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OUR NEW UNIQUE 3 DAY MACRO/CLOSEUP WORKSHOP - JUNE 12TH-13TH-14TH
One of the most challenging, but rewarding types of photography is Macro / Close-up. Learning to master this highly detailed and creative form of photographic art is what this workshop is going to teach. Most people think a class like this is about photographing bugs and flowers, and in part, it is. However, the amount of subject matter that falls into this category of photography is virtually unlimited and the opportunity for you to create images that go beyond the standard portrait or landscape will absolutely amaze you. Learn how to manipulate the light((( INCLUDING INFRARED))), the subject, and create effects and outstanding images you did not think possible. Learn how to do Macro and Close-up photography from subjects in nature to subjects in every walk of life. Learn how to do macro portraits as well as macro scenics.
Click here for more information
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MACRO STUFF TO KNOW - updated
Macro and close-up photography is one of my favorite types of photography. It opens up so many different ways to explore and record your world and provides unlimited subjects.
It places new demands on your expertise as you learn to see the world around you in different ways. You will come to realize the multitude of creative opportunities that are out there. Get ready for some of the most exciting and rewarding photography you have ever done.
MACRO LENSES FOR 1:1 LIFE SIZE REPRODUCTION
There are so many excellent optics out there today that at times it becomes difficult to make the right choices. Quite often the simplest thing to do is go with the camera manufacturers macro offerings, and you more than likely will not go wrong. But there are other lens manufacturers that provide excellent to beyond excellent macro optics and usually at a price benefit to the purchaser.
Tamron offers a 90mm macro and a 180mm macro. Both are superb lenses that will not disappoint you. The Tamron 90mm lens has long been rated as one of the finest macros made. Sigma also has some exceptional macro lenses. My favorite in their line up is the 150mm 2.8 macro. I know you cannot go wrong with any of these choices.
Your best bet is to go to your local dealer and handle the lenses and possibly shoot test images.
To determine which macro would be best for your needs, it would probably be a good idea to first determine what sort of macro photography you want to do. I personally carry a 60mmmm, 105mm and 150mm macro depending on the subject matter. There are some subjects that I can get real close to with the 60mm, but quite often the situation may demand that I keep my distance and that is when the longer focal length comes in handy. AS A GENERAL RULE YOU COULD NOT GO WRONG IN THE 90MM TO 150MM RANGE. Nikon makes a 200mm 4.0 macro that is superb but pricey.
TELEPHOTO LENSES FOR CLOSE UP PHOTOGRAPHY
Telephoto prime lenses as well as telephoto zoom lenses can provide you with wonderful frame filling CLOSE-UPS. This is not 1:1 reproduction, but you still are going to produce very dramatic quality results. I have had situations where I have used either a 70-200mm zoom, or straight 200mm or 300mm prime lens for an extreme close up of a flower or insect not to mention a whole variety of other subjects.
I know you are always hearing about 1:1 (one to one) reproduction. So what does that actually mean. I guess the simplest way I can describe it is to think back to 35mm cameras and lenses and film.
If a take a quarter, and photograph it, and then look at the negative, then I should be able to take the quarter I photographed and fit it exactly over the image of the quarter on the negative. That should be 1:1.
CLOSE-UP LENSES
I carry the Canon 500D/double element close up lens and the series of Nikon Close-up lenses (3t,4t,5t,6t). If you are carrying medium telephoto lenses or 70-300 or 70-200mm zoom in your bag and you want to have an opportunity to take an extreme close-up, then this is a very handy accessory. While it is not as good as a prime macro lens, it will produce very good results.
EXTENSION TUBES
This type of accessory allows you to move the lens further from the imager or film in your camera and allows for extreme close-ups. They normally come in sets of three tubes each providing a different level of magnification, and can be used in combination. Check them out. The most popular are the ones made by Kenko. They have the same electronic connections as your camera for doing metering and auto focusing. However auto focusing with the extension tubes will be a challenge. Click for more information
MACRO RAILS
This accessory allows you to get a more finite point of focus and composition. There are several models in the market place in varied quality, but they all do the same thing. You can buy these rails at your local camera store. They are made by Manfrotto and Velbon. These brands are reasonably priced. You can also buy very expensive set ups – 400.00 and up but the results will be the same.
