So Far in 2019…………

I know we are only into the new year by just over a month but I thought it would be fun to share some of my work so far this year. I have been trying to make the most of my free time by getting out and shooting. As a full-time photographer it can be pretty easy to just sit in the house and edit and catch up on social media. While those are parts of the process, the process I really enjoy is being outside and capturing the images. I wont share all my new images, just the parts that will put it all together.

In early January I hosted my annual “Oregon Coast Winter Workshop” in Yachats, Oregon. Our group all had Oceanfront rooms at the amazing Overleaf Lodge and Spa

We were truly blessed with good weather. The few days before the workshop was rainy and right after the workshop the rain came back. We just happened to time it so that the 4 days during the workshop were in between storms.  Needless to say this made the workshop students happy as well as myself. My friend, Chuck Rasco of Chuck Rasco Photography always comes along on these trips with me. After the workshop was over we spent the next 5 days on the southern Oregon Coast between Bandon and Brookings. We had a good and bad weather in both places. Having lived in Oregon most my life, I felt right at home walking along the beaches in the rain. We did some crazy hikes too.

Scale
Seal Rock Sunset, Nikon D850, Sigma 24-105

On Saturday night of the workshop I took the group down to the Seal Rock area near Newport, Oregon. Once we parked the cars I could see the clouds in the sky and I had a feeling that the sunset was going to be epic.  I decided to grab just my camera and one lens, my workhorse, Sigma 24-105mm Art to use for some snapshots while helping the students. Right on cue, the sky just began to explode with color. Everyone was going crazy trying to find the best comps. Moving around and making sure they were not in each other’s way, the group really worked well together. Gary Kochel planned a big northwest trip around the workshop and I think it’s easy to say that he was extremely impressed with Oregon. Here is Gary getting an epic shot from his own vantage point.

Moving down the coast after the workshop, we headed directly to Brookings and had plans to stay in Bandon on the way back up. My friend Chuck and his wife Cathy had never really explored the Samuel Boardman State Park area of Oregon. I felt as a good host, I should show them around properly. That means with a few steep hikes that lead to incredible views.

Natural Bridges
Natural Bridges, Nikon D850, Sigma 24-105

The first hike was at Natural Bridges. It’s a pretty common spot for good reason, the views are amazing. Not everyone can get down to see the views from here just because it’s pretty steep. This view isn’t too bad to get to but once you go further, down to the red arrow, it gets much steeper. So steep that there is a 50ft section where you need to repel down the hill with a rope…Once we were set up at the red arrow the views were just as good.

Pacific Views
Pacific Views, Nikon D850, Sigma 14mm 1.8 Art

It was right here when I realized that Chuck wasn’t too keen on heights. The Sigma 14mm 1.8 Art makes this little path look wider than it actually is. Chuck was standing almost right next to me on my right and my left tripod leg is actually off the path, down a little ways being held up by a rock. The top of the arch that we are on is maybe 4ft across. That doesn’t leave much room for error when packing up your gear and turning around to head back up the trail.

Cliffside Views
Cliffside Views, Nikon D850, Sigma 24-105, Haida 10 stop ND Filter

It’s fun to shoot the same scene with various lenses. You simply get different results. This was shot from the same place, tripod in the same spot, as the last image but with a Sigma 24-105mm Art at 52mm for 67 seconds with a Haida 10 stop ND Filter

Sunset Storm at Face Rock
Sunset Storm at Face Rock, Nikon D850, Sigma 24-105 Art

After powering though a few days of pouring rain in Brookings and filling up on the best breakfasts ever (we ate here 3 days in a row) Mattie’s Pancake House we made our way up the coast to Bandon. Bandon is not an open book by any means. I have been visiting Bandon now for over 10 years, maybe longer and the weather is always interesting. After getting checked into our hotel and picking up some provisions for the evening the rain started. It was windy, blowing sideways and I was thinking that our chance for a sunset was out the window…literally. As it got closer to sunset the rain let up, the sky started to break up with a few holes in the clouds. We made our way across the street to the beach in amazement that our timing couldn’t have been more perfect. The wind was still kicking pretty good so I decided to put the tripod away and shoot handheld with the Sigma 24-105. The OS on this lens is incredible. We were down on the beach for about 2 hours until sunset was finally over. There were no chance of shooting stars that night so we called it a night and began walking back to our hotel… I kid you not, just as we got back to the hotel it started pouring again.

