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DON'T BLAME THE CAMERA - Search you photographic and artistic soul-here are some thoughts-by Elliot Stern
Something that is totally glossed over by pixel-peepers, specification crazed crowd and forum hunters is that a camera does not take better pictures. It just isn’t the camera, it’s we the USERS. Give an educated photographer a Holga
film camera, a very basic film camera and you will see some incredible creations. By the way, this camera is available at Penn Camera. Check out their stores for more information. Complete novices will spend $4000 or more for the latest and greatest DSLR that can shoot 10 frames per second, in 14 bits per color, with practically or should I say virtually no noise at ISO 3200 and higher— and the final results somehow turn out pretty bad.
It is simply to easy to blame the camera for our own failings, seeing the only solution to the problem in spending $6000 for the next, "new and improved" step up model, offering 15 FPS, 24 bits per color and ISO 8500. It is just throwing good money after bad.
If you want to spend money, buy better glass for your perfectly good camera. We rarely ever give a thought to improving our photography skills by going to lectures, reading books on exposure, composition, landscape, macro/close-up or other, head burning educational pursuit that can open our minds to better and more creative photography.
And of course in my own self interest, photography workshops like the ones offered by
Blue Ridge Workshops will always provide you with opportunity to take away new found skills, or revitalize skills that you stopped using because the cameras provided solutions that allowed you not to think but to point. Can you really make a bad picture better in software? I must say, with an unqualified NO, no. But maybe. But not really. A bad picture is a bad picture. Maybe you can fix some exposure. Maybe you can fix the color, and if you crop enough maybe you can fix the composition. However, getting it right in the camera should be the goal of every beginning and experienced photographer. Take more pictures, shoot more often, understand your camera, and better understand the fundamental rules. ____________________________________________________________________ WHY I'M EXCITED ABOUT THE MICRO FOUR THIRDS, m43-CONCEPT 
Those that know my history, and me know that I love Nikon products. I love my D700 and my Nikon Lenses, but I have strayed to Olympus and Pentax, in the past and now the Olympus and Panasonic Micro Four Thirds, but when the chips were down I always returned to the Nikon fold. But here are times, now more than not in my continuing years that I want something lighter to pack on my hikes and adventures. Now, don’t misunderstand me—the D700 is perhaps the best DSLR that I have ever used. But it’s big and heavy, as are the better, F-mount lenses. The Canon 5D Mark II and Canon 7d are right at the top of my list too.
When Olympus introduced the E-1 camera, an old friend convinced me that it would be a great way to go and because I was such an easy sell I bought the whole system. Some of the best images I have ever produced came from that system. But I eventually got caught up in the megapixel hype and wound up going back to Nikon once again. It wasn’t until Olympus introduced the NEW EP-1 PENN CAMERA that I once again looked at the four thirds system, called the MICRO FOUR THIRDS system that I discovered that it was indeed a very exciting development.
Here’s why. One Nikon DSLR is pretty much like another. Some Nikon DSLRs are full frame and most are not. Some are bigger and some are smaller. Some are expensive and some are cheap. Some are faster and some are slower. The company makes a digital single lens reflex camera. bells and whistles vary, but at its essence each Nikon DSLR is pretty much just a variation on the same theme. The same goes for Canon, Pentax and Sony and others.
The variety of glass from so many manufacturers in incredible, but one factor remains the same. All of the mounts are different. Buy our camera, buy our mount, buy ONLY our lenses or else. There is the Nikon F mount, K mount from Pentax, M mount, R mounts from Leica, Canon mount, Sony mount and the Olympus 4/3 mount and certainly a few others.
