Photo Tips and Stories (Page 3)

When the sky is clear, focusing on what the last light of the day is hitting is often the optimal plan. Last light typically falls on high-elevation features, and Rock Cut in Rocky Mountain National Park has that qualification.

A Colorado 14er, Longs Peak, also captures the day's last light. Framing this mountain between the Rock Cut features results in what you see here.

The Sony Alpha 1 and Sony FE 24-70mm F2.8 GM II Lens are an outstanding combination. Three manually focus bracketed images were combined for this image.

Join me in RMNP this September. I have an opening or two for the Elk Rut in Rocky Mountain National Park Instructional Photo Tour.

A larger version of this image is available here.

Adding close focusing capabilities to an otherwise useful focal length and max aperture combination adds versatility — and fun. The Canon RF 24mm F1.8 Macro IS STM Lens is one such lens.

Here, the RF 28 gets close to a honeybee, with a bright cloudy sky creating a high key background.

From a composition perspective, besides getting close, an overall balance was the goal for this (and most) images. The sunflower was itself worthy of being photographed, but the honeybee added another point of interest to the composition.

Bees will often work their way around the flower. Figure out their plan and make yours accordingly. While the bee was farther back on the flower, I positioned the lens for what seemed the optimal composition and timed the shot when the bee arrived.

This bull was protecting a herd of cows during the rut in Rocky Mountain National Park. While he appears to be looking directly at me, he didn't care that I was there. The shot was timed as he was watching distance competitors.

One of the reasons I prefer high-resolution cameras is that their images can be cropped significantly and still have sufficient resolution for many uses. In this case, a vertical crop was created from a horizontally oriented Canon EOS R5 image. Despite that heavy cropping, the image is still 17 MP.

Join me in RMNP this September. I have a couple of openings for the Elk Rut in Rocky Mountain National Park Instructional Photo Tour.

A larger version of this image is available here.

This big bull, prancing and showing off his antlers, was heading back to his herd of cows after fending off an adversary.

Where is the best place to be in mid to late September? Rocky Mountain National Park is high on my list of answers. Elk are one of my favorite animals, and the rut behavior makes this time of year optimal for photographing them.

So, why don't you join me in RMNP this September? I have a couple of openings for the Elk Rut in Rocky Mountain National Park Instructional Photo Tour.

A larger version of this image is available here.

Always look for new camera locations while working a scene. That process at The Charleston Place's zero edge pool determined that the camera practically in the water produced my favorite image.

Seldom do water reflections let us down, and in this case, they add intrigue. The Canon EOS R5's vari-angle LCD made the precise alignment of this handheld composition possible.

General purpose focal lengths in a compact, lightweight package make the Canon RF 24-50mm F4.5-6.3 IS STM Lens a great option for travel and other portable needs. This lens's low price is a highly attractive feature, and initial image quality impressions are good.

A larger version of this image is available here.

When I learned that the shooting opportunities were models in an old house, I grabbed three lenses.

The first two, the Canon RF 85mm F2 Macro IS STM Lens and RF 135mm F1.8 L IS USM Lens, are frequently associated with portrait photography and obvious choices.

My third chosen lens may not seem like an optimal indoor portrait lens, but the Canon RF 14-35mm F4 L IS USM Lens was selected to take in the old house in addition to the people — environmental portraits. The models were still, and the in-lens optical image stabilization made up for the not-so-wide f/4 aperture (and f/4 provided a nice depth of field).

All handheld images from this scene were sharp, but there was a bigger challenge.

When composing an image with straight lines running along all frame borders, a perfectly centered and leveled camera is often the best choice. Gaining that perfect alignment for this picture was a challenge.

A larger version of this image is available here.

Put the Canon RF 85mm F2 Macro IS STM Lens on the EOS R50, and you have an impressive portrait kit in your hands. The images produced by that combination belie the cost, as the R50 and RF 85 F2 are priced at the bottom of their class.

Support columns often provide a great portrait background. Their subtle toning and (usually) white color do not compete for attention. In this case, the model's head was framed within one column, with two additional columns completing the backdrop.

Add a background-matching white coat and the 85 F2's background blur to make the model's hair and face grab the viewer's attention.

A larger version of this image is available here.