BELLOWS EXTENSION RAILS
This device is not hard to find if you don’t mind spending $800.00 for the one made my novaflex. Camera manufacturers used to have one in their product mix, but they have become far and few between. Bellows allow for extreme, high reproduction ratios and take time and calm to work with. They can be very precise for high magnification applications. More than likely it is easier to find them used, than new.
REVERSE LENS ADAPTERS
Another method of getting extreme high magnification is to use lens reversing adapters. Nikon makes a Br-2(52mm) and Br-5(62mm), and a search on google for lens reverse adapters will take you to many other references for other brand cameras. If you decide to go with the reverse adapter solution, then it is important that you make sure your particular short focal length lenses lens themselves to being operated in reverse. Always remember that this would be at your own risk.
FLASH AND LIGHT MODIFIERS
What happens when the light is not good enough, or where you want it to be to lend itself to your creative efforts?
1-You can use light modifiers like those made by Lastolite or Wescott. You can use Gold, Silver, Diffused, White, Black to alter the effect of the light on your subject. Ask your camera store for a demonstration. These light modifiers come in all different sizes. I primarily use modifiers that open up to about 30 inches. They collapse into their cases to about 12 inches. While they can be purchased as individual items, you can also buy them as 5 in 1 (five in one) or 6 in 1 (six in one) combinations. Check it out. These light modifiers can be used for a lot more than just macro photography.
2-Electronic Flash can be used to supplement existing available light. With today’s options in off camera flash and ring lights, you have incredible control. With some systems you can add almost unlimited numbers of strobes to control the direction, the color, and the quality of light. Begin to think multiple strobes or strobes and light modifiers in combination to create the effects you want.
Whatever lenses you decide upon, and whatever accessories you want to add to your arsenal of macro equipment, make sure you try before you buy. Try the extension tubes and close up lenses, and be sure they are going to help you obtain the image results you are looking for.
TRIPODS
While you can certainly hand hold your camera and lenses for macro photography, and at times you will have no choice, the best way to be guaranteed of not producing camera motion, is to use a good tripod and tripod head. No matter how good your in camera or in lens stabilization system is, it can never match the solid platform a good tripod gives you.
The tripod should have the ability to get inches from the ground when necessary. The tripod should be stable and not move in the wind. The head that you use should lock down and once locked down not change position. This is very important. When working with higher magnifications, or precise targeting of you subject, the slightest shift of the head can cause a dramatic effect in composition. When purchasing the tripod, bring your camera gear. Mount it with the lenses you shall be using, including a flash if you are going to camera mount the flash. Focus in on something like the head of a screw or a small coin and tighten down the head. If after being tightened, it shifts down or to the sides, this is not the head for you to purchase.
RIGHT ANGLE FINDER
There will be many instances when you have to get really low to the ground, or find yourself at an uncomfortable angles. Most camera manufacturers make a device called a Right Angle Finder. This allows you to get into positions that would otherwise be too uncomfortable to shoot in. If your make of camera does make a Right Angle Finder, there is a company called Hoodman, that makes Right Angle Finders with adpaters for pretty much every brand of Slr.
No matter what you decide upon, please support your local dealer
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THE NORMAL LENS - OWN IT AND USE IT - 50mm for full frame & 30-35mm for APS Sensors
I have posted the following link, with a well written article about the use of prime normal lenses. I found that it really expresses my feelings and others I have worked with.
Normal lenses, are either a 50mm for full frame cameras like a Nikon D700 or a Canon 5d mark ll, or 30 to 35mm for Aps type sensors in cameras like a Nikon D90 or D300 or Canon Rebel xsi or Canon 50d.
These types of lenses are priced anywhere from $100.00 all the way to above $1000.00 depending upon the largest F-stop and on lens design.
A great example is the Nikon Nikkor 50mm 1.8 lens that sells for around $110.00. There are of course normal lenses from every manufacturer that are reasonably priced. In the non camera manufacturer type lenses, you can think about Sigma. They make two high speed normal lenses, a 50mm 1.4 with hypersonic motor, and a 30mm 1.4 with hypersonic motor. "Normal" lenses are sharp, fast, light weight, and is great for general shooting.
My recommendation. Put away all your zooms for two weeks and shoot with nothing but a high speed normal lens. You will be shocked at the images you capture, especially in low available light. Please read the article link below.
