Wednesday, March 27, 2019

Working grain elevator in Innisfail, Alberta.

A working grain elevator near Innisfail, Alberta.
Who would have thought that the ghostly forms of iconic defunct grain elevators would one day be rekindled?  Born and bread during the "hayday" of farming before modernization declared them obsolete, they once stood proudly on the prairies, little else towering above their majesty.  Many have succumb to time and redevelopment, but a few still remain.

Enter the Canada Malting Company, whose innovative ideas and outside-the-box business plans have saved ten of them from the fate of so many others.  Revitalized and refurbished, their stoic presence against the horizon once again reminds us of the proud heritage these elevators possess.  Not only has CMC come up with an innovative solution to their needs; they have also brought purpose back to relics time forgot. 

I think there is something here which most of us overlook.  Humanity; all of us, tend to like the new and shiny and discard anything rustic or lacking immediate appeal.  I understand this all too well as I myself tend to want to upgrade.  After all, who uses Gestetner machines any more, or still watches television on cathode ray tube sets?  As technology evolves we replace the outdated with the faster and better.  A new cell phone every other year or a computer with better processing abilities.  And who doesn't like a new car?

Our landfills are exploding with discarded equipment which has failed to appease its owners.  Yet there are those that strive to reanimate the dead.  Repairmen that value the quality once commonplace in ages past can bring the desolate back to life.  Mechanically inclined car enthusiasts that treasure antique autos are drawn to their restoration.  Who among us looks upon these refurbished beauties with disdain?  Turn of the century houses made new again, artwork from the masters displayed with extreme care, and even saving dying languages are still reminders that there is value in the old.

As I age there is a growing sense of importance in reclaiming history.  Whether for nostalgia or budgetary reasons, the value of the past seems to have grown in stature.  Maybe the Canada Malting Company is onto a good thing.  Refurbish, not replace.  The old made new again.  Thanks for being such a role model for the rest of us.

Wednesday, March 20, 2019

Red Snow in Edmonton - evidence of an alien invasion?

Black Mud Creek and a patch of "Watermelon snow."
If you have read my blogs at all, you would remember me mentioning a type of "red snow" which sometimes occurs.  I mentioned it at that point as I was vaguely aware of it and thought it would make a good addition to my text.  Little did I know that, less a week later, I would come across something of that nature.

I was hiking along Black Mud Creek in a preserved wild area called MacTaggart Sanctuary today and came across numerous patches of red snow.  The patches mostly appeared in sunny areas in deep, melting snow that had not been compressed or turned to ice.  Each patch was no more than 20 cm across but fluctuated wildly in shape and spatter distribution.  It occurred to me that this may very well be an example of "watermelon snow."

According to my research, watermelon snow is the result of a kind of green algae called Chlamydomonas, of which there are over three hundred species.  Although it is an alga, it also is a protist in the sense that it has two flagella which allow it to move.  Although normally green, some algae contain photosynthetic pigments such as xanthophylls which are other colours.  It is these colours you see in leaves during the fall when the green shades disappear. 

The weird part here is that this type of microbe occurs in polar regions and on some glaciers.  I could not find any evidence online of it being present in the Edmonton area where I was hiking.  My guess is someone out there knows what it is, but at this point, it certainly isn't me.  So, on the one hand, I seem to have discovered real evidence of this red or pink snow I wrote about earlier.  On the other hand, maybe it is evidence of alien invaders which have come to dominate our planet.  If it is an alien invasion, I can only hope that they do a better job of taking care of this planet than we have.

https://blogs.scientificamerican.com/artful-amoeba/wonderful-things-dont-eat-the-pink-snow/

Using lines to draw your eye.

An old barn in Central Alberta - the lines make a difference.
Photography can be described as the art of capturing light.  It is more than just the rendering of photons reflected from an object to produce a two-dimensional display though, it is about the relationships of things in that image.  A good example of this is seen in the above photo.

The barn itself is a wonderful subject.  Full of character, its weathered features sculpted over the years bear testament to the service it has provided.  Old, but still useful, and literally full of life, it renders not only function but beauty to the landscape on which it sits.  The surrounding vegetation seems to understand this; the shadows from the trees and even the limbs themselves are drawn to it.  

Lines are part of the world we live in.  They are the natural way that physical boundaries and ephemeral shadows are perceived.  They can be more than that though if given the opportunity.  Lines can be used to draw attention to important aspects of your creation.  We have an innate tendency to follow lines; our eyes and visual processing center enhance them and are guided by them.  Notice how the shadows of the trees draw your gaze towards the barn itself.  The branches intruding into the scene are not a mere coincidence but rather artfully placed to direct your attention.  The truck itself even adds to the effect.  The contrast of the old and the new, the hint of function and value, and the lines from its trim pay further homage to the edifice of farm living.