Super Blood Wolf Moon
Super Blood Wolf Moon, Nikon D850, Sigma 20mm 1.4 & Sigma 85mm 1.4

Months ago, I planned a shoot with a friend who was interested in shooting the Blood, Super Wolf Moon on the night of the 20th of January. We used PhotoPills to plan the shoot and know where exactly the moon was going to be at what time when it was eclipsed.  Since I was just getting home from 10 days in Oregon, I didn’t want to travel too far from home. South Valley Park is right behind my house and because we are looking away from Denver the sky is a little darker.  Using these rocks as a foreground subject, we set up, shot the foreground and then waited for the moon to turn red. Because it’s impossible to capture the moon and the foreground all in one shot with the proper exposure, I used 2 shots for this image. The Moon is in the exact location it was when I shot the foreground. I used the Sigma 20mm for the foreground and the 85mm for the moon. A quick blend in Photoshop to bring the two together was all it took to create this image as I saw it with my own eyes.

Since being home from Oregon, I have been jumping all over Colorado searching for fun and interesting photos. If you have been following me for any amount of time, you will know that I am really intrigued by the smaller towns on the Eastern Plains of the state. On a trip out near Matheson, Colorado with my friend, Tony Lazzari we found this beautiful old seed mill.

Manaville Seed
Manaville Seed, Nikon D850, Sigma 24-105mm Art

The light was just coming up over the horizon hitting the metal siding. There were just enough clouds in the sky to make good use of my Haida 10 stop ND Filter and create this really long exposure of 2 minutes. I was able to get the camera low enough so that I was looking up, by doing this I was able to include much more of the sky.

Schoolhouse Spins
Schoolhouse Spins, Nikon D850, Sigma 14mm 1.8 Art

This old one room schoolhouse sits out in the middle of nowhere. In fact I have only seen a couple pictures of it online. It’s 150 miles from my house. While Bob Coorsen and I were setting up, a truck pulled up and asked where we were from. We told him and then he proceeded to tell us how his grandfather and father both attended school here back in the day. I have searched high and low and I can’t find any information on this school. The mad did say that a few years back he was going to buy it and put a new roof on it but something fell through and he never was able to make the purchase. The school is maybe 15 ft wide by 40 ft long. It’s really small. I used a Nitecore LA30 to illuminate the inside of the school. The image is a blend of 2 shots. keeping the camera in the exact same position I did one long exposure for the star trails and then a short exposure for the points of light stars. I simply used a blending mode in Photoshop and changed the opacity to blend the long exposure with the short exposure so that you can see both in the sky. I masked out the foreground so that only the long exposure for the school shows. This allows me to keep image quality at it’s best.

Train Station Tuesday
Train Station Tuesdays, Nikon D850, Sigma 14mm 1.8 Art

I don’t venture down into the city too often. After some good snow and a warming up it’s easy to find puddles to shoot unique perspectives. It has been a while since I visited Union Station and I remember that the concrete wasn’t level. This means that pools of water form. With no wind it makes it easy to get some fun shots. Here I had the camera sitting on the ground behind held up by my L-Bracket. Using a Sigma 14mm lens really let me get quite a bit in the shot even though I was so close. The lens is really only an inch or 2 off the ground from the water.

Morning Mass in the fog
Morning Mass in the fog, Nikon D850, Sigma 24-105mm Art

Weather, in my opinion, is the most important factor in photography. It can be a make it or break it kind of thing. It can also give you images you never imagined you would get. Thus being the case here. My plan was to shoot this old church (1913) with the Milky Way rising up in front of it. The way it faces, I would need to shoot it from the backside. I arrived here early afternoon, met with the guy who owns the farm next to it. He was leaving for the day and I told him I would probably be out there shooting all night and that if he saw some lights, not to be alarmed, it would just be me. About 10pm I started shooting. I was doing star trails, shooting Orion, the Big dipper and getting pretty excited for the Milky Way that was going to be coming up around 5am. At 2am I hopped back in my Jeep to warm up and grab a quick nap. When I woke up at 4am I could not see any stars….I was puzzled..I turned my lights on and it was solid fog. I thought to myself, “well, hopefully it will go away in time”.  That was not the case. The fog began to freeze on everything (hoar frost). I soon realized that not only was I not going to shoot the Milky Way, I also wasn’t going to get a sunrise. About 6am it was light enough to get back out and shoot what I could. I actually really enjoyed the fog and the beautiful atmosphere it created. Living in Oregon I saw fog all the time. Since moving to Colorado almost 6 years ago, I rarely see it here…

