I have been using a Phase One camera system for my Human Canvas images over the past couple of years. At 60 megapixels the detail and resolution is so sharp I can enlarge the final images to life size and beyond, critical for this body of work. I have always shot with it in a studio, where the camera was mounted 16 feet above the floor in a warehouse ceiling and tethered to a laptop where it was triggered with a key-stroke. That was a collaborative experience, so I wouldn’t say I really got to experience the Phase One one-to-one.
So, that begs the question…what about using it outside of the studio setting?
I recently set out into the Cascade Mountains to find out. Even though it is a medium format camera system, the Phase One still fits into my same old camera bag. I just needed to move one little Velcro divider around to accommodate it.
It was far from an ideal day for photography – there wasn’t a cloud in the sky, the sun was at its peak overhead, it was hot, mosquitos were out and nothing was really calling out to me. With lunch in mind I saw a large patch of snow in the distance with a stream running out from under it. Since I’d hiked above the tree line, this was the only potential shade within reach. In anticipation of dipping a handkerchief in the cold water and eating some lunch, I set out for the snow bank. And that’s where I saw it…
The stream and winds had carved out a large tunnel under the snow, and even from the entrance I could begin to see shades of blue, deep in the cave. I’ve been a mountaineer almost my entire life, climbing the volcanoes in the Northwest, crevassed glaciers, even climbing to the lower level camps with an expedition on Mt. Everest, so I knew this situation had “extreme caution” written all over it. Looking over the snow, wall thickness, and arch of the top, I decided to proceed as one would on a snow bridge over a crevasse – very cautiously.
I stuck very close to the side walls; if the roof was to collapse this would have been the safest place to be. Moving into the cave was like entering a cathedral. A reverence for the beauty of the unexpected display was overwhelming.
Immediately I saw the potential in abstracting the icy blue glow of the ceiling fueled by the direct sun overhead. I used a 55mm lens (34mm equivalent), my attention fully focused on the otherworldly qualities of the ceiling. Looking through the viewfinder of the Phase One, the patterns and lines abstracted into soft human forms, suggestive of the Rubenesque feminine ideal form.
At other times I was drawn to the lines within the form, like the layers of geological time recorded in a rounded stone found alongside a river. The colors varying between blues and yellows only added to the final composition.
Shooting and shifting my point of view I worked the ceiling as a subject finding more and different compositions with each new angle. I could have stayed with this subject for hours. It was so unexpected – a real treat for what had promised to be a rather bland day.
The Phase One system is very intuitive with a huge LCD and touchscreen menus. I was able to easily navigate the functions to set up the camera for the way I like to work, even in the cave. When you are talking about a medium format system, it’s all about image quality – and this one delivers. The system combination of superb Schneider Kreuznach leaf shutter lenses, 645 DF Camera body and IQ 160 digital back produce the sharpest and most detailed images I have ever shot.
So what’s next? I’m currently on tour through Europe visiting familiar landscapes as well as some new ones. I have the Phase One with me and I can hardly wait to see the results when I get home and begin enlarging these images to prints. This camera system is able to capture the grand scenic landscapes in unprecedented detail and clarity. If only I could have had my hands on one since 1978.
When it comes to the big picture, Phase One wins out. ~Art Wolfe
Join me on the Phase One Digital Artist Series (PODAS) Workshop in Kimberley, Australia in June, 2013. >>MORE INFO
Pictures Magazine (Germany) has put together a very nice article on Art Wolfe and his upcoming seminar. His highly touted Art of Composition workshop is being held alongside Photokina this year. If you are going to make it for the Exhibit, don’t miss this rich class. Participants are getting so many take-aways from this class. The class will be held September 22 in Köln (Cologne), Germany.
A few Images around Dingle Town, a small sea coast town on the SW Corner of Ireland. The seascapes are indicative of this rugged wind washed landscape. In a small town in Ireland one does not have to walk far before encountering an Irish Pub.
