Bandon, Oregon Photography Workshop Feb 20th-23rd 2020.

Oregon Islands Sunrise

What – Southern Oregon Coast Photography Workshop with professional landscape photographer Darren White. Shooting sunrise and sunsets each day with optional shooting during the day if weather is good. Because this workshop takes place on a New Moon, I also plan to shoot at night if the sky is clear and you’re welcome to join me. During this workshop Darren will be shooting alongside students to show them proper techniques, exposures and compositions. This give you a visual learning experience as well.

Where – Bandon, Oregon  –  I’ll be staying at the Sunset Oceanfront Lodging but there are many places along Beach Loop road to stay if you want something a little more upscale.                                                                       

When – Feb 20th-23rd, 2020  – 4 full days of photography in the Bandon area. 

Weather – Unpredictable. Chance of sun and storms or both.

Moon Phase – New Moon

Investment$999

 

Bandon Beach

oregons-new-day

 

Sunrise/Sunset Times

7:00am/5:45pm each day  

The Oregon Coast is a good location for both sunrise and sunset 

 

Who should sign up?

Anyone who wants to expand their photographic skills both in the field and on the post processing side for landscapes. 

 

How do I get there – If you are flying in, Portland will be your closest international airport and then it’s only a 5 hour drive.  Eugene airport is smaller and just under 3 hours from Bandon

 

bandons-new-year-eve-light-show-final

 

Do you want to visit the Southern Oregon Coast and learn how to take your beach images to the next level?  Then this is the workshop for you. 

During the workshop we will discuss proper exposure, shutter speeds for various effects, depth of field, composition, and much more. 

Post processing instruction will be an optional part of the workshop. Post Processing will be done in a very relaxed, casual manner probably at the hotel or Bandon Brewing over lunch. There are not many people in Bandon in Feb. Combining in field instruction with post processing will bring this workshop full circle. 

Darren’s goal is to make sure all your questions are answered and your learning experience is fun. As part of the processing instruction Darren will share with you his simple workflow as well as other ways to process your images.

Bring home more than just snapshots. Bring home images you will want to hang in your home. 

Darren has been photographing the Oregon Coast for over 20 years and has extensive knowledge that will bring your images to life. 

port-orford-sunrise-storm

 

good-morning-bandon

Equipment required –

Digital SLR Camera

Rain Gear

Sturdy Tripod

Comments and Questions for discussion

Positive Attitude

Optional Equipment

Cable Release, 3 or 6 stop ND filter is good for longer exposures or shooting during the day. Laptop with Photoshop and Lightroom installed if you want to do some post processing.

 

Locations we may visit 

Bandon’s extensive beaches

Port Orford Battle Rock Beach, Coquille Lighthouse, and the Bandon Harbor/Marina

Depending on weather we may travel north or south to find better shooting conditions.

 

port-orford-morning-storm

 

What’s not included?

Transportation

Meals

Airfare and Lodging

Travel/Camera Gear Insurance!!                                                                                                    I can not recommend this enough. We are working in and close to the Pacific Ocean.  While I care about you and will do everything to keep you safe, the ocean does not care. You will thank yourself and have peace of mind if you know your camera gear is insured. If you are just a hobbyist then something as simple as a rider on your home owners policy may be enough. If you are a photographer who has a business then you may want to take out a separate policy. Check with your insurance agent to be sure.

 

lighthouse-moon

 

What does the schedule look like – all times are aprox and subject to change.

Each day we will meet at 6am and walk or drive to our location for sunrise. We will have a break in the day before meeting up at 4:30pm to walk or drive to our location for sunset. I will be available 2 days in the middle of the day for those that want to work on post processing. Again this is very casual and informal as it’s really just me helping you edit your images and talking you though my processes and software I use. This will be on the 21st and 22nd.

 

What happens if it rains the entire time?

Generally speaking the weather along the central and southern Oregon coast is much better than the north coast.

I also like to be flexible as often times the weather will come and go and I like to take advantage of those times when we can shoot.

If the weather just will not let us shoot, we will have more classroom training that can be covered on post processing to help fill some time.

 

Cancelation policy –

If you cancel by Oct 31st 2019 you will be refunded your full amount.

Cancel between Nov 1st and Dec 20th 2019 you will be refunded 50% of your investment.

Cancel between Dec 20th and Feb 18th 2020 you will be refunded 25% of your investment.

No refunds will be given after Feb 18th 2020 or for no shows.

 

overlooking-bandon
Million Dollar View, Bandon, Oregon

 

The learning doesn’t stop after the workshop. I will always be available to answer questions via email or phone. So if you have questions when you get home or get stuck in a process, just ask.

 

Each person in the workshop will also get an 18 inch fine art print of their favorite image taken during the workshop. I will also do a full evaluation of the image file before going to print so that if there are any issues they will be fixed before printing.

