In the Moment:
Michael Frye's Landscape Photography Blog
by Michael Frye | Apr 20, 2012 | Uncategorized
(If you’re getting this post through email, click here to view the video.)
Here it is, my second video about the new process in Lightroom 4. In Part One I explained how the new tone controls work; here in Part Two I talk about how to use these new tools to process both low- and high-contrast images. Here are some of the main points:
– Where to begin? If you’ve read my eBook Light and Land, or watched one of my previous videos about curves, you know that in the old process I preferred starting with all the Basic tone controls set at zero, and the point curve linear. Does this still apply in the new process? (1:10)
– Curves or sliders? The new Basic Tone sliders are much better than the old ones; are they good enough to replace the Point Curve? (10:30)
– Does the order matter? Adobe suggests using the Basic tools in order from top to bottom, starting with Exposure, then Contrast, and working down to Highlights, Shadows, Whites, and Blacks—essentially working from the midtones out to the black point and white point. But this contradicts a long-standing tradition in digital imaging of setting the black point and white point first. Should you stand with tradition, or embrace the new order? (13:02)
– Processing a high-contrast image. (21:04)
This video is about 27 minutes long, so, as I said with Part 1, grab your favorite beverage, sit back, relax, and enjoy the show. Spending a little time with this video now will save time later when you’re processing photos. More importantly, I hope that this video will help you get the most out of your images so that they convey what you saw and felt when you pressed the shutter.
As I mention in the video, the best way to learn more about processing images in Lightroom is to take a workshop. There’s are still a couple of spots available in my October workshop, The Digital Landscape: Autumn in Yosemite. This is a comprehensive course covering the entire process from capture to print, with field sessions covering exposure, composition, and everything you do before pressing the shutter, and lab sessions where we process and print the images with Lightroom.
I hope you enjoy Part 2!
—Michael Frye
Related Posts: Lightroom 4: The New Tone Controls; Using Curves in Lightroom and Camera Raw
Michael Frye is a professional photographer specializing in landscapes and nature. He is the author and photographer of The Photographer’s Guide to Yosemite, Yosemite Meditations, and Digital Landscape Photography: In the Footsteps of Ansel Adams and the Great Masters, plus the eBooks Light & Land: Landscapes in the Digital Darkroom, and Exposure for Outdoor Photography. He has written numerous magazine articles on the art and technique of photography, and his images have been published in over thirty countries around the world. Michael has lived either in or near Yosemite National Park since 1983, currently residing just outside the park in Mariposa, California.
by Michael Frye | Apr 15, 2012 | Announcements
Unfiltered Object #4 by Jeff Grandy
Planning to visit Yosemite in the next few weeks for the waterfalls and dogwood bloom? While you’re there, stop by The Ansel Adams Gallery and see the current exhibit by Jeff Grandy, featuring prints from his exquisite Unfiltered Series. The show will be on display until May 10th.
Jeff is a long-time friend, and I’ve always loved his classic landscape images, but this new work of his is quite different. He’s focused on the colors and textures of water, and created a series of abstract and imaginative images. You can see some samples on Jeff’s website.
There will be reception for the artist April 21st from 3:00-5:00 and I plan to attend. Hope to see you there!
— Michael Frye
Michael Frye is a professional photographer specializing in landscapes and nature. He is the author and photographer of The Photographer’s Guide to Yosemite, Yosemite Meditations, and Digital Landscape Photography: In the Footsteps of Ansel Adams and the Great Masters, plus the eBooks Light & Land: Landscapes in the Digital Darkroom, and Exposure for Outdoor Photography. He has written numerous magazine articles on the art and technique of photography, and his images have been published in over thirty countries around the world. Michael has lived either in or near Yosemite National Park since 1983, currently residing just outside the park in Mariposa, California.
by Michael Frye | Apr 13, 2012 | Uncategorized
(If you’re getting this post through email, click here to view the video.)