Maybe it’s time to think small, macro small. September and October in the Pacific Northwest present wet dew laden mornings which are perfect for photographing tiny intimate landscapes, insects in your garden, abstracting details of a flower into a wash of color, or a spider’s web suspending drops of dew.
When I talk about “macro photography” I’m not limiting myself to 1:1 or greater magnification. Macro to me is really anything that might fit in my 2 hands. A clump of clover or a close-up of a Macaw’s back showing detail in the feathers, fall into my definition of “macro photography” as does a butterfly’s wing or dandelion seed head filling the entire frame.
People often ask me what I would recommend for a macro lens and honestly I don’t generally carry one; they add too much weight for how often I find myself using one. Instead, I carry a set of extension tubes, practically weightless when compared to adding another lens to my bag, and at my age, less is definitely more (as in more walking, more shooting and more time out of the chiropractors office!)
I’ve asked Jay Goodrich to provide a few technical details on macro lenses and how extension tubes work:
To understand macro lenses you must first understand how a lens focuses on a subject. As you twist the focus ring, the glass optics inside move forward and back. Want to focus closer? Move the glass further from the sensor. Want to focus at 1:1 magnification? (1:1 happens when the object you are shooting is the same size on the sensor as it is in real life such as a quarter or butterfly’s wing filling the frame) Then your lens must be able to move the optics away from the sensor a distance equal to the focal length of your lens (This will vary based on the crop factor of your sensor). In other words if your 100mm lens can move 100mm from the sensor, you have a ‘macro lens’ able to focus close enough for objects to appear life size on the sensor. A 100mm macro lens will be able to achieve 1:1 (lifesize) at twice the distance from your subject than a 50mm macro lens would.
But what if your 100mm lens is not a “macro lens”? That simply means it is not able to move the optics a full 100mm from the sensor. Perhaps it can only move them 75mm and thus it can’t quite focus close enough to fill the frame with the butterfly’s wing. An extension tube is spacer that fits between your camera and lens and they come in various thicknesses. Having no glass at all they do not impact your image quality as a magnifying filter (also used for macro photography) would. So if you were to put a 25mm extension tube on the back of your “non macro” 100mm lens – you would then be able to achieve the full 100mm (75+25) of extension necessary to photograph your subject at 1:1 or 1x magnification.
So what does Art use in the field? He will add extension tubes between his 70-200 f4 lens. Without them, the lens has a minimum focusing distance of 1.2m and a magnification of .21x (about 1/5th life size). Adding a 25mm extension tube allows him to move in closer and achieve .42x life size. Stack additional extension tubes behind the lens and he’s able to focus even closer yet – all without adding an additional lens to his bag.
If you enjoy shooting macro subjects, an investment in a true macro lens is worthwhile. While extension tubes allow you to “make one” on the fly, they must be removed to allow the lens to again focus on distant objects and to infinity. You can even purchase a macro lens with enough extension built in to achieve up to 5x magnification – filling the frame with the eye of a praying mantis.
Most of the time stopping down to f22 and keeping your sensor plane parallel to your subject will give you enough depth of field to cover your subject. If not, you may need to “rack focus”, shooting several images with the focus point first on the leading edge of the subject with each subsequent image focusing a little further into the composition until you reach the furthest point you want in focus. Later you combine the images with Photoshop or Helicon Focus; the combined image will then look sharp across the entire scene from front to back.
I use macro photography to abstract the patterns, lines and texture found in nature; to give the viewer a different taken on an old subject. We’ve all seen photographs of flowers, force your audience to think a little, to tilt their head as they wrap their imaginations around your composition.
You can abstract just about anything you find in nature and even man-made objects. By framing tight on your subject you are able to show a pattern that is lost when looking at the whole. Your image allows a new appreciation for the subject which is unavailable without the photograph to isolate and show only what you, the artist behind the camera, is allowing the viewer to see.