Sunrises, Sunsets, or Coastal Storms, this can be a great opportunity to learn, meet new people, and have a lot of fun.

 

moody-blues-of-oregon

One last thing – bonus bonus

If you know me you also know I am a night photography instructor as well.

As mentioned above, if the weather is clear I will be going out at night to photograph the coastline and if you are so inclined you are more than welcome to join me and learn about night photography too.

I have some neat tips and tricks I like to teach to really help bring those night images to life… During this workshop we will not have any moonlight which can make for some great night photography

 

et-are-you-out-there

If you would like to sign up or would like more information please use the contact form below and I will be in touch as soon as possible. This workshop is limited to only 6 people.

 

Robus Tripods and Night Photography

IMG_7545 2

There is no doubt about it, you have to have a tripod when shooting at night.. None of us can handhold the camera for 1 second or longer. If you can, please show me!  We teach about 10 night photography workshops a year and see all kinds of tripods. Big heavy ones, little ones that look like toothpicks and some medium sized ones.  In all honestly, some people are very new to night photography and their little tripod does well for them when they are traveling and working in daylight conditions.

After finishing up our May workshops I knew it was time for me to get a new set of tripod legs.  I wanted light weight yet solid. twist grips on the legs, something that wasn’t too tall and wouldn’t break the bank.

I am not sure where, but I saw an ad for Robus Tripods and at the time thought they looked like a good fit for my shooting style. I didn’t think much of it until it was time to upgrade my tripod legs.  I did a bit more research and didn’t find them on any social media sites. Instagram only has a few #Robustripod tags so I decided to reach out to the company and see about the possibility of working together. I did not need their biggest, most expensive tripod. Just something that worked great and and fit my needs. I ended up getting the Robus RC Vantage Series 3 5558

IMG_7515 4

When I think about tripods, I think about how they will work at night. Generally, when shooting sunrise, sunset or during the day the exposures are not that long and therefore it’s not as crucial to have a really solid tripod as it is to have one at night. Often times our exposures are anywhere from 10 seconds to an hour or more. This really gives a lot of time for things to happen. Wind is a big issue with night photography and needs to be taken into consideration when shooting the night sky. If you’re shooting and winds are gusting it’s pretty natural for you to want to grab your tripod and hold it down. This works well if you are already holding it before the exposure starts and you hold it all the way through the shot.  If you feel wind and grab your tripod during the exposure there is a good chance that your image wont be as sharp as you like.  After having shot in the wind quite a bit over the last week I have realized that this tripod works pretty well even in gusty winds. That makes me a pretty happy camper.

When stability is key so that your images are as sharp as possible you want to keep your camera as close to the tripod base as possible. This means you don’t want your center column extended very far if at all. I recommend purchasing a tripod that has a short column or no column at all. The Robus does not have a center column but can be purchased separately if you really want one.  I, personally, like the fact that my camera is extra solid on the tripod because I don’t have a center column. When choosing a tripod size be sure to not use the center column height to help you determine if the tripod is right for you. I would suggesting going off the base height and then figure in the ballhead height and the distance from the base of your camera to the eyepiece.

IMG_7517

Design and functionality are also important. You don’t want to be out in the dark fiddling around with your tripod while your friends are all shooting already. You want to keep things simple and easy to use. I love the design of the legs and how they extend out to get the camera even more solid. You simply pull the silver lock out and then you can move the legs freely to the desired width. I also love the twist locks for the leg extensions. In the past I have owned tripods that that had clamp locks and I found they jammed too easy and were a pain to clean. The twist locks make for simple extension and retraction in just a second or 2.

IMG_7520

I like and sometimes need to get my tripod into odd positions to get a shot. This is where I really like Robus’ decision to make this tripod without a center column as well as make the legs go out almost flat. For both landscapes and nightscapes this is a real benefit.

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Having a larger base at the top with the legs on the outside make the tripod very easy for me to hang my camera bag on the oversized hook in between the legs. On my last tripod the legs were mounted under the base and my Mindshift 36L did not fit. Why do I hang my almost 40lb camera bag under my tripod when I am shooting?  Added stability. By doing this it does 2 things.. It keeps my gear all in one place and it adds a whole other level of solidness that you can’t get by doing anything else. This allows me to shoot in really windy conditions without worry. I know my images are gonna be razor sharp no matter how long I am shooting.  Because I can spread the legs nice and wide, I can put the bag on the hook and even if the wind moves the bag a little I still don’t have to worry about the camera moving during the exposure.