Corn Stalk Tree Fog Color
Foggy Tree, Nikon D850, Sigma 24-105mm Art

I could have shot scenes like this all day long. If you follow me on either Facebook or Instagram you can see more of these foggy moody images in the near future. They are a nice change of pace from my normal stuff. I hope you enjoy them as much as I enjoyed shooting them.

Iced
Iced, Nikon D850, Sigma 24-105mm Art

Last but not least…Boulder Canyon Falls recently opened back up to the public after being closed off. I am not sure what the reason was or for how long it was closed. I do know that in the 6 years I have lived in Colorado, I had not been to it. Odd because it’s only 31 miles from my house. Tony Lazzari and I decided to go check it out…The falls were half-frozen when we were there and I was able to find some intimate scenes like this that showed both the flowing water and the frozen water. Because the falls are in a canyon, the sun rarely hits on them directly this time of year. Getting a good exposure was very easy due to the flat lighting. The mist from the falls had frozen on the ground but being the cautious person I am, I decided to not get too close and chance falling in. I used my Sigma 24-105mm Art lens at 95mm to get closer to the falls and compose the shot. A shutter speed of only 1/4 second shows both movement and detail in the water while keeping the ice razor-sharp.

This brings all of you up to date on what’s been going on over the last 45 days… I am really trying to get out more, shoot more and just enjoy nature in all aspects that I can. Tonight a friend and I are headed out to find clear dark skies and possibly old abandoned buildings to shoot the stars over.  Give me a follow on social media, leave a comment about this blog as I would love to  hear from you.

What’s next?  I don’t have any set plans for the rest of this month. I’ll just keep and eye out on the weather and go where it takes me. Next month I will be spending 2 nights/3 days at the Apache Point Observatory in New Mexico. I am very excited about this and thankful for the opportunity to see the night sky from a different vantage point. I am getting ideas on how and what I want to shoot while I am there and if the weather is good then I will be sharing those images with you as well as doing a separate blog post.

Send me blog post ideas if you have something specific you’d like to hear my thoughts on or a photographic process you’d like to see.

In April we will start our Night Photography Workshops for the 2019 season. We’d love to have you join us. This year we are adding Yellowstone to our list of events and we only have 1 spot left on that workshop.

Improve Your Landscape Photos With These Simple Tips.

When I started landscape photography back in 1988-89 I didn’t really know what I was doing but I knew I liked taking pictures, I liked seeing the images printed and I liked doing the printing.

Almost (99%) of what I know today is self-taught/trial and error and trust me…more error than I would care to admit. The people I shoot with can attest to my mishaps, mistakes and poor judgement in the field when shooting on my own and that’s what makes going out with friends fun.

Over the years I have picked up a few tips and trick along the way that have really improved my being able to capture good images in the camera. When I was younger, think 10/11 years old I would hold up my hands with my thumbs touching and fingers pointing up to isolate a scene that I thought looked nice. By doing so I could get rid of the elements that did not compliment the scene and while I did not know this at the time it has helped me to “see” better. People say that artists have an “eye” for things. This simply means that we see the beauty in something that others see as mundane, chaotic or ugly. By picking out certain little things from a bigger picture and composing so that only the good or beauty shows through our images.

I get asked all the time by people around the world who want to know the exif data of my images. While this question is very vague in terms of the desired outcome of an image, I gladly share. I will explain this a little more later on.

I have put together a little list things you need to help take a great landscape photograph.

  • DSLR Camera – Mirrorless Hi Res Camera
  • Sturdy Tripod
  • Great Lenses – This really applies if you are printing your work
  • Patience
  • Good Light
  • Good Composition
  • Good Exposure

Today’s cameras really aren’t the issues behind bad images. Most of the newer cameras take great pictures and it doesn’t matter if it’s a crop sensor or a full frame, they all do a good job. The bigger issues lie with the rest of the list as I will explain.

