blog.hankchristensen.comBehind the scenes info about the nature photography of Hank

Christensen Sorry, . Once again, my camera gear did the proper job. Mounting the camera on a small travel tripod allowed me to not only focus stack but also to slow down the shutter speed to capture the motion of the water. This shot was far beyond the capabilities of the phone camera. The Big Arroyo bubbles past the high sierra trail, Sequoia National Park Image Page The next morning it was time to leave our mountain paradise and begin the journey home. Retracing our steps back down the canyon, we hiked past the serpentine route that the Big Arroyo cut through the valley floor. We spent the night in another valley, in the shadow of the Sawtooth Range, our destination for the next morning. I was a bit nervous for the following day, because we had a pretty brutal climb up to Columbine Lake, at which point the trail ended. We were planning to continue off-trail over the 12,000 ft pass next to Sawtooth Peak. Columbine Lake sits below Sawtooth Peak, overlooking Sequoia National Park Image Page Our final morning dawned a clear blue sky. With an early start we made Columbine Lake by 10 AM, and rested a bit before venturing over the pass. Although very steep, there was a relatively clear use trail with a series of ducks to guide the way. The only sketchy part of the climb was the need to traverse a large snow bank right before the pass. Class 4+ scrambling got us around it, though my heart was beating out of my chest as there were hundreds of feet of near-vertical scree below us. A slip here would not have turned out well. Finally we hit the pass and it was a quick 8 miles of decent to get back to the car. As we drove back to the SF Bay Area, we realized that everything we could think of had gone according to plan. We reached our planned destinations, covered the entire Nine Lakes Basin, experienced the ultimate solitude and had a beautiful campsite for two nights. My final verdict is that while my phone sports an amazing little camera, it couldn’t quite replace my heavier gear. I proved to myself the worthiness of carrying a heavy DSLR and tripod, especially if I expected to make portfolio-worthy wilderness photographs. The camera phone indeed was a great asset during the day while on the trail, making me reconsider how I carry my gear in the future. I might stow my DSLR and tripod away and plan to only use them from around camp during the golden hours. My phone is easy to access from a pocket while hiking, and photos with midday lighting are not as likely to become a quality print. Time will tell, but I look forward to more experimentation with the capabilities of this handy device. Camera gear I used on this trip includes: Canon EOS 5DS R Digital SLR Canon EF 24-70mm f/2.8L II USM Zoom Lens Lexar Professional 64GB CompactFlash card Lexar Professional 64GB SDXC card Posted on May 1, 2019 February 14, 2024 Become a Better Photographer by Exposing to the Right Read old photography books and you’ll find instruction on over or under exposing your camera in order to fool” your camera into capturing the scene on film as it was in real life. Cameras are designed to render every scene at an average of middle gray, which may not be suitable for all scenes. For example, snow or beach scenes often need to be over exposed by a couple of stops or else the camera will expose the snow or sand darker than it appears in real life, giving a muddy appearance to a naturally bright scene. The same is true for naturally dark scenes. For example, if a black cat fills most of your frame, you should underexpose or else the camera will try to expose the cat at middle gray, blowing out your highlights. However, this is not necessarily true with digital photography. As you are learning the craft of digital photography, once you graduate from shooting jpeg images to RAW images, you should learn how to expose to the right”. In a nutshell, this means overexposing the shot as much as possible without blowing out (or clipping) your highlights. This term is named after the fact that when overexposing, the tones captured by the camera move to the right part of the histogram that represents the possible tonal range the camera’s sensor can capture. The principal behind this technique is simple – digital sensors capture far more digital information on the right side of the histogram (the brightest part of the image), than the left side of the histogram (the darkest part of the image). In other words, images with lots of bright, detailed areas take up more disk space (and contain more digital information) than images with dark features. Let’s assume for example your camera’s digital sensor can capture 8 stops of light across 4096 tonal levels (in reality, dynamic range varies from sensor to sensor). The more tonal levels a sensor can capture, the smoother the transition between light and dark in the resulting photo. The f-stop measurement is logarithmic in nature, meaning a stop will capture twice as much light as one stop darker. That means using the example distribution above of 4096 tonal levels across 8 stops of light, the brightest stop will capture 2048 tonal levels while the darkest will capture only 32. There is much more digital information needed to capture the many tonal levels of the brightest stop than the few tonal levels of the darkest stop. You’ve likely seen the results of this lack of digital information when trying to brighten an image in post processing. As you increase the exposure slider in Lightroom, for example, you’ll see lots of digital noise appear in the dark spots of the image. If, on the other hand, you need to make an image darker in post processing, no digital noise is added because you already had all that extra digital information in the brighter image. Therefore, the goal of exposing to the right is to capture the maximum amount of digital information as possible in the field, so that you have more options with that image in post processing. Here are some examples: In the image of the Grand Tetons above, I set my camera’s exposure compensation to +1 1/3 stops, even though it looked terrible on the back of my camera. By trusting the core principals of this technique and relying on my experience, I knew that once I post processed the RAW file in Lightroom, I could really make the image sing. Here is the result: A fog bank moves in front of the Grand Tetons as the rising sun illuminates the sheer peaks, Grand Teton National Park Image Page I corrected the photo in post processing by setting the black point to the left most side of the histogram. This evened out the tones across the entire histogram, adding a lot more contrast back into the photo. Secondly, I dropped the exposure slider down by about 1 stop. This corrected for the overexposure I made in the field. The real benefits can be seen when blowing this image up to inspect it for printing. The shadows are smooth and detailed – more so than if I shot at the correct exposure in the field. The second example is from Death Valley National Park. Here again I set the exposure compensation on the camera to 1 2/3 stops lighter than the sensor would normally expose the scene. Similar to the brightness of the fog in the Tetons example, all of the white salt in this image required an overexposure so as not to get a middle gray result. In the field, I kept raising my exposure compensation until I saw the white blinkies” (overexposure warning) on the resulting image, indicating some parts of the scene were blown out. This meant that these parts of the image no longer contained any detail, and would render a pure white. There is no recovery from blown out white, no matter how much post processing you do, so I lowered the exposure compensation by 1/3 of a stop until the blinkies were no longer showing. Sun creeps down the mountains west of the Cotton Ball Basin, Death Valley National Park Image Page The processing steps were the same as the first image – set the black point to add contrast, and lower the...