This is where Micro 4/3 is truly revolutionary. As Micro 4/3 is developed, it will take a "Many Cameras, Many Lenses" approach not tied to any specific lens maker or camera design. So far, Micro 4/3 has given us the *ESLR-like Panasonic Lumix G1, GH1, http://www.four-thirds.org/en/microft/index.html Micro 4/3 and the use of lots and lots of OTHER lenses I have long promoted the concept that in the digital world, your first and biggest investment should be the glass you mount on your camera body. I think we all understand that the because of the technology advances that are always taking place, digital cameras life span for the enthusiast can be limited but generally a good lens will travel with you for a very long time.
There are Micro 4/3 adapters now available from several manufacturers for lenses in the following mounts: Four Thirds, Leica/Zeiss/Voigtländer M, Leica R, Nikon F, and Pentax K, Canon and probably more coming. So now I can mount virtually any lens from any manufacturer I like. How much you want to spend is the only limiting factor. So hooray for two of the smaller players, Panasonic and Olympus, for turning the lens mount concept up side down. It is almost a dream come true. I am now shooting with several Panasonic / Leica design lenses, a Panasonic GH1 and G1 and of course the Olympus EP-1 Penn. It is a pleasure to carry these light weight packages into the field and by the way the GH1 and the Olympus take incredible HD videos.
Where are my Nikons? They are always in the trunk of my car and yes I continue to use those too but in my retirement years, and bad back, sometimes where I could not get the incredible image because of aches and pains, but camera package is now much smaller and lighter. Am I advocating trading in your current system? No. I am advocating adding to it, unless of course your are unhappy with your gear. I am saying that if you would like a high quality, superb imaging instrument that can do incredible high resolution photography as well as some of the best video clips around, and use your existing lenses with an adapter then get over to your PENN CAMERA store,
and ask immediately for a demonstration of the Olympus EP-1. It will knock your socks off. ____________________________________________________________________ EXPOSE TO THE RIGHT - A REVISIT TO HOW THE HISTOGRAM IS READ
Our teachers have long advocated, that shooting raw is the best way to go for image quality and post processing and we have always taught the concept of expose to the right. But we have also instructed our students in camera classes to set their contrast to the lowest possible level when shooting raw to maintain proper exposure and tonal range in the highlight areas WHEN SHOOTING RAW.
The image on the back of the LCD which is generally Jpeg driven will look a bit dull, but if you keep a check on the histogram you may see that you are not climbing the highlight wall. However, always check the histogram to be determine if you really have too much to the right. Then you can adjust the tone or contrast setting in your camera. I am linking you to a small article at Luminous - Landscape which speaks to this topic ____________________________________________________________________
WE WENT TO A SPECIAL CANON MEETING - AND CAME OUT CONVINCED
Through the kindness of Canon, Bill Wallen and I were invited to attend a meeting in Richmond Virginia, to see a presentation on the Canon 5D Mark II and its video capabilities. There were approximately 40 photographers, some with video experience but most have never ventured beyond still photography.
To say that the system in video mode was beyond not only our expectations but seemed to be beyond what experienced videographers would have thought possible from a DSLR camera. There has never been a question that Canon is a super technology camera, and certainly produces some of the finest lenses and camera bodies in the world. But by applying all they know about video, and utilizing the larger chip in the 5D Mark II and the 7d, they have been able to bring their users, their customers into the next generation of MULTI MEDIA DIGITAL SINGLE LENS REFLEX PHOTOGRAPHY. Canon has managed to not only produce a reasonably priced DSLR still full frame camera, but they have built in one of the best video capabilities available. You owe it to yourself to go have a look. The 7D Canon with similar capability but with an APS sensor should be in the stores real soon.
Also check out the Olympus EP-1 Penn camera and the Panasonic Lumix GH. They are both Micro 4/3 cameras with wonderful image quality. Both have outstanding video capability. Keep reading future newsletters and checking our web site to find out about new classes and workshops coming that will teach and enhance your digital capabilities in both still and video photography. To assist us in expanding those capabilities we have signed on a new instructor, Tom Sullivan, a well known expert in the field of still, video, and digital imaging. ____________________________________________________________________ TOM SULLIVAN - VIDEO INSTRUCTOR - WILL GRACE OUR CLASSROOMS AND SPECIAL WORKSHOPS
With the photo industry constantly evolving, video is now becoming an essential part of the DSLR AND ESLR cameras and it is becoming more and more important for educational companies like Blue Ridge Workshops, to offer specialized workshops in regards to this evolving multi media technology.