The Canon RF 135mm F1.8 L IS USM Lens delivers jaw-dropping imagery, and with portraiture on the schedule, this lens was my first choice for testing the Canon EOS R8.

The location was the Magnolia Plantation near Charleston, SC., where the Spanish moss and its reflection provide a beautiful, non-distracting foreground and background that emphasize the bridge and model. Even at a relatively long distance, the 135mm focal length and f/1.8 aperture combination on a full-frame camera creates nice background separation, especially making the subject pop.

The R8 brings Canon's outstanding AF system and full-frame image quality to an affordable price.

A larger version of this image is available here.

You can try searching, but there are no marmot photography workshops available. At least, I didn't find one.

Certainly, you could talk someone into providing a custom marmot photo tour, but there is a reason (or multiple reasons) why such tours are not readily available. I'll start the list. We don't value marmots and marmot photos enough to spend our time and funds chasing them.

However, these small animals are fun to hang out with, and they are easily cute enough to be photo-worthy.

I photographed these creatures in three national parks last year. This marmot was a Rocky Mountain National Park resident. However, a couple of coyotes were attempting to end that residency. Thus, survival was at the top of this wary marmot's priority list, and the high rock perch advantaged the marmot in this competition.

Marmots, and animals in general, vary on their minimum people distance. In relation to close shooting distance, experience, observation, and acclimation are the photographer's keys to getting the best wildlife images. Marmots in people-frequented areas of national parks tend to be quite tolerant of people.

However, getting too close is not good for photos or the critter being photographed — the subject departs.

When an interesting subject is discovered, photograph it for the insurance shots. Then, if the situation warrants, slowly move a bit closer, perhaps not directly toward the subject. Repeat until, or better yet, just before, the animal shows the least discomfort with your presence.

This image represents what I felt was near this marmot's minimum people distance. It is alert and wary, but his concern is not me.

The marmot presented a variety of poses, but most were looking toward the sides. Composition involves many factors, but the simple one in this scenario was that the critter should be looking into the frame. Placing it high in the frame helps convey the lookout role.

Sorry, I'm not opening a marmot-specific photography tour this year. But, I may have a couple of openings in my elk rut instructional photo tour in September.

A larger version of this image is available here.

The Yellow Mounds make all the Badlands National Park top photography locations lists. They are beautiful, intriguing, and worthy of their position on those lists.

However, creating great images that include these mounds is not easy. Of course, lighting changes everything, and dramatically reducing the image quality challenge on this day was natural spotlighting that, incredibly, illuminated the feature highlights of this scene.

As is often the case, the Canon EOS R5 and RF 24-105mm F4 L IS USM Lens combination was outstanding for this landscape photograph. The RF 24-105 is relatively compact, has an excellent general-purpose focal length range, consistently produces impressively sharp images, and was my primary lens for over two weeks in this park last year.

A larger version of this image is available here.

I took a little time out to finish off another moose photo waiting in the to-process queue.

The Canon EOS R5 and RF 100-500mm F4.5-7.1 L IS USM Lens are a fantastic wildlife combination and take credit for this picture.

A larger version of this image is available here.

During last year's Rocky Mountain National Park instructional photo tour, we spotted this bull elk from about a mile away. The size of the antlers was an easy reason to go after this animal, but there was another good reason.

While a great subject is paramount for a great image, a primary wildlife or portrait subject often fills a relatively small percentage of the frame. Elk are large animals, and this one fills the composition enough to leave just-comfortable breathing room at the top and bottom. Still, most of the frame is background.

The full Sony Alpha 1 image measures 8,640 x 5,760 pixels, yielding 49,766,400 total pixels. Cropping the image to fit only the elk results in 3,499 x 4,729 pixels and 16,546,771 total pixels. Dividing the smaller total pixels number by the larger one indicates that the elk consumes only 33% of the frame.

Therefore, the background is a vital part of the image. Blurring the background is a great option for emphasizing the subject and removing distractions. While a 600mm f/4 lens can blur the background stronger than most others, the size of the elk pushes the focus distance long enough that the background details remain discernable. Thus, the background still needs to be supportive.

A reason for pursuing this opportunity was the evenly vegetated meadow background. The meadow provides a complementary color and a sense of the location without competing for attention.