Snapseed

Your tripod should fit in or on your camera bag to help keep your hands free during hiking. Trying to carry your gear in your hands isn’t all it’s cracked up to be. Too many chances to have something happen and the gear get’s broke or damaged.  At the same time you don’t want to put a huge tripod on your little camera pack. They should fit each other well and it should wear well when you’re hiking or walking.  I did several hikes in Utah over the last couple months and found that I didn’t even know the tripod was on my back. It fit really well. Balance was good and it’s easy on easy off.

You may notice the white tape on the legs and ask what that’s for. It’s glow in the dark tape so that I can see where my tripod is in the dark without having to turn on lights.  Even if you only shoot at night occasionally, I highly recommend it.  You can get it on Amazon.  I checked all of my local hardware stores and no one had it.

IMG_7809

In review – things to look for when purchasing a tripod for night photography

  • short or no center column
  • proper height
  • legs that extend wide
  • legs on the outside of the base, not under it
  • Hook to hang your bag for added stability
  • Twist lock leg sections
  • Carbon Fiber – Weight

Had Robus and I not been able to work something out, I would have still purchased this tripod and I would have been thankful that I did.  I like to keep a $500 budget for my tripods and this one fits right into that amount without going over.

Robus is owned by B&H Photo and the Gradus Group

Thank you for taking the time to give this a read. I appreciate it and look forward to more blog posts in the near future.

Links where you can read more about the products and my work

 

Workshop Season in Full Swing

Wow!

That went fast. It seems like just yesterday we were finishing up our last Night Photography workshop of 2018. Getting home taking a break and making final plans for the 2019 season and now it’s here.  I was in Moab, Utah last week kicking off the first workshop of the season.  I had a great group of students who were passionate about learning all they could about night photography.

Sharkfin MIlky Way
Nikon D850 – Sigma 14mm 1.8 Art

It’s possible that this may be the last year we are allowed to use Low Level Lighting to illuminate our foregrounds. The Parks are proposing a change to this rule that will ban all forms of artificial lighting except when moving from one location to the other.  I don’t want to start a discussion about that on my blog, I am simply stating what I have heard and seen in emails from the Parks.

Low Level Lighting is one of the things we love to teach so that our students can go out after the workshop and do it on their own in their own hometowns or when they travel.

If the ban does come into effect for the 2020 season we do have a plan. Another aspect of our classroom training during the workshop is Planning and Scouting. We teach you how to plan your shot based on what you want to accomplish. Next year is when we will be putting into practice what we have been teaching and using ourselves for years. We don’t want our students going home with great skies and black foregrounds. We want nicely lit foregrounds to go with our wonderful skies. This is something we will plan for before setting the dates for 2020.

Path to the Milky Way
Nikon D850 – Sigma 20mm 1.4 Art

The above image does not use any Low Level Lighting. All the light you see is natural. These are techniques we teach so that you can make the most from any shooting situation. Just because the skies are dark and there may not be any moonlight does not mean you can’t get great images. It just takes a little more time in the field shooting but the results are well worth the effort.  Do you think this image would look as good if the entire foreground was just dark?

Corona Pano
Nikon D810 – Sigma 20mm 1.4 Art – 6 vertical images stitched for pano

Corona Arch is a fairly popular spot but because it’s outside the National Parks near Moab, it sees much fewer people at night than other places like Delicate Arch. On this particular night we took our group up during a time when we had good moonlight. We timed it so that we could hike up in the moonlight, get set up and then the moon would set and the skies would get dark. I shot this image just as we arrived and our students were getting set up to help show what kind of illumination you can get from the moon. Once your eyes adjust in the moonlight it’s actually pretty easy to see and only minimal light should be used for safety reasons. This really allows us to have our senses be in tune with what is around us and it causes our hearing to be more sensitive as well.

OOF
Nikon D850 – Sigma 50mm 1.4 Art

What is the absolute most crucial part of Night Photography? Yes, it’s focusing (right after safety)  and how to properly focus in the dark. It doesn’t do you any good to go out in perfect conditions only to come home with blurry images. To the untrained eye it may be hard to see if your images are in focus or not just by looking at the back of the LCD on your camera. We teach you how to properly focus in the dark so that you get sharp images every time. There are a lot of things you can fix with Photoshop but an out of focus image isn’t one of them!

DS
Nikon D810 – Sigma 20mm 1.4 Art – Image is at 300% crop

Part of our classroom training focuses on Noise Reduction, it’s actually a fairly big part of the classroom training because, let’s be honest, who wants to go out and shoot awesome scenes at night only to end up with grainy and noisy images….Not me!  While I can’t take all the credit for figuring out some of the techniques we teach, I can say I do a lot of trial and error work to find the best and most efficient ways to do them. If you look on the right side of the image above you will see what looks like confetti sprinkled on the image. Now, look at the left side and you wont see it. You may be asking yourself, “how long did it take him to remove all that with the clone took or healing brush?” The answer, about 5 seconds max and I did not use either one of those tools…  We want the fun of photography to be out in the field, in nature, photographing the scenes you love without having to worry about spending countless hours cleaning up your images once you are home. We show you how to do this and in fact it’s so easy you’ll probably be mad at us because we don’t take longer to explain the process…trust me when I say the process is only 5 mouse clicks from start to finish!