We are pleased to have Tom Sullivan offering his services, his expertise and his abundant amount of video knowledge, through Blue Ridge Workshops.
He has produced documentaries for the University of Wisconsin on the Cotton-Top Tamerin in the rain-forest on Columbia, South American. The project was funded by World Wildlife Fund, National Science Foundation and National Geographic’s. He has directed several national television shows both live and live to tape, several shows including the Financial News Network. He has provided numerous video clips for CBS, ABC and NBC. Tom has worked on projects for PBS and National Geographic’s. Tom is currently working on a pilot kids show and a series of DVD’s on video and still photography. ____________________________________________________________________ WE HAVE BEEN TESTING A NEW BAG LINE AND A LARGE WOW IS IN ORDER FOR THIS BRAND NEW COMPANY CALLED CLICK ELITE-DESIGNED FOR A DAY OR TWO OUT, BUT NOT TO CARRY YOUR WHOLE SYSTEM 
The problem with most back packs is that they want you to carry your entire collection of photography gear no matter how long you are going to be out there. The Clik bags are designed for a day out or several days out, carrying not only your minimal camera gear needed to get the images you want, but to carry essentials like water, food, clothing, etc. Too many backpacks give you too much room for heavy camera gear and not enough for a hikers essentials. I suppose that people who know me understand and accept that I have a bag addiction. The fact that I have closets full of camera bags and backpack, has nothing to do however with my excitement over this new bag line called Click Elite.
Click Elite was introduced to me by a local sales rep and wanted to know if I would take a look at the line of bags he was about to start selling. I yawned, went to the web site, began to read, yawned again and agreed that if he had some samples sent to me for a couple of months I and the Blue Ridge Staff would use them and evaluate them.
So when the shipment arrived it took me a few days to open the boxes. As I unpacked these bags I was astounded at the quality that went into the manufacture. They were beautiful. But beyond how well they were made, was the functionality. They were truly designed by photographers with a mission and that mission was to make the absolute use of space and still protect the very expensive equipment they were designed to hold. The bags are modular in a way that makes it easy to carry on the outside those lenses and body you want quick access to and still keep other important working lenses and accessories on inside. There are several different models that have been designed for the hiker in all of us. My favorites are the medium nature, and the large hiker as well as compact sport. The first two take hydration systems and the sport is small
enough biking and sking. There are also chest cases, that click to the front of the backpacks with four click fastners which protect your camera and your neck. There are also some of the best lens cases I have ever seen that fit comfortably on the waist strap. Oh yeah, the waist strap has the best adjustments I have ever worked with.
Worried about sizing, don't WORRY. There is a special sizing adapter on the back pack which guarantees it is going to the right point on your hips. Custom fitted for you. Also, the top compartments can hold jackets, hats, pants, food, change of clothes, accessories, or whatever else you might want to shove in it. I love it. Another pure backpack is the pro elite. This puppy can really hold a bunch of stuff on the outside and the inside. It is the most functional pure backpack I have ever loaded and comfortable is not good enough to describe the fit and balance.
Our staff love them too and are ordering what works for them. You should too. ____________________________________________________________________ BRIAN ZWIT'S SERIES OF THREE ARTICLES WILL HELP YOU DECIDE WHAT IT TAKES TO GET A GOOD PRINT - THIS IS NUMBER 1
Getting an Emotional Reaction to Your Prints Part 1 of 3: The Printer by Brian Zwit
The ultimate expression of all the work that we do to capture an image is the print. The print is what many of us use to evaluate our own abilities and what many others, including our family, friends, and peers, appraise us on as well. So, as an artist, it seems natural to me to want my prints to be as perfect as possible.