Patterns come from the repetition of shape and textures, thus it is possible to get too close and not show enough of your subject, losing the magic of the pattern you had intended to show. If you love ferns for their delicate pattern of leaves, get in close, focus your attention on just one frond and enjoy the gentle curve of the main stem while playing with the beauty of the individual leaves branching out while ever decreasing in size to either side. A fully symmetric composition with the frond in the center makes a different, but equally effective statement as drawing the frond out of a corner diagonally, try it both ways to see what you like.
Sometimes if I am lacking for inspiration I’ll create a little vignette, a story, with the elements around me. On a beach I may grab some bits of seaweed, a shell, perhaps a dead crab or some muscles, and a bit of drift wood. I’ll loosely arrange these so as not to appear too deliberate or forced and play with the composition. This exercise can help to open me up to other options around me as I begin to see line and form that I may not have seen otherwise.
A good exercise for anyone, whether you are feeling stuck or full of inspiration, is to walk to a random spot, in your back yard, in the country, in the forest… and just stand there and take in the scene. Look all around you. It may take 15 min or it may take an hour, but you will begin to see opportunities on a macro, close up scale, which you may have overlooked in the past. The stained glass effect of a dragon fly’s wing, the rainbow of colors in a puddle, a sewer grate, the wabi sabi qualities of a dead leaf as it curls and browns. Photographic opportunities are all around if you open yourself to the possibility of seeing them.
Always keep a sharp eye for any distracting elements in the composition. Check each of the four corners for bright areas on the edges, twigs, dead leaves, hard edges. A grouping of pine needles close-up can make for an abstract of Japanese writing; a single pine needle in the corner can blow the whole composition.
As you head out to photograph the macro landscape, ask yourself about the difference between a tight shot of a flower that could be used in a botanical textbook as “figure 7.2”, and an artist’s abstract of that same flower. When you get in really close, can you start to see a Georgia O’Keefe or Claude Monet’s influence on the composition? Does the texture make you think of a pointillism painting where the entire scene is composed of dots of color? Go back and photograph those same flowers, mosses, and leaves you have shot so many times before, even those in your own yard, but do so through a new set of eyes, not looking to record nature but to abstract and challenge the senses of your viewer.
I came to London to give my seminar on The Art of Composition to a sold out crowd at the RGS (Royal Geographical Society) on September 8.
Yesterday, I strolled around London and took a few shots with my iPhone. This city is still very much alive even after the Olympics were just here.
I took about 15 iPhone photos walking through London, among the images you will see are the Old Globe theatre, interior of the Modern Tate Museum, Kings Cross train station, Soho and a few additional photos around the city.
Photos from the talented photographers who joined us on the Olympic Workshop in January. The weather presented some challenges, but the group was adaptable and made the most out of the situation. Even a foggy wet beach was transformed into a beautiful serene environment. We were impressed by the variety of images this group was able to capture!
Jane Herzog “What a transformative 3 days in my world of nature and photography. The instructors are outstanding, each with his/her unique perspective and skills, and it is really a privilege to learn from Art. His vast experience, humor and sensitivity are inspiring…I look forward to participating in more of Art’s adventures in the future!”
Steve Kidd “The Art Wolfe Olympic Peninsula workshop was fantastic. Art and all of the instructors were extremely approachable and always offered great advice. I came away with much better photographs than if I had just gone to the locations myself. A very worthwhile trip!”
Roland Kilcher
Yolanda Moreno
Sheri Pascual “Art Wolfe is so unbelievably talented and creative and very willing to share his expertise with his students. The Olympic Peninsula’s forests and beaches gave us very diverse photo opportunities. We started our day before the sun came up and ended when the sun went down. I learned more in two days about composition and technique than I have learned in the last three years. Art also has an amazing group of accomplished photographers to help and advise as well. I was always able to get help when I needed it. Thank you Bill, Jay, and Libby! I can’t wait to go on my next workshop!”
I have recently picked up a Canon 1DX, the latest flagship camera for Canon and, spoiler alert, I am thrilled! This camera represents a whole new world for photography. It’s not so much about how many megapixels the camera has, we’ve essentially passed the resolution of the best slide film in its day, now it’s all about the performance at higher ISOs and Canon has re-set the bar with this latest model.