Having a sturdy tripod may sound like common sense to most people but everyone defines “sturdy” as something different. I live in a very realistic world when talking and teaching photography. Companies I consider to have sturdy, solid tripods are Induro (that’s what I use) Really Right Stuff and Feisol. Ninety percent of all the photographers I know use one of these three brands… A few I know use Gtizo but not many. There is value when purchasing a tripod and in all honestly I see no need to spend upwards of $1000 for a tripod when you can get the same quality and sturdiness from a different brand.. I personally feel that $500 will get you and awesome tripod that will work wonders for your landscape photography. I don’t see any need to pay more. Chances are if your tripod has thin legs or comes in a fancy color, it’s safe to say that it’s not the best choice for doing landscape work. Investing in a sturdy tripod is the first step to getting good sharp images. One question I do get asked is this, “What if my lens has VR, IS or OS” all of which are intended to prevent blur from handholding your camera. This is all fine and dandy until you forget to turn it on or have it on but need a shutter speed that’s slower than what the lens will work with. Too many times I have just went out shooting casually and forgot to turn it on only to get home and find a bunch of blurry images..and no matter how long you keep a blurry image, it will never get any sharper. That’s a fact you can take to your grave.

What could be more critical to your work as a photographer than the glass the light passes though before it hits your sensor. If you are using a kit lens that came with your camera I highly recommend you purchase a different lens…  I used a 18-70 kit lens on my Nikon D70 for 2 years before I purchased a different lens and I can’t tell you happy I was even way back then. Lenses have come a long way since the days of 6mp cameras and with the High Res cameras we have today we NEED lenses that will give us the full resolution that our cameras can provide. Many of you know that I am a Sigma lens ambassador and have been officially for a couple of years. My first Sigma Art lens I purchased was when I got my D810 in 2015, it was the 24-105 F4 and I was blown away. After my first outing with the lens and getting the images back on the computer screen I thought someone had performed Lasik on me. I could not believe all the detail I was seeing. Images were razor-sharp and looked stunning… I don’t put my name with a company that I don’t believe in 100%. There is good reason why all my lenses are Sigma now. While I can’t recommend the Sigma 24-105 enough, the point of this is to ditch the kit lens, get something with an F4 or faster, if the zoom range is too wide like 18-300 then forget about that too. Be willing to spend a little money for a good lens.  You will thank yourself every time you go out shooting.

Now you have your camera, lens and tripod and you’re ready to go make some great images. This next time is by far my weakness when it comes to shooting great landscapes. Patience. I have never been a patient person, I don’t like to wait, I am an only child, I get bored easy but for great photographs we wait, and wait patiently for good light. Several years ago I flew into Flagstaff, AZ picked up my rental car and took off for Grand Falls (google it) I had been dying to see this place in person and knowing it was a long bumpy gravel road I gave myself lots of time to get there by sunset in case I got lost, had a flat tire ect… Well everything went perfect and I arrived there about 5 hours before sunset. It’s hot, I was in the middle of nowhere and in those 5 hours I only saw one other car and 2 naked people (that’s a whole other story) but dammit, I was there and I wasn’t going to miss the sunset. I came all the way for this one shot! So I waited, waited, waited, walked around, found a dog…found the naked people who owned the dog, did some more hiking and then finally….Little Colorado Sunset

Light is very crucial to landscape photography. Light creates depth, shadows, contrast and can be the difference between a good image and a fantastic image.

dayshot

These images were taken roughly 3 hours apart from each other and I think it’s safe to say that the top image is more appealing to most people. Just by having better light I was able to take the viewers focus away from the ugly brown pool of water and put more attention on the falls and the sky. Would you agree? As landscape photographers we have the ability to turn and ugly scene into something beautiful with just the right light.

Here are some various types of lighting I like to look for when shooting. The first is often during sunrise or sunset when the light is right on the horizon. This will allow to you get a naturally soft glow effect by placing the sun just out of the frame so that the light naturally bleeds in from the side.

Natural bleeding light

In the image above I am looking south, the sun is just ready to set and the light is all from just placing the sun outside my frame. This creates a naturally soft light on the scene you’re shooting.

