This week, Bob Coates kicked things off by exploring Starry Sky AF and Live Composite on Olympus’ OM-D E-M1 Mark III camera. Then, Bryan Esler talked about the X-T4 and the nostalgia it provides.

Sara Kempner walked us through the technique of panning landscape images, while Jemma Pollari gave us a few tips on how to achieve a styled wedding photoshoot — even during a global pandemic. Finally, Ken Lee interviewed Ron Pinkerton about his nightscapes taken in the Mojave Desert.

Create amazing astro photos with Olympus Starry Sky AF and Live Composite - Night photography has challenges. When you add sky, challenges multiply. Have you ever gotten back from a Milky Way shoot and found that your star focus just wasn’t quite there? I have. While there are tricks and techniques you can use involving daytime focus and taping down your focus, Olympus has a different autofocus mode that makes things even easier. Focusing on the stars with Starry Sky AF A focus mode called Starry Sky AF is available on the new OM-D E-M1 Mark III. If you have clear skies and stars you activate the Starry Sky AF mode, the camera focuses on the stars with ease. It takes about 12 seconds for the camera to scan the sky for the brightest points. I recommend that you set your focus points to a large grid. If you have a single focus point set the camera has a more difficult time finding focus. With Starry Sky AF, you acquire focus using back button focusing (with the AEL/AFL button). Once focus has been determined, you’ll save the focus acquisition time in subsequent shots. If you use the shutter half button focus, each time you make an exposure you’ll have to wait for Starry Sky AF to do it’s thing. It doesn’t lock your focus. Another reason for using back button focus would be if there is some cloud cover or haze in your field of view, Starry Sky AF may not acquire focus. You can pivot the camera to a clearer sky view and get your focus then recompose the shot. Adding in Live Composite Starry Sky AF can be combined with the Live Composite feature for creating images with star trails. Live Composite will make multiple exposures of the scene on the same frame. The beauty is it will only add additional light and allow the shadow areas to remain as they were on the first exposure. Available when you have Bulb selection on the mode dial (“B”), make an exposure using manual or aperture priority with which you are happy. Use those settings to give you the correct density for your shadow areas. Enter those settings in the Live Composite menu, then push down the shutter button. The camera will prepare itself by scanning the scene. It will then allow you to begin the exposure. Press the shutter again to start the actual exposure. Watch on the progress on the LCD screen. When your star trails are the length you like, end the exposure by clicking the shutter button. The camera will then complete the process doing a noise reduction. Making this image The base exposure for this capture was 25 seconds. The camera repeated the same exposure 70 times while only adding the extra light. Each complete exposure showed the results on the LCD — the total exposure time was approximately 29 minutes. An additional 25 seconds was taken making the noise reduction. I was extremely pleased with the lack of noise in the finished file as I was shooting with ISO 1600. A full moon provided the wonderful lighting on the red rocks. Additional uses for Live Composite Live Composite can also be used for lightning strikes, fireworks and car light trails. Seeing the results appear on your camera back is pretty magical. You can check other features including Starry Sky AF & Live Composite, along with other Olympus OM-D E-M1 Mark III features in this article by Bryan Esler. Yours in Creative Photography, Bob Enter for your chance to win a new Olympus OM-D E-M1 Mark III and 12-100mm f/4 PRO lens!