A bull elk standing in bright sunlight is an easy scenario to produce a sharp image in, and a fast framerate is unnecessary, right? Not so fast.

That bright sunlight creates heatwaves, and telephoto-focal-length-magnified heatwaves blur the image. The background is already blurred, but the eye must be sharp. Heatwaves move fast, and high-speed continuous shooting often results in some eye-sharp images among the blurred ones.

A larger version of this image is available here.

Their day job primarily involves harassing the herd bulls, but the satellite bulls will also fight each other. These two young Rocky Mountain National Park bulls seemed to be sparing vs. having an all-out battle.

To keep the eyes of both bulls in the sharp plane of focus, a side-on position was taken. A low shooting position gives the elk a larger apparent stature and increases the background distance, letting it go strongly blurred.

This fight took place early in the day. With limited light, an all-action-stopping shutter speed required a very high ISO setting. I opted to shoot with a slow shutter speed to avoid the high noise levels. This decision reduced the keeper rate, but often a small number of great images is better than many mediocre ones, and I had a nice quantity of sharp images from the fight.

That said, the ISO 4000 setting yields a noticeable amount of noise. Subject detail, such as hair, hides noise better than evenly colored areas, such as the smoothly blurred background. Strong noise reduction destroys details, but it is especially helpful for removing noise from a blurred background.

So, this image was processed once with weak noise reduction and once with strong noise reduction. The two images were loaded into photoshop layers, with the subject-selected mask hiding the strong noise reduction layer. The subjects retain details (and noise) and the background appears similar to a low ISO setting. A similar tactic can be used in Lightroom.

A larger version of this image is available here.

A wind storm hit Death Valley National Park the previous day, leaving Mesquite Flat Dunes filled with untracked ripples. It was the kid-in-the-candy-store scenario.

The Canon RF 24-70mm F2.8 L IS USM Lens on a Canon EOS R5 was an optimal choice for the dunes. While focal lengths outside this range had compositional opportunities, the 24-70mm angles of view enabled emphasis on the close subjects while keeping the background details relatively large in the frame.

Of course, the 52mm focal length selected for this composition is not optimal for keeping near-to-far details in focus. The R5's focus bracketing feature was the solution to that problem.

With focus bracketing enabled, the smallest increment specified, and the number of shots set far above what was needed (the camera automatically stops at infinity), the R5 proved itself foolproof, automatically delivering the complete required range of sharp focus bracketed images at nearly a 100% rate (except when I impatiently picked up the tripod before the stack was finished to hurry on to the next composition).

With that strategy implemented, my task was easy. Walk up to a scene, select the composition, position the focus point on the closest subject (the closest sand), and press the shutter release with the 2-second self-timer enabled.

My first focus stacking pass for this image was in Photoshop. This process is easy. Here is how to focus stack using Photoshop:

1. Open the set of images with sharp details covering the entire depth of field as layers in Photoshop. To do this using Bridge, select the images (click on the first image, and shift-click on the last image), then menu > Tools > Photoshop > Load file into Photoshop layers.
2. Select all layers in the Layers panel (click on the top layer, and shift-click on the bottom layer).
3. Menu > Edit > Auto-Align Layers, select Auto in the dialog, then click OK.
4. Menu > Edit > Auto-Blend Layers, select Stack Images in the dialog, then click OK.
5. If the result looks good, select all layers in the Layers panel, and press control-E to consolidate the result into a single layer.

That mindless process usually works great. However, I wasn't satisfied with the result in this case, so I manually stacked the images using layers masks.

A larger version of this image is available here.

My family and I wish you a very Merry Christmas! As always, we hope that your Christmas season is filled with great meaning, great memories, and of course, great images.

The Christmas tree is a core of our family's traditions, and it seems that our Christmas tree adventure always has a story.

After putting the tree up, I always vowel to get a smaller tree the next year. By the next year, the tall tree issues are forgotten, but the space available for the tree is remember, and the girls pressure to go big. After getting away from carrying the tree behind the SUV, moving it to the roof, hitting things alongside of the road are no longer an issue.

However, hitting the garage door when returning home is a concern. That risk didn't materialize, but making the tree stay upright was a real concern.