Moab Group 2018 September

Arches Group May 25 2017

Mike and I love our workshop groups. Many of the students take multiple workshops with us in various locations as we expand our locations over time. Before we even released our 2019 Yellowstone workshop we had 3 students who were on a workshop in Moab sign up.

I am home now till the end of April when I head back to Moab for 2 weeks to help teach 5 back to back workshops.  We have filled 59 of 60 spots and have 1 spot left on our May 9-13th Night Photography Workshop

We also have some openings in June as well as August and September. These months make it a bit easier on the body since the Milky Way is up right after sunset.  We sure hope you will consider joining us under the starry skies.

I love hearing your feedback, questions or comments so please feel free to use the contact box below.

 

Links to products used in the making of these images.

Sigma Lenses

Nitecore Lights

Nikon Cameras

 

2018 – Year In Review

As I look back on 2018 after having a full week to reflect, it’s hard for me to really put into words what 2018 meant to me. I was blessed to travel to Paris with my family in March and spend my daughter’s 11th birthday at Disneyland Paris. During the Summer I traveled through Oregon, Washington, Idaho, Kansas, Wyoming, Nebraska, Utah, and all over Colorado. During the Fall I went to Iceland for 8 days with some friends. 2018 was simply filled with so many enjoyable moments and memories that there is really no way to put it all up here in a single blog post.  I asked my Facebook followers Facebook Fan Page if they would rather have me post my 10 best images or my favorite image from each month. They chose to have me do 1 from each month. While social media can be annoying sometimes, I still respect what my followers say and value their opinions.

I hope you enjoy these images as much as I did creating them. With each image you will find camera exif data and a description of each one. Please note that while I am doing a lot more composite imaging these days for fun, I picked images that were either single exposures or focal length composites of real scenes. Each of the images I have picked to share with you are real images that you could see with your own eyes…Not, just something I came up with in my head.  I know there are a lot of people who are inspired by other photographers so I wanted to make sure I only shared images that you can create yourself, should you choose.

January

fire and ice 2
Nikon D810, Sigma 20mm 1.4 Art, ISO 64, F/7.1, 1/5th second

Chatfield Lake State Park is only a couple of miles from my home and more times than not, it’s my “go to” spot when I just need to get a quick photography fix. We had a pretty good cold snap and the lake froze completely. As Colorado weather would have it, the next few days were very warm and the ice started to break up due to winds and water movement. These big ice chunks were layering themselves along the shoreline. When I arrived at this part of the lake I was happy to find some nice pieces that made for a good foreground. Getting the camera down low with a nice 20mm Sigma wide-angle lens let me take it all in and still capture the great sunset in the sky.

February

frosted rox
Nikon D810, Sigma 24-105mm Art, ISO 64, F/8, 1/100th second

Roxborough State Park is another park that I am fairly close to. I love to shoot these slanted rock formations at various times of the year. I would rather be outside than sitting in my house. After a few hours of heavy snow I decided to go take a drive and see what I could find. I loved the soft trees against the jagged rocks that were fading away in the distance.  Temps were in the single digits and the wind was blowing fairly good. I used my Sigma 24-105 Art lens at 90mm to bring this scene in closer and fill the frame.

March

bogue sunrise
Nikon D810, Sigma 14mm 1.8 Art, ISO 200, F/16, 1/160th second

Bogue, Kansas, Population 136

This was my 2nd of 3 trips to Kansas in 2018 and both the 1st and 2nd were much more pleasurable than the 3rd. I am a huge fan of the small towns across America that didn’t make it. I find the people who live in these towns to be very kind and gracious. They tend to like to talk about the history of the town and what happened.  This old building on the corner was a small shop of some kind, possibly a car garage shop. As we were walking by I noticed the sun coming up on my right. I thought it would be neat if I could get the sun coming up through the tree. It wasn’t till I got home I realized I had also captured the reflection of the old grain silo in the front window. The Sigma 14mm 1.8 Art lens allowed me to get close to my subject and still capture all that I wanted in my scene without any extras.