Nostalgia brought into the 21st century: The Fujifilm X-T4 - In a world that’s becoming increasingly into the full-frame life, I was curious. Where exactly does Fujifilm’s X-T4 fit in? Sandwiched between micro four-thirds and full-frame formats, Fuji’s APS-C format is one that’s familiar, yet some are beginning to question its future. While the format wars continue to wage on, Fuji has made it clear — it’s not going anywhere anytime soon. And the X-T4 is the perfect example of that. Offering a compact form factor with some amazing camera technologies, the X-T4 will make any Fuji shooter happy — whether you’re using it for street, portraiture, travel … you name it. I’ve had a couple weeks to play around with Fuji’s latest offering, and I have to say, I’m impressed. First impressions First, let me say that outside of a trade show, I’ve never picked up a Fuji camera. So I’m not going into this review with an in-depth knowledge of how the camera system works. It took me a little bit to get used to things — those dials on the top still throw me a bit. But once I did, I was pleasantly surprised with how the camera performed. One of the things that Fuji shooters have always told me is that the colors are beautiful. And I have to say — they’re more than beautiful. They’re gorgeous. Fuji by far has the best color profiles of any camera I’ve ever used. In terms of design, the camera has that old-school film look that you would expect from Fuji. It just looks great, and the ergonomics are as good as its styling. It’s comfortable to hold and walk around with, unlike some full-frame options. The back of the camera features a button layout that’s pretty straightforward. The dial pad isn’t labeled, so it did take me a little bit to figure out what each one did when I was capturing photos. On the top you see dials for ISO and shutter speed, as well as a switch to change between different drive modes (thank you, Fuji, for making bracketing accessible!). In terms of aperture, that’s controlled on the lens, as there’s an aperture ring on every Fuji lens. If you’re getting the idea that the X-T4 is styled to be like the cameras of old … it is. Film shooters and other nostalgics will absolutely love the design of this camera. Hands-on performance For my tests with the X-T4, I went downtown and photographed various parts of the city. I focused on shooting both details and wider, yet abstract, shots. I also used the camera on a few portraits. Finally, I took the camera out to the countryside and photographed some farm life. Going downtown is where I first discovered how to truly use the camera. Once I got setup, I found it was a breeze to use. The colors came in beautifully and the depth of field — even on the 16-80mm f/4 lens I was provided — was stunning. Utilizing Auto ISO, I realized that I should have set the limit a little lower, but any noise that was presented was super fine and not distracting. Due to having dials on the top of the camera to change ISO and shutter speed settings, shooting from the hip is easier than ever. Street photographers will absolutely love this camera. In terms of portraits, this camera provides a sort of look that I don’t know how to describe. Other than to say that people shots really shine. If you’re looking for that artistic, film-like vibe, the X-T4 definitely provides that. I used the X-T4 for some portraits by the pool, with my friend, Alex, and his family. Autofocus was superb, holding up to Preston jumping up and down behind his dad. Capturing the kids in the pool was super easy too, despite splashing around and having some fast movements. I was also pleasantly surprised at the amount of background separation at f/4 with the shot of Alex’s brother-in-law rocking kids’ sunglasses. Out in the country, I really got to see the benefit of Fuji’s color system. All of these photographs were taken with Cloudy white balance to warm them up a bit. But compared to files from other cameras, the colors here are certainly nostalgic. Any edits I did were to basic items — exposure, contrast, highlights and shadows — in Capture One. The photo below was the one that truly showed me the power of the Fuji system, for two reasons. One, despite having several green and yellow colors in the scene, it latched on to the grasshopper with no issue at all. With other cameras, this might have been a problem due to lack of contrast, but not with the X-T4. And two, this image really sold me on Fuji’s image quality. Cropping in back at home — about 50% — provided no loss of detail. The photo was tack sharp. A few minor qualms with the menu system As someone who’s never used a Fuji, I did find a few things I wish that Fuji would change or fix. Nothing major — but things that would improve the workflow. For one, while the menus are laid out simply, I did find them to be somewhat complex. Having “Format” buried inside a User Settings sub-menu really doesn’t make sense to me. Luckily, Fuji offers a My Menu option with the X-T4, meaning I could create my own custom menu for quick access. Two, whenever I left the menu (or formatted my card) and went back in, it wouldn’t take me to where I left off. This can be frustrating when you’re trying to figure out a setting, and having to remember where it is. Most camera menus I’ve used save the place you left off at until you turn off the camera. Third, when I’m in the menus and half-press the shutter button on other cameras, it takes me out of the menus. But not with the X-T4 — it keeps me in the