Here is an article on the web about the forgotten 50mm normal lens. It is well worth clicking and reading
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NIKON CREATIVE LIGHTING CLASSES & NIKON D300 AND D700 CLASSES being given by Blue Ridge Workshops for Penn Camera
Blue Ridge Workshops will be doing Nikon Creative Lighting Classes and Nikon D700 and D300 cameras for Penn Camera in both April and June. Check the Penn Camera Events listing on their web site for registration, for these classes in April and June 2009-Classes are limited to 15 students for hands on training.
Click here please
LEARN ABOUT COLOR MANAGEMENT ON MARCH 19TH AT GREENSPRINGS GARDENS
On March 19th, in the evening, Elliot Stern (Blue Ridge Workshops) and George Fennell (The Mac Group), will present Color Management from Camera Capture to final print.
Sign up for this event is available through the event sponser, Penn Camera. Please visit one of their stores, or check out their event sign up on liine.
BRIAN ZWIT WRITES ANOTHER CHAPTER ON DEALING WITH YOUR IMAGES
Part IV: Capturing, Cataloging, Processing, and Printing Your Images
By Brian J Zwit
In the past two newsletters, I discussed the first and second steps in any digital workflow—capturing and cataloging your image. This month, I want to discuss one element that I left out of last month’s discussion of the second step—deciding which images to toss and which to keep.
Billions of words have probably been written and spoken about what makes a good photograph. However, I think it is safe to say that there are some tangible factors, such as exposure and focus, and some intangible factors that, when combined, make a good photograph. In practice, you need to apply your artistic vision for an image to decide whether the image is good or bad.
So, how do I review my own images for the keepers and the losers? I look at each photograph first for whether the image is a technically correct image, i.e., the tangibles, and, second, for whether the photograph conveys my artistic vision, i.e., the intangibles. Depending on the results, I will delete the image, keep it for possible use later, or choose it as “pick” for editing and printing.
The list of tangible factors is fairly small and includes the following:
1. Exposure: Is the image “properly” exposed? Are the highlights blown? Are there details in the shadows?
2. Focus: Is the subject “properly” focused? In the case of wildlife, are the eyes in focus? Is the background “properly” focused?
3. Composition: Is the subject where it should be for a dramatic image? Is anything intruding on the frame that shouldn’t be, e.g., a branch?
You will notice that I didn’t specify what “properly exposed” or “properly focused” is or where the subject should be in your images. The reason for this is simple: Exposure, focus, and composition are not reducible to simple rules. You can and should manipulate each to fulfill your artistic vision for the image. If the exposure, focus, and composition of an image will provide you with the raw material for your vision then the image is technically correct.
The next step is to evaluate the image for the intangible factors and, for me, this is simply whether the image tells the story that I want to tell. Because the story is different for each photograph, the things that I evaluate might be different for different images taken on the same day. The factors that I consider in this stage might include the following: Is the composition appropriate for the image? Does the image capture the majesty that I saw in the subject? Does the image capture action that, in the case of mammals or birds, is biologically important activity?
At the end of this process, I end up with three sets of photographs. The first set didn’t meet either criteria and are deleted. The second set met one of the criteria, either the tangible or intangible requirements, and I keep these but don’t spend much time editing them. However, I will often go back and evaluate these images again after six months and generally find one or two gems that I missed during the first edit. The final set contains images that met both criteria and these are my picks. The picks receive the most attention from me during the next step of my workflow—editing my images.
Finally, I choose to use the word “I” in this discussion because it is the most personal and variable of all the steps in a digital workflow. You should decide for yourself what your criteria are for keeping and discarding photographs. Even Ansel Adams managed to take some bad photographs. Yes, it is difficult but it is a skill well worth mastering. When you can recognize your problems with your photographs in the field, you can correct them before you leave.
See you next month. . .
Brian Zwit, a local nature photographer as well as an excellent software educator and will be teaching From Camera to Output: Digital Workflow Using Adobe Lightroom for Blue Ridge Workshops on Saturday, March 28, 2009, and May 16, 2009. While Adobe Lightroom will be used to demonstrate workflow basics, the concepts discussed during the class will be applicable to whatever software you own and use for cataloging, developing, and printing your images.