April

magic in the mountains
Nikon D810, Sigma 24-105mm Art – Sky, ISO 10K x 15 exposures at F/4, 15 seconds at 28mm – Mountain, ISO 100, F/4, 16 minutes

Rocky Mountain National Park, Milky Way Over Longs Peak was sure a sight to see. I had just got home from a workshop in Moab and I called up a couple of friends to see if they wanted to do a midnight hike in the snow and freezing temps to this spot that overlooks Longs Peak. They agreed and we made some final plans and off we went. Hiking the 1 mile up here is fairly easy in the summer but not so much when the trail is mostly ice and you’re going uphill. We allowed extra time that we knew we would need. In hindsight the uphill wasn’t so bad compared to coming back down. One friend slipped and almost went over the edge. We were able to get him up to safety and past the sketchy part of the trail. There are only about 45 days of the year that this image is possible when the Milky Way is right over Longs Peak. If you take into consideration things like work schedules, weather, and moonlight, realistically for most people this view is only seen for about 7 days total. I’ve seen this shot without any snow and I have seen it shot one time right after a big fresh snow…This image takes advantage of a setting moon which creates the shadow under Longs Peak.  I used a Tiffen Double Fog Filter at the time of capture to enhance the stars in the image.

This image is a combo of a blend and stack where I simply used 2 focal lengths and exposure times. Both images capture with the Sigma Corporation of America 24-105 Art Lens.
Sky – 15 exposures, ISO 10,000, F4, 15 seconds each at 28mm stacked to reduce noise. 
Mountain – 1 single 16 min exposure at 42mm, ISO 100, F4,

May

twisted universe
Nikon D810, Sigma 20mm 1.4 Art, ISO 6400, F/2.8, 20 seconds

Moab, Utah.

This big, beautiful old tree lines up perfectly with the Milky Way in April and May. It’s one of the places we love to take our workshop students who enjoy the tree as much as we do. Moab is known for having some of the darkest skies in the USA and it’s one of the reasons we love teaching there. Depending on exactly where you stand to shoot this tree it can take on many different looks. Having the Milky Way as a backdrop isn’t bad though!

June

milky way thermal pools
Nikon D810, Sigma 14mm 1.8 Art, ISO 3200, F/2.2, 15 seconds

Yellowstone National Park

My daughter and I did a 3500 mile road trip from Colorado up to Yellowstone and then back down into Kansas. We enjoyed all the sights, animals and even visited the geographic center of the USA (more my bucket list item than hers). During the day we would explore and see the attractions but at night it was my time to do my thing.  Seeing these thermal pools in the day was great and I am glad I got to experience it with her. At night when all the people returned to their hotels, I could get out and shoot. Very peaceful at night with a faint bubbling sound of the thermal pools. I really enjoyed shooting this image as our nearest neighbor, Andromeda, rose up behind the trees. It was a beautiful night in a beautiful park.

July

hug point mist (1)
Nikon D810, Sigma 24-105mm Art, ISO 64, F/9, 30 seconds

Hug Point, Oregon

Heavy mist and fog can do amazing and crazy things to the visual surroundings you see. The fog was laying on the beach like a first time tourist to the tropics. It just wouldn’t go away. The Sun was getting lower and lower and everything was this odd grey/silver color when all the sudden everything lit up. I looked to my left and saw there was a small break in the fog that the sun was coming through. It was more like the sun was shining through a thin layer of fog, not really a break. I scrambled around and found this composition and began shooting. The light lasted a couple of minutes and was gone.  Having lived on the Oregon Coast for many years, I really feel that this image summarizes what the Oregon Coast is all about. Hazy, Foggy, some sun, damp and yet extremely refreshing.

August

mountianous majesty
Nikon D810 Mountain -ISO 64, F/2.5, Sigma 24mm 1.4 Art, 30 min exposure. Sky – 20 images stacked, ISO 8000, F/2, 6 seconds, Sigma 50mm 1.4 Art

Mount Rainier National Park 

Finally able to check this off my bucket list and it feels good but I know I’ll be back to see it again. We were on the tail end of our 6 week journey through the Pacific Northwest. Many months earlier I had made plans with a friend to come up and shoot this scene with them. We were treated to a wonderful sunset before it got dark and the stars came out. We picked this location based on where the Milky Way would be as we knew we wanted to get it over the mountain. It was stunning!

This image uses 2 focal lengths to create a more natural (to what your eye sees) scene. The mountain was shot at 24mm and the sky at 50mm The human eye sees at roughly 50mm.

September

gullfoss mist
Nikon D810, Sigma 24-105mm, ISO 64, F/11, 0.3 seconds at 52mm

Iceland

Depending on where you are in Iceland, one of the biggest challenges can be shooting so that you don’t get other people in your shot. In the southern region there are more people simply because it’s closer to the capital, Reykjavik. Here at Gullfoss waterfall this was sure the case. Probably at least 1000 people here while we were here. What you can see here is all of them on both sides of me and up on the trail leading down to the falls. I loved the way the water was flowing over the falls and then the mist would shoot straight up along the rock walls into the air. I like to challenge myself when not so perfect situations present themselves. This was one of those times.