This year, the girls picked a tree with about 4 or 5' of the bottom branches trimmed off (likely sold for greens, such as for wreaths). That meant I couldn't clearly discern the tree's height above the bare trunk. And, it seemed to grow a couple of feet on the ground.

When trees get that tall, the trunk becomes thick, which equates with heavy. With help, I managed to get the tree upright and moved into position.

Hours later, my daughter said "Oh!" "Oh!!!" OOOh!!!!! The extra exclamation points reference the decibel level of her exclamations.

Yep, the tree fell over. Fortunately, no decorations were yet attached. Unfortunately, about 2 gallons of water dumped onto the floor. Fortunately, a large piece of plastic caught a lot of that water.

The tree you see here is tied to the wall with fishing line. It is 20lb test line for those of you who are fishermen. It is also about 20 years old, probably the same age as the tree.

Our Christmas tree represents a huge amount of work (mostly for my girls), and the results of their effort deserve preservation in a high-quality image. After photographing the annual Christmas tree in the same location for over 25 years (I unsuccessfully lobbied for a new location this year), I have a few go-to shots dialed in.

An ultra-wide-angle focal length usually gets the selection. In addition to fitting the tree and surrounding space in the frame, this angle of view makes the room appear big, creating a more dramatic look.

There seems to be an outstanding ultra-wide-angle lens choice introduced each year, and I seldom capture the tree photo with a lens previously used for that task. The Sony FE 14mm f/1.8 GM Lens got the call in 2021. Sony FE 12-24mm f/2.8 GM Lens captured the Christmas 2020 tree, the Canon RF 15-35mm F2.8 L IS USM Lens captured the 2019 tree, and, going a bit narrower for a different look, the Canon RF 28-70mm F2L USM Lens took in the 2018 tree.

I didn't look at my lens choice from prior years before choosing this year's lens, had the new Sony Alpha 7R V to work with, and the Sony FE 14mm f/1.8 GM Lens was the perfect match for this year's job.

At this time of the year, I know that I need to take pictures between 5:15 and 5:25 PM to have a touch of dark blue sky color showing through the windows with the exposure balanced for the Christmas lights inside. No, I can't remember this time from year to year, but a calendar item reminds me (and EXIF information from the prior year's photos can be referenced).

F/16 images from any current digital camera, and especially from cameras with ultra-high pixel density, show a slight softness due to diffraction. However, I like the starburst effect that narrow apertures, such as f/16, create from point light sources, such as the candles in the windows. Because the a7R V pixel density is so high, I opted to open up to f/11 this year. The FE 14 still creates nice diffraction spikes from the point light sources at this aperture, and the a7R V produces noticeably sharper details at f/11 than at f/16.

With only the tree and other decorative lights on, the exposure needs to be long — 25 seconds at f/11 and ISO 100. The exposure duration means that only a few images can be captured during the perfect deep blue sky time.

Long exposures also mean that the tree ornaments must be still to avoid motion blur, and the floor vibrates when walked on, making the ornaments swing. One person walking across the room at the wrong time could eliminate one or two exposures from that short period. Thus, the photo day is (usually) selected for when I am home alone at the right time.

The vertical lines in the windows (or sometimes a wall unit) on the right side of the frame look best when running parallel to the edge of the frame. Thus, a camera position leveled for both tilt and roll is usually selected. In this case, the Sony FE 14mm f/1.8 GM Lens especially impresses with its lack of geometric distortion (no correction was applied to this image), rendering the vertical lines straight.

I am fortunate to have a range of tripods to work with, and holding the Sony Alpha 7R V and FE 14mm f/1.8 GM Lens combination steady indoors is not a support challenge. However, when shooting on carpet, I prefer a tripod with some weight (or spikes) to press into the carpet fibers, decreasing movement. The Really Right Stuff TVC-34L Mk2 Tripod and BH-55 Ball Head handled this job nicely.

With that, another Christmas tree photo is in the archives.

A larger version of this image is available here.

Let me introduce you to your new favorite event, portrait, and indoor sports lens, the Canon RF 135mm F1.8 L IS USM Lens.

There are several reasons for this prediction.

The first is the focal length. The 135mm angle of view is narrow enough to encourage subject distances that create pleasing portrait perspectives, even for full-frame headshots. This angle of view also keeps the lens out of their personal space, staying distant enough for subjects to remain comfortable.

