography

FROM THE EDITOR May/June 2013 Vol. 34 No. 3

See phototechmag.com for guidelines, instructions

Mention of any photographic formula/ product does

photo technique (ISSN 1083-9070) is published

The article Introduction to Identifying 19th Century Images by Maureen Taylor

43 The Event at Rebecca Farms Michael Lloyd Bartholome is a painter

Image © Michael Lloyd Bartholome

Nikon D7000, Nikon AF-S VR Zoom-Nikon

22 Photo Encaustic: Part II

49 Demystifying the Digital

Gear, Apps & Good Stuff

Page 56 Chris Boswell ___________

Brian Taylor and the

4 photo technique M/J 2013

BRIAN TAYLOR AND THE PHOTOGRAPHIC NARRATIVE ROBERT HIRSCH

conservative roots. Ansel Adams and Minor White

I have the highest respect for fine black and white

All Images © Brian Taylor

6 photo technique M/J 2013

NOISE REDUCTION IN DIGITAL PHOTOGRAPHY STEVE ANCHELL

It may help to know that noise is not unique to digital

Something else to consider: as the camera sensor ages,

They can do the first because photographers have no

As far as the High ISO NR setting, I suggest leaving it

Luminance noise is an overall effect that is similar to

Color noise appears on the screen or in the print as

Both luminance and color noise can be controlled in

The last of the three, hot pixels, is not as prevalent

8 photo technique M/J 2013

NOISE REDUCTION IN DIGITAL PHOTOGRAPHY STEVE ANCHELL

I often photograph musicians, such as drummer Mel _______________________________________

As mentioned, there is a simple algorithm used by

A side benefit to using film grain is that it creates

10 photo technique M/J 2013

NOISE REDUCTION IN DIGITAL PHOTOGRAPHY STEVE ANCHELL

All Images © Harvey Stein

Woman in Recoleta Cemetary, Buenos Aires, Argentina

12 photo technique M/J 2013

ON THE ROAD HARVEY STEIN

Two Woman Talking, Siena, Italy

Hooded Figure, Querétaro, Mexico

14 photo technique M/J 2013

ON THE ROAD HARVEY STEIN

Carly Through the Van Window, Outside Taos, New Mexico

Three Youths, Luang Prabang, Laos

16 photo technique M/J 2013

TURKEY AND THE ART OF TRAVEL PHOTOGRAPHY STEVE DREYER

Hagia Sophia, Istanbul

Turkey and the Art of Travel Photography

This is not so easy when you are seeing a country for

The photographer makes the picture, but you also need

My pre-trip research included reading about histor-

18 photo technique M/J 2013

TURKEY AND THE ART OF TRAVEL PHOTOGRAPHY STEVE DREYER

and wanted a tight shot to show them off. Of course

Taking photographs of local scenes that tell a story is a

Vendor Counting Change, Istanbul Street Market, Bodrum

in some noise. I took several photographs of them, as Summary

s/LYMPUS MM F WIDE ANGLE FOR

s&ORMEMORY)LIKETOUSEASFASTAMEMORYCARDAS low me to keep it simple. A general rule is “Put your