If you know me, or have been to one of my seminars you know I am an artist first, a photographer second and a technical anything is not even on my list. The camera is a tool for me, just like my brushes and paint, thus I will leave the technical reviews to the likes of Jay Goodrich and others who play in that arena. This write-up is more my impressions of what it’s going to be like using this next generation camera going forward.
I have been shooting for over 30 years now, back in the good old days when you had to walk uphill in the snow both directions to get a shot of a moose, the ISO speed was 25. Yes, that’s not a typo for those of the internet generation, ISO 50 didn’t come around for many years after I began my career, and 100 was largely unheard of for professional photographers. You panned with your subjects, not always for the effect but because you had to, even wide open you couldn’t always get a shutter speed fast enough except in the brightest of conditions. Hand holding was just a fantasy that we all had to disregard.
So when did I make the switch to digital? As soon as it was available as mass market product. I was in a small inflatable zodiac in Antarctica photographing iceberg formations with an 11 megapixel Canon 1Ds. It was my first time using this camera and I was shooting at ISO 100 when the opportunity to photograph a leopard seal that had just hauled itself out on the ice. Remember, this was my first time shooting with digital and when I was able to bump up the ISO to 400 and capture a decent shot of the seal while bouncing on the waves and then try another at 800, I was sold. I never loaded another roll of film again and I came home with 300 rolls of unexposed slide film, that I sold the very next week.
Up through the 1DS Mark III and 5D Mark II, I was comfortable pushing the ISO to 400, but not much higher. The grain and noise that came in at higher ISOs began to impact the image enough and the gains of one more stop simply didn’t buy me enough to justify it, it was still a tripod, mirror lock-up situation afterall.
But not any more…
With the 1DX, I can easily see going up to ISO 6400 and perhaps further, I haven’t tested much beyond 6400 as the idea is so absolutely foreign to me. Unless I’m looking for slower shutter speeds to blur the motion of a river or pan with a moving animal, I don’t imagine I’ll even set it any lower than 1600 on most days. This is an absolute game changer for me. With this camera I will return to try and capture old subjects that I would have otherwise passed up earlier in my career. I can return to photograph swift moving animals in the forest canopy in the late afternoon where there simply was not enough light to allow for a fast enough shutter speed. I have never favored flash unless it was absolutely necessary, and even then the results rarely made the cut.
Now shooting at ever changing ISOs being the highlight for me, Canon has located the ISO button perfectly, even differentiated with a raised bump such that I can switch settings with my eye to the camera as easily as I would change the aperture.
Shooting at higher ISOs also opens up new worlds for controlling Depth of Field. A slight breeze while photographing flowers in the meadows of Mt. Rainer meant choosing between tack sharp foliage vs. a depth of field appropriate to the composition. A compromise, and rarely a good one. People even marketed “plant clamps” to hold the foliage steady for you. Now I can simply dial up the ISO to get the shutter speed I need without sacrificing F-Stops and Depth Of Field.
Though I have said it many times in the past – “If you want to improve your photography get a tripod, cable release and mirror lockup, and use it…” you will find me hand holding the camera more and more often in the future. I am not religiously tied to a tripod, they are excellent tools allowing you to shoot with slower shutters speeds, but if I can bump up my ISO to 4000 and still come home with sharp images, I will. It will allow me to be more nimble, more reactive to moving animals and people.
I’m often asked about the one that got away… It was in Varanasi, India. I was walking down the back streets of the bustling city trying to keep up with the guide and my friends, but I knew I was falling behind overwhelmed by all the sights and smells, a photographer’s paradise. As I glanced down an alley way I saw a dog curled up sleeping on top of a cow taking advantage of the warmth and comfort it offered. It was a spectacular shot especially considering my book “Dogs make us Human” had yet to go to press and I could potentially include this image…Alas, had I chosen to get my tripod out, set up and get the shot, I would have had one more great shot in the bag and the guide would have been long gone leaving me completely lost in the back allies and small streets of this enormous city. He was just out of earshot given the ambient noise, I couldn’t call out, I just had to enjoy the moment and press on hurrying to catch up with the guide. Had I been carrying the 1DX…I would have simply shot it at ISO 6400 and been able to easily hand hold the camera for the exposure racking off several frames (up to 12 in a second actually) and then hustled on to keep the back of my guide’s head in sight.