Use lines to help emphasize your subject by drawing further attention to it.  They should not overwhelm the photo or take away from what you are trying to achieve.  Rather, they should act as a subtle reminder of what is important.  There are relationships between all parts of the image; the lines act to enhance them.  Pointing, leading, and themselves adding texture to the scene, lines are a critical component in any photograph.

Sunday, March 17, 2019

Determining exposure using a live histogram display.

An old barn in Central Alberta surrounded by snow.
Some cameras, most notably non-DSLR cameras, may offer an interesting way to figure out exposure.  You can do this on aperture or shutter priority, but it is best done using manual exposure mode.

This may send a spine-tingling sensation up your backbone, but using manual exposure mode is really not all that hard.  I will give you step-by-step instructions below.  The tricky part, which really isn't, is reading the histogram.  Before you can read it though, you have to enable that function in your camera.

The live histogram display is enabled in a variety of different ways.  If you look up your camera's manual, or better yet do it on-line, you should find if your camera has the feature and how to access it.  Generally though, it is done one of two ways.  If you have a display button, try pressing that and looking at the EVF (electronic viewfinder) or rear display.  You should see changes in the way the camera's live image is displayed.  One of those options may include a live histogram display.  The other way involves digging through menus looking for the feature.  Once found, just enable it.

You should get a histogram popping up at the (usually) right corner of your display.  What is unusual about it is that it is live, meaning that as you pan about the room the display will bounce around like an equalizer's graph showing how a song's acoustics change.  The key here is to pay attention to its shape and, when it is right, proceed taking your picture.  Follow the steps below.

1)  Turn on your camera and set the mode dial to manual exposure mode.
2)  Make sure your white balance and ISO settings are where you want them
3)  Change your aperture to whatever value you want, depending on what kind of shot you are doing.  On cameras with only one command dial, it usually means pressing the exposure compensation button (+/-) down AND rotating the command dial at the same time.
4)  Now it is time to change the shutter speed.  The lone command dial by itself will alter this, if there are two command dial it is often the rearmost one.
5)  Look at the histogram display.  If the chart is pushed off to the left it means the photo is underexposed and rotate the command dial so the shutter speed decreases.  If the chart is pushed off to the right it means the image is overexposed and rotate the dial in the other direction.
6)  When you get close you should see the histogram start to even out so that there are no flat areas on either side and no towering areas pushed off like before.  Play with it until you are happy with the image.
7)  To be sure, take a picture and push play on your camera.  Does it look good?  If it is and the light doesn't change, you can keep shooting at those settings.  I find that once I have the values all dialed in I can keep shooting until something significant changes.

Have fun, and keep on shooting!

Sunday, March 10, 2019

Fireworks

Photographing fireworks requires insight.
Fireworks, a favourite part of any celebration, are especially enjoyable when executed on a large scale.  These pyrotechnics are done at night when their stunning colours and magic can truly be appreciated.  It is this fact though that is part of the challenge of photographing them.  Using a hand held camera set to automatic will certainly end with disappointing results.  There are a few pointers which will help you to improve that outcome.

First of all, a tripod is important.  Unfortunately there has been a tendency at events to deny their use.  If you plan to shoot fireworks it is a good idea to find out if a tripod is allowed, if special permission is required, or if there is an area available designated for their use.  Most exposures run for 10 to 15 seconds, and you can be more creative if you go longer than that.

The right camera settings play a large roll in achieving success.  In particular there are three things you can do.  These include:
     a)  Setting your camera to manual mode using the mode dial is by far your best choice.
     b)  Make sure AUTO ISO is turned off and that the ISO is set to a value of 100.
     c)  Set the lens' aperture to f/11 or f/16.  The above shot used an aperture of f/16.  

The manual setting lets you choose aperture and shutter speed values independent of each other.  Although it is dark out, you will be making long exposures and want the background dark.  An ISO of 100 will facilitate that.  Most importantly though is the aperture; fireworks burn very hot and their colours will wash out (actually be blown out, which seems very apropos given the subject) if lower aperture values or higher ISO values are selected.  I find that the apertures suggested work very well.  The only exception to that would be in situations where the brightness is muted because of things like rain, smoke, or distance.

If you happen to have a remote release, this is the chance you have been waiting for.  Set your camera to "bulb", which is most often found as the very lowest setting on manual.  Bulb allows you to keep the shutter open as long as the release is pressed.  This way you can start and stop exposures when the right combination of explosions has occurred.

If no remote is available, then set your camera's shutter speed to anywhere from 10 to 30 seconds.  Start the exposure and pay attention to the bursts.  If you have gotten a nice grouping of shots, use your hand to cover the lens to prevent any additional displays from being recorded.  You can also put your hand over to block certain ones out and take it off to let others be exposed.  Another way of doing this is to use multiple exposures on the same image.  You can "paint" your own display if you like. 