CLICK HERE FOR MORE INFORMATION
CLICK HERE FOR A LOOK AT BRIANS WEB SITE TO SEE HIS IMAGES
NIKON CAPTURE NX2 CLASS - IF YOU ARE A NIKON USER THIS IS A COURSE YOU MUST TAKE - FEBRUARY 25TH.
One of the most versatile software programs for processing raw files is Nikon Capture. Over the years it has evolved into a wonderful tool for working on Nikon Raw files, and anybody elses Tiff and Jpeg files. It has been highly refined with a wonderful interface and gives Nikon users especially a program that truly understands how to deal specifically with files produced in Nikon cameras. Our course which is given by Brian Zwit shall cover from the capture of the image to the final output, and the Nik Software plug-ins designed for Nikon. You will learn how to get the most out the U-Point technology, as well as get to see how Nikon transfer and Nikon Camera control all come together for a total solution.
CLICK HERE FOR MORE INFORMATION
BOGEN IMAGING BRINGS A SPECIAL PHOTOGRAPHIC EVENT TO GEORGE WASHINGTON UNIVERSITY - MARCH 25TH AND 26TH 2009
Bogen Café - The George Washington University
03/25/09 - 03/26/09
A PENN CAMERA SPONSERED EVENT
Bogen Café will present this Educational Program with world-renowned photographer Will Crockett at The George Washington University. Bogen is honored to visit and contribute the latest photography accessories to The George Washington University a school which offers students a variety of degrees in Art and Design.
For more information about Bogen and the products they bring to the market to enhance your photographic experience, please click here
FEBRUARY 7, 2009 - NIKON D90 DIGITAL SLR CLASS - 99.00 - 4 Hours-Given by Blue Ridge Workshops instructors
On February 7, Blue Ridge Workshops will have a small class (15 students maximum) on the Incredible Nikon D90 Camera. It will provide you an opportunity to take full control of your Digital Slr, by learning every button and wheel, every menu item and how they all come together to help you produce some of the most wonderful photographic art and moments you have ever created. Now that you have made the choice for this camera, make another choice and really learn to use it. In four hours you will become the master and have the control you should.
Click here to find out more information
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Welcome to the January, 2009 newsletter.
In this Issue
UPCOMING WINTER, SPRING AND SUMMER WORKSHOPS AND CLASSES TO LINK TO FOR FULL DETAILS OF EACH CLASS AND WORKSHOP
Adobe Lightroom image processing and workflow March 28th 2009
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Nikon Capture NX2 and related sofware for processing and controling your Nikon Images
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Take a look at Brian Zwit's web site. He is our Lightroom, Nikon Capture NX2, and field instructor
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2009 Shenandoah Spring Photography Workshop -April 17,18,19, 2009
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The Back Roads of Beautiful Leesburg Va. Photography Workshop
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How an incredible blacksmith turns iron into art - visit with Nol Putnam for a unique and exciting photographic opportunity-and then join us for even more fabulous artistic venues on the same day
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Green Springs Gardens -Macro and Closeup photography – Just a beautiful place to hone your photographic skills -5/3/2009
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Cape Charles & the many towns of the eastern shore, Photography
Workshop - May 22,23,24 2009-Photograph the wonderful and hidden treasures of this wonderful area of the Easter Shore
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Macro/ Close-up / Table Top Photography - an infinite world of creative Photographic possibilities, BOTH IN THE FIELD AND IN THE "STUDIO"-June 12th thru June 14th
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The Lilypons-in full bloom - 7/11/2009
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Rappahannock-JUST YOU AND US ON LOTS OF ACRES OF PRIVATE LAND-July 18, 2009
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Nikon Creative Lighting System Classes-MAXIMUM 12 STUDENTS THROUGH PENN CAMERA
Nikon D700/D300 Classes MAXIMUM 12 STUDENTS THROUGH PENN CAMERA
Check out the Penn Camera Event Listing on their web site
Check the Blue Ridge Workshops course information at this click.
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Did Not Get the lens or camera you wanted for the holidays, or need a special piece of equipment for a workshop but are not ready to buy yet, then think about renting through Penn Camera
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Did you get a new Digital Slr Camera (NIKON, CANON, PENTAX) for the holidays. HOW ABOUT A ONE ON ONE CLASS, JUST YOU AND THE INSTRUCTOR?
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Please check the bottom of this news letter for a special event that is coming to Washington DC, sponsered by Penn Camera and presented By BOGEN IMAGING
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