October

mountain waters
Nikon D810, Sigma 24-105mm Art, ISO 200, F/9, 1/30th second w/OS on at 105mm

Iceland

Our trip to Iceland spanned the last week of September into the first week of October. The first image I picked for October was a nice sunset with some wave action along the beach. After thinking about it for a while I realized it didn’t show the true Icelandic landscape. I wanted something that showed the more rugged side of the country as well as the changing weather. This image was shot near Snaefellsjokull National Park on the far west side of the island. As we rounded the corner of the road I knew I wanted to shoot this scene. I love the golden tones of the grasses and land while the snow-capped peaks rise up above. The waterfall looks like it’s coming out of nowhere and the little farm in the lower right corner really puts this into perspective.  One thing we noticed while driving around is that a lot of farms/homesteads were built near the bases of waterfalls so they could have fresh water. Yes, there are that many waterfalls in Iceland! They are everywhere.

November

reflected golds
Nikon D810, Sigma 24-105mm, ISO 64, F/10, 1/50th second at 24mm

Moab, Utah may not be known for it fall colors but if you look in the right places you will find some nice groves of Cottonwood trees. I had just finished up a workshop and had some free time when I started hiking down this little muddy creek/canyon. The water was very still and made a beautiful reflection against the blue sky. Sitting here simply enjoying this moment was priceless. I’ll always remember these trees and look forward to my next visit when I can shoot them in another way!

December

comet 46p over stagecoach
Stagecoach – Nikon D850, Sigma 14mm 1.8 Art, ISO 6400, F/2.8, 15 seconds. Sky – Nikon D850, Sigma 85mm 1.4 Art at F/2, ISO 8000, 5 seconds. 

At the end of the year, Comet 46p graced us with its presence. It wasn’t an epic comet with a big long tail like others before it, it was just a nice green dot in the sky letting us know we are not alone. At only 3/4 of a mile across and 7.2 million miles from Earth, it’s amazing that it shows up this bright. This comet is ONLY 3 laps around a track wide. That’s not very big in the grand scheme of things when you think that Jupiter could hold 1300 Earths. What a great experience for those who go to see Comet 46p to finish of the year. This image was taken behind an old stagecoach building in rural Colorado on Dec 7th, 2018.

 

2019 should be a year of just as much fun. I have a lot planned this year and tomorrow I am starting the year off right with a trip to the Oregon Coast. I look forward to catching up with everyone soon and please feel free to contact me directly using the form below.

I hope you find these links helpful.

Darren White Photography

Sigma Lenses – See these amazing high quality lenses and all their info

Night Photography Workshops in Colorado, Yellowstone, and Moab, Utah – Take your night photography to the next level and beyond.

Nitecore Lights for all your needs – The only lights I trust while out playing in the dark.

 

Simplifying Night Photography

gear

As a night photography workshop instructor over the last 5 years I have seen a lot with our students. I have seen very happy students and I have seen, at times, very upset students. 99% of the time, if they are upset, it’s because they don’t know their gear well enough to work with it in the dark. This is not a bad thing, it’s just part of the learning experience.

I am writing this today to help ease some of that frustration. I am writing this to help ease some anxiety you may have because you want to get into night photography but at the same time you are scared you don’t have the correct gear.

Today I am going to tell you exactly what you need. That’s it…I run a no BS approach to photography. I wont sugar coat things, I wont say they are OK if they are not. Why accept somethings that’s OK only to get home and find out that it’s not. Unacceptable.

YOU ONLY NEED 3 things, 2 really, to begin your quest as a night photographer.

  • Digital Camera  with at least an F/4 lens.
  • Tripod – Med sized to full size will work fine
  • Remote cord – Optional

Surprised?  I thought so. Let me explain

Camera and Lens – This is where you will adjust your settings and capture your images. You don’t need a 40 or 50mp camera to get good night images. You simply need a camera. Any camera that can expose for 30 seconds will do the trick as long as your lens is F4 or faster, this means that it could be a 2.8, 1.8 or 1.4 lens. If you are just starting out and don’t want to spend a lot of money get an F4 or 2.8 as they will work just fine to capture images. I use an F4 lens for some of my work and have no issues. I also use a 1.4 sometimes.

Tripod – This is what holds your camera steady while your shutter is open. I suggest a tripod that does not have toothpicks for legs… Really, you think your camera will hold still on toothpick legs, it wont! If you do have a tripod that has very thin legs then I would simply suggest that you do not extend them and shoot with the legs fully collapsed and close to the ground to hold the camera as steady as possible.