Night photographer Ron Pinkerton: Made in the Mojave, part one - Ron Pinkerton is a gifted night photographer who incorporates his love of the desert and its rich history in his images. These can be seen in his monograph “The Last Stand” or his museum photography exhibition entitled “Made in the Mojave.” An early love for the desert “When I was a kid, my parents were rock hounds,” Ron said. “We spent a lot of our weekends camping and looking for different minerals. We lived in the San Fernando Valley, which meant that the Mojave Desert was nearby. The Mojave is full of abandoned mines and a rich variety of exposed mineral specimens, so it was a favored destination for us. “I learned a love for highway culture on those trips too. The towns we passed through, and the gas stations and cafes we stopped at were all part of the adventure. I scoured the coin returns of pay phones and soda machines for loose change, and asked for the free stickers and road maps that used to be available at every gas station. Call it luck or call it kismet, I fell in love with the desert at an early age, and it stuck (though I have since given up scouring coin returns for loose change).” Influences from the desert to science fiction These desert adventures for the past 50 years have also given Ron a keen sense of history. During his visits with his family, Ron received a Kodak Instamatic camera for his 10th birthday, sparking a lifelong interest in photography. This was further informed by viewing painting, graphic arts and Medieval illuminations. However, for his night photography, it was more the “weird factor,” stemming from “lowbrow” art, science fiction and surrealism. As with many, Ron also has a love of 1950s automobiles and abandoned road culture. He has created light painted images of hundreds of these subjects. Learning night photography through workshops Ron has taken various photography workshops, from learning light painting during night photography to storm chasing. I asked him about what attracts him to this hands-on approach as opposed to books or videos. “In my day job, I work as a curriculum developer, so I think a lot about how people learn,” he said. Ron notes that it is largely personal preference, adding, “For me personally, the workshop experience is the only way I could have gotten launched into night photography. I like the immediacy of the give and take with a good instructor. I like the critique/feedback sessions. And I like the camaraderie of shooting with like-minded individuals. I took my first workshop with Troy Paiva and Joe Reifer back in 2012.” Ron continued taking workshops. “I had the basics down, but a good critique is always helpful for further growth. I also made friends and found future shooting partners in those days. Books and videos are absolutely valid ways to learn or expand your techniques, but for me, it was all about the immediacy of shooting in a workshop environment.” Creatively painting with light Light painting was one of the techniques Ron learned about in the night photography workshops. This is a technique used by many night photographers to illuminate foreground subjects while the camera shutter is open during a long exposure. More opportunity for creativity Ron notes, “I find lots more opportunity for creativity because I’m in control of the light and the colors in a way that just can’t happen with daylight photography. I suppose certain kinds of studio photography give you some latitude in those areas, but I find the studio asks for more technical discipline than I’m prepared to give.” Spontaneity Ron notes that night photography is comparatively looser. “You and any shooting partner are probably in a remote location (with or without permission). After some basic technical rules, you are free to make it up as you go along. Composition, lighting and subject choices flow with a kind of spontaneity. I find that I am very much in the moment when I shoot at night.” The weird factor Certainly, light painting can create strange, surreal images, frequently achieved through bold colors. “First, I think the bold colors add to the ‘weird factor,’ and I have a hard time seeing light painting as not striving for a little weirdness. Secondly, we all respond to colors in emotional ways. The bold colors can be used with the intention of evoking a particular response on the part of the viewer.” Choosing which colors to light paint Ron uses a ProtoMachines light painting device capable of producing infinite colors. Ron discussed how he goes about choosing which colors to use in his light painted images. “Sometimes the subject just screams it. You look at the paint job on the car, and you know that orange is the only color that makes sense.” Other times, however, Ron might photograph the subject several times using different colors. “Some nights I try to move through the spectrum before the night’s over. And some nights, it seems like every shot calls for red. Or blue. Or whatever. Clearly something is happening in my emotional subconscious when I keep harping on a color, but I’ve never tried to analyze it. I just go with it. If it’s a ‘red night,’ that’s what I do. I’m not sure that always serves me best aesthetically, but it feels right when I’m shooting.” Ron also notes, “Using multiple colors in a scene usually takes me from the emotional approach to a more cerebral one. A little knowledge of the color wheel and complementary colors will serve you well in making color choices, and will help you make more subtle choices that can really set your pictures apart.” Methods of illuminating subjects “When I started out, I relied on a selection of flashlights, an off-camera strobe and a fistful of colored theater gels. Several years ago, I bought a Protomachines LED flashlight. It allows me to dial in any color at any intensity. Since I started using it, I have never