As I wrote last week, Lightroom 4 represents a big change—the biggest change to Adobe’s Raw processing engine since Adobe Camera Raw was introduced in 2003. They’ve completely revamped the underlying algorithms for all of the tonal controls, and changed the behavior, and in some cases the names, of all the Basic Tone sliders.
Overall, I’m really happy with the new process, especially for high-contrast images. But if you’re accustomed to Lightroom 3 the new tools may seem strange at first. So I’ve been working on two videos to explain the changes and how to work with the new tools.
The first video, embedded here, explains some of the differences between the old and new processes, how the new tools work, and the ways they affect an image’s appearance. Here are some of the main points:
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by Michael Frye | Apr 10, 2012 | Yosemite Photo Conditions
Poppies in the Merced River Canyon, Sunday afternoon
It’s turning out to be a great year for poppies in the Merced River Canyon, along Highway 140 just west of Yosemite. While nothing may ever match the spectacular poppy bloom of 2009, this season is coming pretty close. There’s a brilliant display on the north side of the canyon about three miles east of Briceburg, with poppies reaching from the river to the ridge tops. A mile or two further east, around Grandy’s Hill, you can find some great patches of flowers above the road on the south side of the canyon. And there are plenty of poppies at the beginning of the Hite’s Cove trail.
The bloom seems to be spreading from west to east, as it did in 2009. During the last week poppies have appeared in many places on the north side of the canyon from the rock-slide to El Portal, including some of the areas burned in last year’s Motor Fire. I’m hoping that this spread will continue, and we’ll see poppies blooming for two or three more weeks.
Despite the fact that this is mostly unfenced public land, and some of the best poppy displays are on the same side of the river as the highway, access to the flowers is difficult. The hillsides are extremely steep. Not fall-off-and-you’ll die steep (at least in most places), but it requires a lot of agility, stamina, and sure-footedness to climb up many of these hills, and a slip could cause injury. Most people are going to be limited to telephoto views from the road. The one spot with relatively easy access to close-up views of poppies is the beginning of the Hite’s Cove trail.
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by Michael Frye | Apr 6, 2012 | Digital Darkroom
Clearing storm along the North Carolina-South Carolina border—processed with Lightroom 4
I’ve finally had a chance to really dive into Lightroom 4, and I’m very happy with the results I’ve been getting. While I haven’t found a big difference in processing low-contrast images, with high-contrast scenes the improvements are significant.
The accompanying image was made during my trip to South Carolina last November. It was a fast-changing situation—the sun suddenly broke through, and I missed the exposure slightly, so the brightest highlights at the top of the clouds were blown out. By the time I adjusted the exposure the scene had changed.
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by Michael Frye | Apr 2, 2012 | Yosemite Photo Conditions
Sunbeams striking El Capitan, 6:32 a.m. Sunday
Winter arrived late in Yosemite this year, but now it seems reluctant to leave. Of course that’s fine with me, as I love photographing storms, and we certainly need the moisture.
A short but intense weather system dropped about an inch of precipitation on Yosemite Valley Saturday afternoon and evening. The storm began with rain, but quickly changed to snow. I was in the valley on Saturday for the Yosemite Conservancy Spring Forum, and driving out at about 5:30 in the afternoon I encountered blizzard conditions, with thick snow blowing sideways. I stopped at El Capitan Meadow and set up my camera and tripod underneath the back hatch of my car to try and capture the falling snow (see the photograph below). I managed to keep the camera dry, but my pants were soon coated with an inch of snow.
It looked like we might see clearing on Sunday morning, so Claudia and I drove up early and joined about ten other people at Tunnel View. We started talking and socializing, but all that stopped when some breaks appeared in the clouds, and then rays of sun struck El Capitan (above).
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by Michael Frye | Mar 29, 2012 | Light and Weather, Photography Tips
Mossy oak in the rain
Claudia and I are in Humboldt County this week visiting our son Kevin, who’s a junior at Humboldt State University. This is redwood country, along the far northern coast of California. It’s a temperate rain forest, and it sure seems like it this week. It’s been raining—a lot. Yesterday we had a break, and a mostly rain-free day, but another storm arrived today, and the area is expected to get six to ten inches of rain over the next two days.