I also like direct or isolated light. This is often times harder to find depending on the conditions. The image below was taken about an hour before sunset. The sun was setting behind me and because of the cloud cover behind me it was only allowing the sunlight to hit the front of this cloud as well as the small portion of the mountain. I liked how it kept the rest of the image dark. This adds a great deal of depth in the clouds as it goes from light to dark.

Isolated light direct light

Backlighting can be fun as well. It can make for nice silhouettes or light fringing around an object. In this example I was driving around Acadia National Park in Maine one early morning and these deer were in the shadow of some big trees while the sun was hitting the bushes behind them. This made for a nice backdrop for the deer. Had this scene been full shadow or full sun the outcome would have been totally different.

Backlight

Composition and composing can be one of the most difficult aspects of landscape photography. I have heard almost every photographer I know say, “I just can’t get my composition right”, at one point or another. Composition is a very mental part of this and we all go through some challenging times trying to find good compositions. Good compositions in landscape photography come from finding a good scene with a nice sky and a nice foreground. Don’t just point your camera up at the sunset sky with a tree in it and click the picture…Well, you can do that if you want but if you have a great sky that makes you want to photograph it, put a nice foreground in it to hold the viewer’s attention longer.  Some key elements to think about when composing an image-

  • Create visual interest – include foreground
  • Rule of 3rds
  • 50/50 reflections
  • diagonal Lines/Leading lines
  • Simplify/Negative Space

Leading Lines in the foreground

Creating visual interest, using a foreground and finding leading lines can usually all be combined into one. This image of Pemaquid Point Lighthouse in Maine does just that.. I have created interests throughout the image with the use of a big foreground with highly textured rock as leading lines that take your eye right up to the lighthouse. This image also uses the rule of 3rds as I have placed my subject in the upper left 3rd of the frame.

Clouds Water Offset

This is a non reflection shot that has what I like to call an X-Factor Comp to it. If you look at the water that is going down to the left and the cloud going up to the right, those combined make the / part of the X. The water coming over the rock in the lower right and the ridge line behind the tree in the upper left make the \ to form an X. This is a pretty common composition in landscape photography and one that’s worth paying attention to when you’re composing  your shot. Even if you don’t see the X you should see the clouds and the water mimic each other in reverse. It can also work with clouds and reflection shots as seen below.

Leading Lines X factor

Framing your subject when you can is important to keep the viewer’s attention in the image longer than usual. By framing your scene it doesn’t give the viewer’s eye an easy out, they have to want to look away. There are many ways to frame an image. Here are some examples.

Framing Example 1

The waterfall has been framed by the trees below, to the side and above. This keeps the eye moving around the image. The low fog helps as well by keeping the bright spots up top toned down.

Framing Example 2

Something as simple as the sun can be easily framed by an opening between 2 trees that are holding hands…..err branches.

Tunnel View

Naturally occurring frames like this cave entrance is a beautiful natural frame to the ocean landscape outside.

Balance

The 50/50 split works best in my opinion for reflection images. This is one time it’s ok to break the rule of 3rds rule.

Last but not least is exposure. Generally speaking if your image looks good to you on the back of your camera it’s not the best it can be. Using your histogram is the scientific way determine a good exposure. Even with today’s high-end cameras I still feel it’s important to expose to the right. This means taking your exposure as far as you can go to the right before you start to blow out your highlights. This helps to ensure better shadow detail, colors and tones and less noise in your image. An underexposed image will have more noise than a properly exposed image.. I am not talking about proper exposure based on your camera meter but proper exposure based on your histogram. They are 2 totally different things. This is really important if you are going to print your work. Anytime you shoot an image that’s underexposed and then try to bring up the shadows in post processing you create noise. Some cameras handle this better than others but it still happens.. By exposing to the right and getting more light in those shadow areas you will end up with a cleaner final image.

Exposed to the right

The image above is one of my RAW files with the histogram showing the data I collected. You may think this looks like crap and you are correct. By shooting this far to the right I was able to collect all the data I need to properly process the image. Nothing in this image is blown out and no shadows are clipped. Are you looking at the sky and thinking this is a total wash? Where are the details in the clouds or the water for that matter? Well, by bringing your exposures DOWN in your RAW converter you will get a much better image than if you are always pushing them UP.  By bringing them down we are simply darkening the info we already have. If you are pushing them up, you are trying to create data in pixels that were not properly exposed to begin with.