Remote Cord – Optional – Why optional? Because your camera has a shutter button that you can, believe it or not, press down with your finger or thumb if you like. Seriously, it works, try it. If your camera is on a stead tripod and the tripod is tightened down so that the camera does not move then yes, it’s ok to use your finger to press the shutter. I personally like the remote cords that connect directly to your camera and not the wireless ones. Why? I have never seen anyone have issues with a remote cord that connects directly to the camera. I see people all the time fuss about because their shutters are not going off because they can’t get their wireless remotes to work. I have also seen a lot of people who try to program their intervalometers on their remote cords even when they have a camera that can do exactly what they are trying to do. If the camera can do it, let it do it. Unless you have a very specific need and need to take a long series of images that are over 30 seconds each you do not need an intervalometer. You can simply set your camera to any exposure time 30 seconds or less and press the shutter on the remote cord or camera and it will take the image. If you need to take a series of back to back shots just change the setting on your camera to continuous mode and press and lock the remote cord button. It will now take as many images as you like until your memory card is full or you release the shutter.

Let’s review.

You need a digital camera that will allow for exposures up to 30 seconds long.

You need a tripod to hold your camera steady

You need a remote cord if you wish to take back to back images for a series.

 

DO NOT get caught up in the gear game. You simply don’t need that much stuff. So now you’re looking around your room thinking, hmm, I have a camera, I have a tripod and he said I really don’t need a remote cord so I think I’ll go see if I can take some pictures of the night sky or even a city skyline at night.

Pro Tip – Set your camera on Manual mode, change your ISO to 6400, set your lens to the widest it will go, ie, 2.8, 4 or 1.4, set your shutter speed(exposure time) to 30 seconds and shoot. These are starter settings. If the image is too bright then you can cut your exposure time or ISO down.  For information on how to focus in the dark please visit our website at www.nightphotographyworkshop.com

Shooting With Film Again

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1991 – High School

Good times for sure. Lots of friends, no internet so we had to talk to each other to communicate. My sophomore year I joined the yearbook and newspaper teams as a photographer. I spent a good portion of my days in the darkroom filling orders for the copy teams, developing film and making prints. I loved it. I got to work on my own or with 1 other person and didn’t have anyone telling me what to do.. As I look back on it now, I really consider it my first job. I was in charge of the darkroom by my senior year.  I made sure things ran smoothly and that prints and images were ready to go on time. We had deadlines to meet.

I graduated HS in 1993 and began college. I entered some images into our local County Fair and took first place in all the categories I had entered. After arriving back home from a trip to Montana my mom told me that the owner of our 1 hr film lab wanted to talk to me about a job. I was very excited…I had wanted this job for a while but was turned down about 6 months earlier. When I asked my mom why he wanted to talk to me now, she said that he saw my work at the fair.

I went to work at the photo lab for about 3 years  saving all my money and I was finally able to purchase my first Pro camera (Nikon F4s).  While working there I was also doing some sports photography for our local newspaper that just happened to be across the street. I did that for about a year. My real love was photography for me, for my soul, not working for someone else. The money and benefits weren’t good enough at those jobs so I had to grow up and get a real job…..with benefits. Photography kind of went by the wayside for many years…

In that time digital cameras had hit the market in a big way and changed photography. I jumped on that bandwagon and am still riding it today. I love photography in general. Digital is great, fast paced and fairly simply given my background with film. I was no computer wizard so that was the tough part of the learning curve.. Film went bye bye, I wasn’t working in a darkroom or making prints anymore. I felt as though something was missing from my life. The years went on, I moved a few times, had a few more real jobs, got married and had a child…

2016 – 41 yrs old and I’ll be dammed if I can’t do what I want when I want…

I want to shoot film again, I want to make pictures and I want to develop my own film – I knew this would not happen overnight. First, after deciding that I wanted to shoot film again I also knew that I wanted to shoot Medium Format as well as 35mm.

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Choosing a Medium Format camera that I felt was a good fit for me took a little while. I did not want a fixer upper but I also did not want to spend an arm and a leg – remember I have a family.  I finally decided on the Mamiya C330f – Twin Lens Reflex. It shoots 120mm film and each negative is 6cm x 6cm which is quite a bit larger than 35mm. I had never shot medium format before as well as I had never shot a camera that did not have a light meter built in. Now with a camera and some film I am ready to go.  I get out there and all set up and now I am not sure how to meter the scene. Good thing I had my Nikon D810 with me. I set all the settings the same and used it to meter the scene. This worked pretty well  but if I am going to be honest it was a bit of a hassle to have another camera just for that.. A month ago I purchased a handheld light meter that does a great job. Sekonic 308 because it was small, decent price and offered both indecent and reflective light metering.

After having a few rolls of exposed film I needed to get them developed and since I did not have the proper chemicals at my house I took them to Englewood Camera to be developed. I have created a nice working relationship with the employees there and they have always done a great job with my work.