Saturday, March 9, 2019

Depth of field and hyperfocal focusing.

Banff, Alberta - Shot from the Lake Louise gondola.
Depth of field is a simple concept; it is the amount in focus in a photograph.  What affects depth of field is totally different.  There are a host of variables.  Hyperfocal focusing uses the knowledge of those factors to manipulate the camera and its lens to get a picture where everything is in focus.  This is especially tricky if the "everything" includes parts of the scene only a foot or two away from your shooting position. 

The parameters affecting depth of field are listed below.  Each one includes a thought on how to manipulate it in such a way as to achieve hyperfocal focus.

1)  Aperture - Depth of field varies directly with a lens' aperture.  Low f/values such as f/2.8 provide less depth of field than higher f/numbers such as f/22.  You are more likely going to be successful if you use a smaller aperture, especially if it is near or at its maximum value.  The above photo was at f/13.

2)  Focal length - Depth of field varies indirectly with focal length.  A wide angle lens, say a 24 mm relative focal length has much more depth of field at the same aperture than a telephoto lens, say 80 mm.  When trying to do hyperfocal focusing, consider using a wide angle lens, or even an ultra-wide angle lens.  The above photo was shot using a 20 mm lens on a full frame camera.

3)  Point of focus - If you were to focus at a spot 6 feet away, the depth of field would go out away from the camera in both directions from that point.  Depth of field has a distance before and after the point of focus.  When doing hyperfocal shots, the camera's lens needs to be focused at a point before the lens hits the infinity distance marking on it.  This can be done using focus locking, manual focus, or overriding the autofocus using the lens' manual override feature if present.  Focus too far away and you lose depth of field in front of you; focus too close and you lose it for the far distance.  The exact point can be determined using software, but I prefer to pick a focus point and check the image later for sharpness.  This is done pressing the play button and zooming in using the magnifier button.

4)  Sensor size - Smaller sensors give better depth of field values than larger sensors using the same relative focal lengths and apertures.  This is because a lower actual focal length is required to give the same field of view on a larger sensor camera.  Even though the smaller sensor requires greater enlargement, it still ends up having more depth of field overall.  This is why it is difficult to get out-of-focus backgrounds on compact or cell phone cameras, regardless of the lens settings.

5)  Amount of enlargement - If you take any image and look at it as a thumbnail, it will all seem in focus.  Enlarge it a bit and parts of it will likely start to look blurry.  Enlarge it some more and the trend will continue.  When doing hyperfocal photos, try to use the entire frame rather than cropping the image, as more enlargement will cause the overall depth of field to decrease.  An image may look sharp as a 5x7 but have blurry areas as an 8x10 or 16x20.

6)  Closest object - consider keeping some distance between the camera and the closest object to be in focus.  Getting hyperfocal focus is likely going to be more successful if your closest object is 3 feet away and not 6 inches.

If you follow these steps you will find your success rates with achieving hyperfocal images will improve.  Practice and play, check and verify, shoot and learn.  But most of all, have fun.




Monday, March 4, 2019

How to do sunset photos, part 2.

Haystack rock, near Pacific City, Oregon.
Once you have figured out what your exposure should be, it is time to frame up your shot.  If you don't know what I am talking about, click here.  Send a hundred people out with cameras, get them to take ten different shots of a sunset, and you will get a thousand different pictures.  Some will be great, some mediocre, and some not so awesome.  Even though they are all shooting the same sunset, there are a host of variables which produces such diversity.

I always scan the area I am shooting in for attractive foreground structures.  They should be simple and easily identifiable in silhouette form.  Nothing at all tends to be weak, even though the colours can be quite attractive.  When I find something, I next have to move around and think how I will compose it relative to the setting sun.  This requires a lot of moving about and playing with focal length.  I use the rule of thirds in my compositions, although not religiously.

Since sunsets are so fleeting, it is not a bad idea to do a trial run the night before.  It will give you a good idea of where to be at what point in time.  This way you will already have a plan and not be rushed as the time drains away.  I really like reflecting water in sunsets, especially when the winds are low and you get a marvelous shimmering sheen of light coming off it.  Tie that in with sky, silhouette, and sun and you will be pleased with the result.

If you want to photograph a person in the shot, consider using an external flash.  You do exactly the same as before but add flash.  With an ISO of 100 at f/8 and a shutter speed of 1/200th of a second, your built-in flash will be good for only 5 or 6 feet.  An external unit will give you 12 feet or so, which should be plenty.  Take a photo and press play on the camera and examine the result.  If the person is too bright (overexposed), dial down the power of the flash by using flash exposure compensation.  Try a -1 stop change first then adjust as needed.