The ultra-wide aperture is another reason for this lens to be a favorite. The F1.8 aperture combined with high-performing image stabilization keeps shutter speeds up and ISO settings down for sharp, low-noise results. F1.8 combined with the medium telephoto focal length can create a strong background blur that makes the subject stand out from an otherwise distracting background.

If those two reasons are not sufficient for you, the image quality delivered by this lens will be. Even the preproduction lens produced outstanding image quality.

This mariachi band member performing at a low light event was a perfect subject for this lens and the Canon EOS R6 Mark II behind it.

Sharing a favorite image from my late summer and early fall elk photography here. The colors in this image are right out of the camera using Lightroom's default settings — I didn't create this 7x7 bull's unique orange antler color during post-processing.

The great lighting (and water drop streaks) is curtesy of a rainy day. When photographing wildlife, I always keep a LensCoat rain cover on my camera and lens. With a quality rain shell on me, moderate rain does not hinder the pursuit, and it often enhances the photos.

A larger version of this image is available here.

Usually, heavy cropping of a full-frame image is required to fill the frame with the moon. Not so when using the Canon RF 1200mm F8 L IS USM Lens with an RF 2x Extender behind it.

At the magnification provided by 2400mm, keeping the moon in the frame (without a tracking mount) is problematic. The moon must be led by the right amount to be centered in the frame after the vibrations settle out.

Fortunately, it is easy to precisely center the moon during post-processing – as long no edges are clipped. The black border is easy to extend on any side.

Is this full-sized image sharp? Not especially so. The wide-open f/16 aperture has some diffraction impact, 2x extenders magnify aberrations, and worse is the atmospheric distortion.

Would I buy a $20,000 lens to photograph the moon? While the 2400mm focal length is difficult to obtain otherwise, no, I'm not that serious about photographing the moon. But if you have the lens, the moon makes a fun subject.

A larger version of this image is available here.

I've probably purchased a Canon 24-105 F4 L IS Lens a dozen times. This series of lenses, including the Canon RF 24-105mm F4 L IS USM Lens, Canon EF 24-105mm f/4L IS II USM Lens, and Canon EF 24-105mm f/4L IS USM Lens, are professional-grade, high-performing, relatively compact and lightweight, and affordable. That combination, along with the versatile 24-105mm focal length range, make these lenses ideal for many uses, including family, travel, and hiking.

So, why do I keep rebuying them, aside from the new models becoming available? Well, I try to keep the kit trimmed to the gear that is most important to me. I sometimes shoot moving subjects in low light, such as at indoor events, and in these scenarios, an aperture wider than f/4 is desired. Thus, there is always a 24-70mm F2.8 L lens in the kit.

With a significant general-purpose focal length range covered, it seems that 24-70mm lens should be adequate for all needs. When there is some time space since the last 24-105 F4 need, the 24-105 gets sold to finance seemingly more important needs.

Then, a need arises that reminds me that I really do need that lens, usually for its size, weight, and focal length range, and I re-buy it. And, the story repeats – more often than it should.

The second Canon RF 24-105mm F4 L IS USM Lens arrived in my kit earlier this year. With some long hikes on the schedule, the need for this lens again became apparent. I bought it to keep this time (unless I forget the reasons again), and it performed impressively.

One location that the RF 24-105 was perfect for was Badlands National Park.

Few elements make a prairie more photogenic than a good storm with a rainbow, and the first thing I grab when a rainbow shows up is a Breakthrough Photography circular polarizer filter.

A larger version of this image is available here.

I added a new turkey image to the collection this year. While exploring Badlands National Park with a workshop group, we found a Merriam's gobbler strutting in a tree.

The unusual behaving turkey cooperated long enough for everyone to shoot him.

For that small thing, I give thanks, and today is the day that those of us residing in the USA are celebrating our "Thanksgiving" holiday. As you probably guessed from the name, we set aside this day to give thanks for our abundant blessings (and eat lots of food, often including turkey). While thankfulness should be a perpetual state of mind, this day can give that spirit a significant boost.

Always near the top of my thankful list is you. The support you have provided over the years has made developing this site possible and for that, I'm very grateful.

My family and I wish you and yours a wonderful Thanksgiving!

A larger version of this image is available here.