Ansel Adams spent more time printing an image than taking the image. By his own account, it could take him 40 or more hours in the darkroom to get a print that met his standards. Despite the rhetoric, digital photography does not make printing any easier. While you might not need 40 hours, you still need to invest your time and talent and, frankly, some financial resources. To get as perfect a print as possible and hopefully get the viewer to react emotionally to your image, you need to do three things: (1) properly expose and compose the image in the field; (2) process the image to bring out all the detail and color in the image; and (3) print and then present the image in a way that enhances and doesn’t distract from the image.
If you don’t give your all to any one of these activities, you aren’t likely to get the best image possible. During the next three months, I am going to discuss the last step: making and presenting your prints, including (1) choosing a printer; (2) choosing the appropriate paper for your image; and (3) presenting your image in a manner that enhances it. A book could be written about any one of these topics (and books have been written on each one) so, by necessity, I will only be providing a quick overview and some links to additional information.
Assuming you do your own printing, the first decision you face is what printer to buy. When I recently purchased a new wide-format printer, I based my decision on one ultimate criteria: image quality. I choose this as the definitive factor because I didn’t want to buy a printer that wasn’t going to give me what I wanted, which was great image quality. I used other factors, such as maximum print size and the cost of operating the printer, to narrow the possible choices. Today, the three major printer manufacturers are Canon, Epson, and Hewlett-Packard or HP. Each makes a variety of printers aimed at different markets from office users to casual printers to heavy users, such as graphic professionals and photographers.
To eliminate the bulk of printers from consideration, you should only consider printers that the manufacturer specifically markets to photographers. These printers will have multiple colored inks, generally at least six and, in some case, as many as 12 colors of ink, and be specifically designed for printing photographs. The other criteria is the maximum size print. For my recent purchase, I only considered printers with a maximum print size of 24 inches wide. This criteria along with the previous one immediately limited my choices to three printers-one from Canon, one from Epson, and one from HP.
Inkjet printers can have one of two basic types of inks: dye-based inks and pigment inks. Dye based inks have typically had the advantage of being able to reproduce saturated, bright colors better than pigment inks and pigment inks have had the advantage of lasting longer without fading. However, the differences have been greatly exaggerated-in my opinion-and the differences between the two have been significantly reduced over the past few years to the point that-again, in my opinion-neither has a real advantage over the other.
After narrowing the field, you must evaluate image quality. However, image quality is also the most difficult factor to evaluate when you don’t have the printer in front of you. You can rely on test prints created by the manufacturer but these are created under ideal conditions and reflect the ultimate quality possible. While the test prints are helpful and you should look at them, they shouldn’t be your only source of information about image quality.
So, where can you get more information about the image quality of a specific printer? First, you can check independent reviews of the printers online. One reputable online source is http://www.luminous-landscape.com/. There is also a great British website called Photo I and can be found here: http://www.photo-i.co.uk
/. Second, if you are looking for a large-format printer (a printer that prints at least 17 inches wide) check out your local camera store who either use these printers, or have customers who have reported the goods and bads that they can tell you about.
Any of the higher-end photo printers from any of the manufacturers will provide you with excellent quality but be aware that there will be differences. One printer may, for example, print more neutral black and white images than another, the orange may be more orange in one than another but the red will be better in that image, or one may make life easier because it handles roll paper. In the end, you must balance image quality issues as well as features, price, and the cost of operating the printer. Next month, I will discuss how to pick the right paper to print your image on. It is just as much a creative decision as how you crop your image. ____________________________________________________________________ (c) Blue Ridge Workshops / Brian Zwit 2009 THANK YOU CANON FOR MAKING OUR CANON/SHENADOAH WORKSHOP A SUCCESS
The morning we went to set up, the temperatures were a crisp 45 degrees, and when we got to the Link in Sperryville Va we began to quickly haul all of our personal gear as well as the tons of gear that Canon provided. We had a large table full of Canon lenses, bodies and accessories for all of our Canon users to work with. There were lenses like shift lenses, macro lenses, ultra long telephotos and pretty much anything your heart would desire.