Tidal Cleansing RAW edit

As you can see, the colors, tones, shadows, and highlights are all in check here and this is only with the adjustments I made using the RAW converter. I haven’t even finished processing it yet. You will see that image a bit later on.

If you’re new to Exposing to the right, take a few shots like this the next time you’re out and work on processing them to see what you think. It works for every scene. The key is to watch your histogram and only expose just until you see a very tiny portion of the image blown out, like a cloud highlight. If you are shooting with an older camera the benefit will be much more noticeable.

Focus and Live View – I highly recommend that if you are using a tripod and taking the time to set up a great shot that you also take the time to use Live View and focus manually. I know this may sound silly since our cameras are amazing autofocus machines but it’s true. If you have spent the money on a great camera and great lens then why not make sure you get everything out of them you can. Even if your eyes are bad this will still work..  Set your camera on live view, zoom in to where you want to focus with the LCD zoom, not the lens zoom, then manually focus until the image is as sharp as it can be. If your eyes are bad use reading glasses or whatever helps you see up close. You can also use a loupe too to place right on the LCD to help you see better.

Things to keep in mind

  • Always shoot in RAW format
  • Always shoot in Adobe RGB color space
  • Use the lowest ISO possible/Native ISO
  • Use a sturdy tripod
  • Be willing to spend a some money on good lenses
  • Take your time – Wait for the right light
  • Include a foreground – give the viewer a sense of being there
  • Expose to the right – Collect more data to work with
  • Use Live View to focus manually
  • Leave no trace

 

Thank you for visiting. If you have any questions or comments please free to send them my way and I will respond in a timely manner.

 

 

 

 

 

 

New Luminar from Macphun

kansas-gold

Luminar from Macphun is here! 

I will start out by saying that I have only had the program a few days. There is quite a bit to learn and I have only touched the surface. It’s been a fun ride so far.

Whenever I try out a new editing program there are a few criteria that the software needs to meet for me to continue using it.

  • Simple
  • Responsive
  • Fast
  • No Crashing
  • Effective

Simple – This means that once installed I can push some buttons, move some sliders and things will happen that I like. I don’t want to have to go searching for results.

Responsive –  This is a big one for me. When I make an adjustment with a slider I want the effect to happen as I am doing it or within 1 second of the adjustment… I have used other programs that take minutes to apply the adjustment and quite frankly I can’t live my life like that.

Fast – No lagging. As mentioned above things need to happen fast. I didn’t purchase a fast computer to run slow software.

No Crashing – When things start crashing I get nervous… With some of my more detailed night photography where I am using a lot of individual images to create one final image.. Putting in an hour or so worth of time and then have the program crash is a deal breaker for me, and probably you too, right?

Effective – It has to be able to do some nice things and produce some great results. If you bought a program only to find out it didn’t do what you wanted or give you the desired effects you like, you probably wouldn’t use it much. I have found that what I am doing with Luminar works very well and keeps my images very clean. This is extremely important because my images are printed large…I don’t want any artifacts from processing showing up in my images.

I am happy to say that Luminar has met and exceeded all my criteria. The software was easy to install the first time. It hasn’t crashed, it’s fast and responsive to the adjustments I make and it’s loaded with a lot of great presets to get you to a fantastic starting point quickly. I say “starting point” simply because there are still things I do in Photoshop when I am fine tuning my images and preparing them to be posted online.

Let’s take a look at some side by side comparisons with a few images I have processed with Luminar.

Screen Shot 2016-11-21 at 5.24.05 PM.png

Here is a nice side by side comparison of my RAW file on the left with the “Warm Sunset” preset on the right. That’s 1 click to this point. In PS you would need to do 2 or 3 individual adjustments to get to this point. Here I simply found the preset that most closely matched where I was headed with this image and selected it. I took this screenshot before I made any minor adjustments to the panel on the right because I wanted to show you the effect it had on the RAW file. As you can see in the very top image of this article I did finish off the image in PS before creating a file for posting online.