During August I led a tour to Lake Clark Alaska with Jay Goodrich and 9 participants. The shot that made the trip for me was when a young mother grizzly came within view trailing 3 very young cubs. We were told that she was new to the area and uncertain of the surroundings. In the deep grass a pair of otters scurried through, unable to see what had made the noise, she immediately let out a sharp grunt calling her three cubs to her side. One by one the three cubs reached mama and stood at attention ready to head her next command. With the camera set at ISO 1600 I was able to capture the scene with sharp focus from the mother bear to the last cub in line – absolutely perfect! It was a fleeting moment and one I would have missed with a lessor camera in the past.
Canon has dramatically changed the focusing system as well, and for the better. While I didn’t specifically test out the focusing abilities of the 1DX, I was in Brazil recently shooting with the new Canon 5D Mark III which has a similar focusing system. The 5D Mark III allows you to not only pick from 61 different focusing points (in a variety of automated ways) it allows you to choose different scenarios to track the subject from erratic to predictable. While in Brazil at the Buraco das Araras (the Hole of the McCaws) the colorful birds were moving in and out of the canopy as if they were sparrows. They’re not like our bald eagles here in the Pacific Northwest – gently and predictably soring over the ground…They would dart in and out of my frame as they quickly moved from tree to tree. The advances in focusing made it possible for me to get tack sharp images of these birds in flight as I watched the scene through the viewfinder reacting to flashes of color as they made swooping passes across the open spaces. The camera accurately tracked their movements maintaining the focus for me. Could I have shot this scene in the past? Yes, but with far fewer successful exposures. It would have been much more of a “shoot a lot and hope for a little” situation. With this new focusing system, I was able to get vastly more keepers for the archives.
For all of the complexity Canon has done a great job with their menus and labels – this was my first time out with the camera (the manual safe at home of course) and I was able to navigate the settings to reprogram the shutter release and other buttons and general setup to suit my preferences. It’s also a very solid camera, well built, it feels like the professional tool in my hands that it is.
The extent of the buttons that can be utilized while your eye is to the camera to adjust and change settings is wonderful. I can (now more easily) check the depth of field, switch between focusing modes, change the ISO settings, and adjust exposure; most everything I can foresee needing will be at my fingertips now, rather than having to pull away from the camera and navigate through menus and potentially missing a shot.
Yes, I’m sold on the new 1DX, and while I’m sure I’ll stop giggling eventually, every time I look in the LCD to see sharp images at incredible ISOs, I think of where technology is going next. There are going to be a lot of firsts with this camera over the next year or so – first time reacting to a charging lion at sunset, first time with birds in flight at F13 without a tripod, first time stopping the motion of a wheat field with sharp focus throughout…It’s going to be a good year.
I just announced a new workshop in South Carolina December 7-9.
This will be based out of Charleston, SC.
Join me for the last workshop I am doing in 2012.
The architecture of Charleston is rich and beautiful and provides great opportunities to explore. This historic city has an abundance of great photographic subjects.
The light at this time of year is long and dramatic. We will also be traveling to take in the beautiful live oaks of this area.
And a Southern plantation, too.
>>CKICK HERE to go to my Workshops website and find out more information and register.
This Workshop has just been announced by PhaseOne for their PODAS (PhaseOne Digital Artists Series) Workshops. This Tour promises to be the The Ultimate Luxury Photography Cruise.
We travel aboard the True North and have unparalleled access to the incredible landscape of this Paradise on Earth.
The ultimate location with the best accommodations utilizing PhaseOne digital medium format photographic equipment. Wow!
Instructors for this tour are Art Wolfe, Michael Reichmann and Christian Fletcher.
By Art Wolfe with Jay Goodrich