Barbara Ellison, a Canon professional rep ran the class along with Blue Ridge Workshops educators, and Canon can be proud of the wonderful and educational workshop that Barbara put together. While Blue Ridge Workshops normally consist of 12 students, Canon policies said they would like us to have about 25 students, which we did. But to offset that number I, together with Bill Wallen, Mike Arnwine, Geoff Archer and Ray Boc and of course Barbara Ellison provided individual attention to the students in the field work as well as the class room.
The information that was presented in the classes was excellent, and the shooting locations that Blue Ridge Workshops had chosen were wonderful for the assignments that Barbara had handed out. For those who would brave the chill there were moonrises and sunsets in the Shenandoah and there were some incredible images. The students in the three-day class were an incredible group and it was easy to tell from the critiques we were giving of the images we had projected on our screens that they were a very capable group of photographers at all levels. From inexperienced to advanced. Kudos to all of them for photography well done. ____________________________________________________________________ NEWS FOR OUR SPANISH SPEAKING CLIENTS
Blue Ridge Work Shops will begin to publish portions of the web site and news letter in Spanish. Our first page is now up and running so please click to this link: BLUE RIDGE WORKSHOPS (SPANISH VERSION) ____________________________________ THE DUHHHH FACTOR - WHO RECOMMENDS WHAT ON THEIR SITES IN REGARDS TO PLACES TO SHOP
How many times have you gone to a web site that imparts great information, only to find block ads for shopping at B&H, Adorama, and the like. How many times have you clicked on those ads to go to a store web site, BECAUSE YOU FIRMLY BELIEVED THAT IF THESE GUYS SUPPORT THESE STORES THEN YOU SHOULD TOO? Well, while I am sure that some are aware, I know for a fact that many are not aware that these web sites get a financial kick back every time you click and buy through their web sites. IT DOES NOT MEAN THEY SHOP THERE. IT MEANS THEY GET MONEY BACK FOR LINKING TO THOSE STORES. At Blue Ridge Workshops we believe in supporting our local camera stores and have turned down requests to participate financially or in any other way, with the CLICK TO concept. Where possible you should support your local camera store. Don't support them today and you will not have them here tomorrow. ____________________________________________________________________ HERE COMES FALL COLOR - HERE ARE SOME TIPS TO HELP YOU CAPTURE BEAUTIFUL IMAGES-by Elliot Stern 
I love the fall season. The crisp freshness in the air, the cool breezes, but most of all the range of beautiful color and combinations of color and texture that mother nature presents us with.
It is a time of year when so many photographers take hundreds of photographs to record their expressions, their renditions of this beautiful season. 1.Polarizing Filters, Neutral Density (ND) filters and Color enhancing filters A polarizer filter will increase the saturation of colors, which is exactly what you want to do with fall colors. It is extremely useful in producing rich deep blue skies but you’ll find that it helps to enhance detail that you often get at this time of year.
ND filters have no effect on color but stop a percentage of light from entering the lens enabling slower shutter speeds to enhance the look of motion. Color enhancing filters for fall colors help to increase the saturation of reds, oranges, and browns in your picture. 2. Shoot in early morning or late afternoon to get the full benefit of the golden light that time of day This kind of light, which so many photographers per in general will enhance fall colors. It is great for the oranges, yellows, reds, and browns that fall brings us. 3. Overcast days and Rainey should not be over looked A lot of people never pull out their gear on cloudy or rainy days. That is a terrible mistake. Overcast days can provide a wonderful softness to the colors when shot in the right compositions.