Quick tips for an effectively styled wedding photoshoot - When you’ve got some space between wedding bookings (or, I don’t know, a global pandemic cancels every wedding in your calendar), a styled photoshoot is a great strategy for connecting with local wedding vendors, growing your portfolio and keeping your skills fresh. A styled wedding shoot can run from a short session with two models playing the role of your bride and groom, to a grand affair as elaborate as an entire wedding! Either way, here are some quick tips to get you started on planning your next styled shoot. Offer photos in exchange for time Generally, photos are offered to all participating vendors in exchange for their time and efforts during a styled shoot. I always offer photos with a commercial use license, with the caveat that wherever possible, they acknowledge me as a photographer, don’t sell the photos (for instance, to stock websites) and don’t enter the images in competitions. While we’re talking contracts: Don’t forget to get a model release for everyone who appears in the photos. Don’t miss anyone at the styled wedding photoshoot Work quickly and efficiently at the shoot. Make sure you haven’t missed photographing any of the vendors who have been involved. In addition to their styling, flowers, etc., photograph them doing their work so they have assets to use to help their clients put a face to the name! It’s a great strategy to include a second photographer in your vendor invitee list to get some photos of yourself, too. Share and backlink When you deliver the photos, include a list of all the vendors’ social media handles and websites, and instruct everyone to use these when sharing. Ask — and give instructions — that all photos added to a website be backlinked to your website. Backlinks from other vendors at your styled wedding photoshoot are critical to SEO: Ask for vendors to use text such as “Photos by Sunshine Coast wedding photographer, Icefeatherwind Photography” and link the entire phrase, to give your website a search engine boost.
The art of landscape panning - Panning in photography is usually associated with moving objects like cars, bikes or even animals. But panning can also be applied in the landscape genre, as a way to create abstract and dreamy images with an almost painterly feel to them. Let’s start with the basics. What is panning? Panning is a technique that combines a slower shutter speed with camera motion during the exposure to create a sense of movement in the image. In landscape photography, we’re adding movement to an otherwise still image to create a unique, artistic vision of the scene. Haven’t tried panning before? Below are six steps to help you create your first panned image. 1. Find your scene Find a scene that isn’t too cluttered, and has some sort of vertical or horizontal lines. For example, you can use a body of water with a horizon and sky above, or a stand of nicely spaced trees. Panning can be done either vertically or horizontally depending on your subject. 2. Slow your shutter speed To start, set your shutter speed somewhere around 1/30s and adjust your aperture accordingly to properly expose for your scene. With longer shutter speeds it’s easy to blow out your highlights, so don’t be afraid to push your aperture to f/8.0 or higher in order to let in less light. If you are shooting in bright conditions and can’t get your shutter speed low enough, you may need to use an ND filter to allow for a longer exposure. If you don’t have a filter, try panning early in the morning or later in the evening when light levels are lower. 3. Hold steady When you’ve got your exposure and focus set, you’re ready to pan. Hold your camera tight to your body and move your body in a steady, continuous motion either horizontally or vertically. For vertical panning, try starting with your knees bent in a partial squat, and initiate movement upward while keeping your torso straight so that the camera moves up in a straight line. For horizontal panning, initiate movement at the waist and move your upper body from one side to the other in a fluid, even plane. Try to keep the camera as level as possible while you’re moving. 4. Fire away Once you’ve initiated movement, depress the shutter button and continue to pan until after the exposure has finished. Make sure to follow through with the panning motion until after the shutter has closed, as this is key to creating a smooth, consistent image. 5. Make adjustments Use your viewfinder to assess your image and make adjustments as desired. You’ll find that each panned shot is going to come out slightly different, even when taken in the exact same spot. Try gradually decreasing your shutter speed to see how your subject changes frame to frame. Alternatively, you can speed up or slow down your panning movement to change how the image is recorded. 6. Keep practicing Keep practicing until you get a photo that you love! These types of images are subjective and artsy by nature so don’t be frustrated if you don’t like your first attempts. The beauty of living in the digital world is that we can afford to experiment and fail with techniques like this, so have some fun and see what you can come up with! Adding panning into your repertoire of photography techniques can be a great way to get creative and explore unique perspectives in the landscape genre. With no right or wrong outcome, panning allows you to experiment until you get a result that fires up your creative juices and inspires you to push your photography into new directions.

What you missed on Flipboard this week

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