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Now that I had some processed film and paper to print on, I was ready to get back into the darkroom and start making prints. Well there are not many darkrooms left that don’t want either an arm or a leg or for you to bring all your own stuff i.e chemicals. After a little research I found a place up in Boulder, Colorado that offers darkroom rentals for a very reasonable price. I rent it for 3hrs at a time and this allows me enough time to get a fair amount of work done.

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With the camera, film, a lab to process the film and a place to make prints I am pretty well set up to begin producing my own prints again. Over the last year since acquiring the camera I have had a lot of fun buying new films, light meter and chemicals so that in the very near future I will be doing all my own developing at home. I am not sure I will ever have a place where I can make prints at home and I am OK with that. I am simply very happy I have all the tools in place to begin this journey again.

Last week I took advantage of an expired film sale that Englewood Camera had. Some of the film has been expired for almost 40 years. I just shot a roll of black and white the other day that was expired 18 years ago and after getting it developed it looked really good…no light leaks or fogging. I will be printing from those negatives tomorrow.

 

So by now you may be asking yourself, “Why is he shooting film again?” and the answer is very simply. It slows me down, makes me think and let’s me appreciate what I am shooting/doing. From setting up the camera, getting a good focus, checking the light, taking the image, getting the roll developed and then choosing the best image to print can be a time consuming process. The center print above of Yosemite Falls was taken last summer while on vacation with my daughter. Starting next week I will be doing some scans of the images and while I plan on doing scans to post online. I am not going to do any prints from the digital scans unless I get an order for one that is bigger than I can print myself.

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As of right now I can print up to 16×24 directly from the negatives. If I were to do a drum scan of the negative then the native print size at 300dpi would be 60×60 inches.  Yes, that is the power of shooting Medium Format film. In digital terms that would mean your file would have to be 18,000×18,000.  As soon as our living room is done being painted I will be printing an image 36×117 inches that is a panorama from my digital camera. The file size is 24089×7379.

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For me personally, this is something I loved to do as a kid and something I want to enjoy again. The images that I produce wont be available to the masses. Not everyone will have one and more than likely not more that 10 prints will ever be made from the same negative. From start to finish I will have my hand on the process the entire way. The images that I create on film will not be the grand landscapes you see from me today. I will be shooting people, cityscapes, close ups, abstracts, patterns, textures, shallow DOF ect…. I love shooting landscapes, big, colorful landscapes and now I want to incorporate images that tell more of a story and really make the viewer think about what they are looking at or the story that goes with the image.

I hope this gives you a little insight on what is coming up for me in the very near future. Do I plan to give up digital?, No. Just planning on shooting more film along the way.

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Be sure to contact me directly if you have any questions or just want to talk about photography. You can also find me on the interwebs, FB, IG, and TW..

Sigma 20mm 1.4 Art lens

 

The first time I used this lens back in May 2016 I fell in love with it for a couple of reasons. The focal length, 20mm, is a real sweet spot for both landscape photographers and night photographers as well. Fast 1.4 f stop. While we don’t tend to normally shoot at the widest f stop on a lens having a 1.4 really gives you some breathing room when it comes to exposure and sharpness.  Let’s say you are doing night photography and you have a Rokinon 14 2.8 and you have a Sigma 20mm 1.4 Art Lens. The scene you are shooting is very dark  with only minimal light. with the Rokinon you may have your camera set at 6400ISO for 30 seconds in order to get a good exposure but you find that your images are coming out fairly noisy at that ISO. With the Sigma 20mm you could shoot at F 1.4 at ISO 1600 for 30 seconds and get the same exposure value. Now while the sigma does offer an amazing 1.4 f stop, it’s rare that I would shoot at that for my work. Generally speaking the widest f stop on any lens will also give you the least quality. Shooting at 1.4 would be very fun for some up close daytime stuff where you are feeling a bit artistic or even at night when you don’t mind of the stars are out of focus and you just want to focus on your foreground subject…  I have found that the real sweet spot for this lens is right at F2 or F2.2 depending on what I am shooting and the available light. Which is still quite a bit faster than a 2.8 lens.  In the images I will be sharing with you, you will be able to see the data for the lens used. I shoot this lens between 1.8 and 2.8 when I am shooting at night.  Enough talk, let’s see what I am talking about. The first set of images are multi shot panoramic images I captured with the Sigma 20mm. 1.4. Because of the extremely low distortion it makes stitching the images very easy.

 

This next set of images were taken later in the Summer when the Milky Way rising up overhead instead of low on the horizon. These are vertical panoramas all taken with the Sigma 20mm 1.4 lens.

Each of the images below were created using either multiple exposures or single long exposures.

The final set of images I would like to share are just simple single exposure, shorter exposures and general photographs taken with the wonderful Sigma 20mm 1.4

If you have any questions at all, please don’t hesitate to contact me. I will be happy to respond. Thank you.