I have gotten some great shots in Shenandoah, with slowing cotton like water mixed with beautiful colorful leaves on the rocks around the water. Rainey days, droplets of water create their own and wonderful type of saturation. Do not pass up these opportunities. 4. Look for textures and opposing surroundings To accent your prime subjects color frame your shots in such a way that the different colors work with one another. Golden leaves on a blue sky - a red leaf on a lush green grass etc. 5. Avoid Shooting Into the Sun. The old rule of keep the sun at your back really applies If you shoot into the sun you will be lowering the contrast and saturation of your colors. It is also crucial to have a lens hood on your lens all the time, whether it is fall or any other season to prevent flair and side light from affecting your image. 6. White Balance can help Get out of the auto white balance mode. Your digital cameras have white balance settings. Try some shots in cloudy white balance that is in effect a warming filter.
If your camera has the ability to work with color temperatures then you should experiment with that too. If you are shooting film, there are warming filters available to achieve a similar effect. 8. Underexpose Your Shots –but not a lot If you want to get a little deeper saturation you can use the under exposure settings on your camera. I would not go more than 1/3 or 2/3 of a stop under. 9.Close-up/macro – fill the frame, get closer. Fall provides us with great colorful macro/close-up opportunities. Pick your colorful leaf or grasses and get in close, frame tight with a contrasting background or a rock or green grass and take the shot. 10.Composition – Look around, take your time. Bad composition can be hard to fix, so always take the time to look at your subject, around your subject, BEHIND YOUR SUBJECT, and even turn around to see where the light is coming from and how you can use it to texture the composition. You may also find something intriguing behind you. 11.When you are out shooting, never let it enter your mind that you can post process the image to make it better I have often heard from people that they will fix the picture in Photoshop or like program. SHOOT IT RIGHT, POST PROCESS LESS. Post processing should be for tweaking an image you captured the right way. ____________________________________________________________________
IF YOU WANT TO SEE THE NEW CANON 7D AND NEW LENSES COME TO PENN CAMERA ON FRIDAY-OCTOBER 9TH-11:00 A.M. TO 3:00 P.M. 
I have already seen this great piece of equipment, now it is your turn. The presentation will be at: ____________________________________________________________________ MICHAEL STEWART SPEAKING ENGAGEMENT-IF YOU MISS THIS YOU HAVE MISSED A WONDERFUL EDUCATIONAL OPPORTUNITY 
ASMPDC Presents
This eye opening presentation explains the importance of 12 of the most intriguing technologies in photography. Photographers will see how technology is changing the way we make, display and sell photographs. The presentation will show how computers can combine images to extend capabilities beyond what a single lens and sensor can produce. The 12 technologies to be presented are: HDR Imaging, Noise Averaging, Image Stitching, Synthetic Depth of Field (SDOF), Geotagging, Metadata, Content Recognition, Wireless Transmission, Live View, Parametric Image Editing, The DNG File Format, Digital Display, Computational Imaging. For each technology, we’ll have an instant raffle for an appropriate text on the subject! You’ll pick up your raffle tickets at the door. About Michael Stewart
Michael Stewart is a Virginia based ASMP member who studies cutting edge photography technologies and techniques. He is a former president of ASMP DC and technical editor of the DAM book (Digital Asset Management for Photographers) and the UPDIG (Universal Digital Imaging Guidelines). Michael is well known for his technical expertise and is equally as agile behind a camera or in front of a computer. His popular Foto-Tech Blog is filled with state of the art equipment and software reviews and explanation. When: Where: Fee: Transportation & parking suggestions:
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Welcome to the October, 2009 newsletter. In this Issue OF INTEREST INTERESTING ARTICLE FROM CNET NEWS - IS THERE NOW A DIGITAL HOLGA CAMEA? ____________________________________________________ OUR NEW SCHEDULES FOR 2010 WILL BE POSTED ON OUR WEB SITE IN THE NEXT COUPLE OF WEEKS ____________________________________________________ ____________________________________________________
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