The great thing about photographing sunsets is that you get to experience them.  We are often too busy to stop and enjoy their beauty and the peace they evoke.  Yes, the goal is to capture their beauty, but I learned a long time ago that photography is both an art and an excuse to go and do wonderful things.  Enjoy life, and take a few pictures along the way.

Sunday, March 3, 2019

How to do sunset photos, part 1.

Sunset at Lac Bellevue, Alberta.
Everyone likes sunsets, but how do you photograph them?  Most people will use an auto mode on their cameras and click away.  The sun goes in the middle of the shot and nothing blocks its view.  That is certainly one method to photograph our closest star, but not the one I recommend.

The first issue with sunsets is that the sun is in the picture.  That may seem like a strange thing to say, but it is true.  The sun is very bright, and so is the sky above it.  All that brightness may cause a significant underexposure of the shot.  The other side of the coin relates to the fact that all foreground items will be backlit, rendering them very underexpossed.  I actually like that in a sunset, as the resulting silhouettes contrast nicely with the transitioning colours in the sky.  The reverse problem can occur though; too many darks may cause the camera to overexpose the scene and turn those lovely colours into ligher washed out hues.  Part of the problem also comes with composition; how much sky, water, and silhouettes are present in the image.

If you have watched a sunset for about an hour, until ten minutes or so after the sun disappears completely from view, you will know that it is highly variable in terms of lighting.  Both issues above, including the complication of composition, renders a low probability of success.  Instead, there is a much better technique which can be used to improve your chances of obtaining a photo you will be excited by.  The good news is that it is not too hard; the bad news is it means playing with your camera's settings.

Use a modest wide angle or telephoto setting, depending on what you are trying to do.  More zoom will give you a larger sun but less foreground substance.  Set your ISO to 100 (do not use auto ISO) and change your mode dial to manual.  Set your aperture to about f/8, and the shutter speed to 1/125th of a second.  If you only have a single command dial, your aperture is changed by pressing the exposure compensation button (+/-) and rotating the dial at the same time.  Next comes the tricky part.

Select the spot metering mode.  Put the camera to your eye and place the central spot (where the spot meter measures light) to a point beside the sun where it is bright but not overly so.  There is some latitude about where exactly that it, but the sun should be a modest distance away from the center spot.  Now, look at the meter in the viewfinder and rotate the command dial until it reads +1 stop overexposed.  Whatever shutter speed you end up with is the one you want.  If you find that your camera has a hard time with this, you can actually zoom in all the way and use the same technique to obtain your shutter speed value.  The whole idea is to meter off a small area of the scene, and zooming in helps with this.  Zoom back out to the focal length you want to use and take a photo.

If you are there for more than a few minutes repeat the procedure to get a new shutter speed.  As the sun continues to set you will have to adjust the shutter speed accordingly.  You can do this as long as you like.  If your shutter speed starts to get too long you may need a tripod.  I find most of my shots are around 1/250th of a second or so.  You should have brilliant colours in the sky, a nicely silhouetted foreground, and pleasantly coloured reflections off the water.

I will do another blog next day on how to use interesting silhouettes for foreground and will discuss shooting portraits of people with a sunset background.


Saturday, March 2, 2019

Rainbows

A rainbow at Whitney Lake, Alberta
The rainbow is an ethereal artifact; progeny of the sun and rain.  I had an interesting discussion with one of my science classes on them.  The students thought that it was an actual physical thing that could be touched.  It did not occur to them that its vapourous existence was the result of bright sunlight refracting through billions of raindrops.  It seemed inconceivable that this curved pillar of symbolism should be nothing more than the result of bent light rays hitting the retinas of their eyes.

You can create your own rainbow on a sunny day by generating a fine mist of water.  The water drops form into tiny spheres, a product of the cohesive forces of water and surface tension acting in unison.  Light entering these spheres follows the rules of refraction and bends; longer wavelengths like blues bend more than shorter wavelengths like red.  The nature of matter following the laws of physics creates this icon of happiness and joy.

It gets weirder when frozen water vapour is involved.  High up in the atmosphere, much farther away from the Earth than planes even fly, are tiny crystals of water which have sublimed onto miniscule dust particles we call condensation nuclei.  These crystals are not spherical, but rather flat.  They are further orientated parallel to each other to produce the effect; randomized crystals would only serve to scatter the light without incident.  Sunlight filtering through these shards refracts as before and the sundog is produced. 

As I looked up sundogs to verify my musings, I came across something I have never actually seen before.  The term sundog actually refers to the bright points of light occurring at opposing ends of the refractive halo.  I have only ever seen the halo, which I have been apparently mistaking for a sundog.  If you want to see a pair of sundogs, have a look at the youtube video I linked to below.

https://www.youtube.com/watch?v=8GHZOvhxS1E