Screen Shot 2016-11-19 at 9.44.33 AM.png

center-of-attention-luminar

“Center of Attention” – This preset works great when you have a centered subject and you really want to put emphasis on your subject. This image is from 4 years ago and one that I never took the time to process before. As you can see from the Before and After and the final image underneath. All I did here was use the preset and then add a little warmth to the color tone and I was done… Less than 30 seconds to edit this image from start to finish. I want to spend more time out shooting when possible and less time editing so having a program that is this quick and easy to use really excites me.

Screen Shot 2016-11-19 at 9.23.43 AM.png

way-too-close-luminar

I could show you these side by sides all day. I think the best thing to do is try it for yourself and  Download the free trial and start creating your own amazing works of art.

If you wish to purchase Macphun Luminar <— click here this let’s them know you found it on my blog.

Please note that I do not get paid, or paid for anything that is in this blog. The opinions are my own and I am simply sharing then with you…  Will Luminar replace photoshop for me, probably not. It will become a very useful addition to my workflow. This program is extensive. You can use layer, masks, blend modes ect to create anything you want!

Transitions – Product Reviews – General Photography related stories

Welcome to a new resting place for me on the web. I hope you will enjoy your stay and find the blogs you read here to be informative and to your liking. This blog will be used to tell stories about my images, share product reviews and discus events that are happening in my photography world.

If you are new to my work let me get right to it and tell you a little about me. My name is Darren White. I own and operate Darren White Photography – Fine Art Landscapes based out of Littleton, Colorado. I have been in Colorado since 2013 and have felt quite welcomed here as the people are friendly and supportive. I am a native of the Pacific Northwest where I was born and raised. A lot of my work is from the Northwest in and around Oregon and Washington.

I am co-owner of Night Photography Workshop where we teach students how to shoot and process images of the night sky. Our work takes us to Wyoming where we teach in Grand Teton National Park, Utah where we teach in Arches and Canyonlands National Park and here in Colorado where we teach up on Mount Evans at over 14K feet above sea level. This keeps me pretty busy in the summer between late April and late September. I also do private workshops both on location and post processing.

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I have been doing photography now for over 20 years and through the years I have seen a lot of things come and go. I started shooting back in the film days. Back then I was doing weddings, portraits, sports, animals, and anything else people would pay me for. I worked at our local 1 photo lab as well as the local newspaper in their darkroom and shooting high school sports as well. I got into landscapes when I was 16 and could drive to the beach. I was always fascinated by the ocean so that is where I spent a lot of my time. I grew to appreciate the sunsets, sunrises and any great weather we had that created a beautiful scene. Maybe it was a foggy morning where the sun was trying to burn through or fresh snow at sunrise. I took a good hard look at what was around me and always was able to find the beauty in what I was seeing.

Over the years I have learned through experience, trial and error and the constant effort to get better. I have worked with a lot of companies in various sectors covering many subjects on different levels. I will touch more on this later.

What I am doing now?  Aside from teaching in the summers I specialize in Fine Art Photographic Prints, Acrylic Prints, Metal Prints and Canvas Gallery Wraps. I have spent 20+ years working with various labs to find the best one for each product I offer. I feel I am in a very good place now with the companies I work with Artbeat Studios and Reed Art and Imaging do my HD Face Mount Acrylics depending on where my client is located. American Frame does all my Fine Art Photographic Prints over 20″ and Englewood Camera does all of my smaller prints up to 20″ long. Using these labs has provided me the best quality possible while being able to keep my prices affordable for my clients, customers and collectors. I have been using each of these labs for over 2 years and have built a great working relationships with them that I feel will continue for quite a while. 11228026_10206695695283655_993119726573377078_n

The above image shows some of the inner workings of American Frame – a smaller lab that puts out amazing quality prints. American Frame offers a lot of great paper choices. I have found that not all images look great on all papers. My image of Sunrise at Nubble Light above was printed on gorgeous Hahnemühle Photo Rag fine art paper. This paper allows the true beauty to come though and be appreciated to its full extent by the viewer.

Over the next few weeks I will be uploading some previously written blogs from other sites before I close them down. I will be adding new blogs, at least 1 a week, on all things photography. From software to cameras to lenses. I will also be uploading some tutorials as well. Please take a moment and subscribe to my blog to be updated when new blogs are up. Thank you!