Although we’re mainly here to visit our son, of course I hoped to do some photography in this beautiful area as well. The main challenge of photographing in the rain is keeping the camera dry. I’ve tried many different ways of doing this: umbrellas, towels, plastic bags, etc, but there’s no perfect solution. Various people make rain covers for cameras, which work pretty well, but only for telephoto lenses. In fact it’s a lot easier to photograph with long lenses in the rain, regardless of what kind of cover you put over the camera, because you can use a long lens hood to keep rain off the front glass. Hoods for wide-angle lenses have to be short, to avoid vignetting, which makes it difficult to keep water from splashing onto the front element. The best solution I’ve found for wide-angle lenses is to attach an umbrella to my tripod with a clamp. This works, but it’s awkward.
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by Michael Frye | Mar 23, 2012 | Yosemite Photo Conditions
Clearing storm from Tunnel View, 5:03 p.m. last Sunday.
The storm last weekend in Yosemite was a big one: almost four inches of liquid (rain and snow) fell in Yosemite Valley, and Badger Pass, at 7200 feet, got four feet of new snow. Of course one storm, even a large one, isn’t enough to make up for the months of dry weather preceding it; Yosemite has now received about 67% of average precipitation since last July. But the waterfalls got a noticeable boost, there’s a decent snowpack in the high country, and conditions seem more normal—more like a typical March.
Last Saturday night about seven inches of snow fell at my house in Mariposa. At daybreak on Sunday the skies were overcast, but it had stopped snowing, and I decided to try light-painting the beautiful manzanita bush outside my office. I hope the warm lighting in this photograph (below) looks pretty natural, like early-morning sunlight, but it was actually created well before sunrise with a flashlight.
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by Michael Frye | Mar 16, 2012 | Yosemite Photo Conditions
Half Dome, winter sunset — from 1989 (!)
Rain reached northern California this week, but Yosemite only got brushed by the southern edge of these storms. That’s about to change, however, if the forecasts are right. The National Weather Service issued a winter storm warning for Yosemite and the southern Sierra Nevada for tonight and tomorrow, with two to three feet of snow possible above 6000 feet. The heaviest precipitation will fall as rain in Yosemite Valley (at 4000 feet), but as a cold front moves through on Saturday afternoon snow levels are expected to drop down to 2000 feet. Even though the main part of the storm will have passed by that time, forecasters are predicting plenty of showers Saturday night and Sunday, and significant amounts of snow could accumulate in Yosemite Valley and the Sierra foothills.
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by Michael Frye | Mar 9, 2012 | Photography Tips, Vision and Creativity
Small waterfall in Yosemite Valley, high noon
Everyone develops routines and habits: waking up at the same time every day, eating the same thing for breakfast, taking the same route to work… and on and on. Routines are beneficial in some ways—they help us avoid spending time and energy making small, unimportant decisions every day.
In photography, routines can help with the technical, left-brained stuff. Always putting lens caps in the same place in your camera bag, or the same pants pocket, can help save time and avoid frustration. Checking off a mental list before pressing the shutter can prevent mistakes. Did you adjust the polarizer? Focus? Set the right aperture? Shutter speed? Did you check the histogram? What’s your ISO?
But routines also dull the senses, and in photography that can be deadly. I’ve photographed this small waterfall in Yosemite many times, but always in the shade. Soft light works well for subjects like this—it makes it easy to use slow shutter speeds, and simplifies the lighting. So I’d never even considered visiting this spot when sunlight was hitting the water.
Last weekend I was shooting footage for some instructional videos in Yosemite Valley. I wanted to talk about using slow shutter speeds with moving water, but the crew only had one day in Yosemite, and the schedule only allowed us to visit this waterfall at noon. As we approached the fall I thought, hmm, this might work. Backlight filtering through the trees created some interesting patterns, and as the sun moved it started to highlight just the right spots. As I was demonstrating how different shutter speeds affected the appearance of the water, I was looking at the images on my viewfinder and thinking, “Wow, that looks pretty cool!”
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