February 19th 2010 marks the 20th Anniversary of Adobe Photoshop® and Adobe is getting together with the National Association of Photoshop Professionals (NAPP) to celebrate the anniversary of the software that changed the face of photography and design forever.
The Photoshop 20th anniversary celebration on February 18th at 7:30 p.m. pst will be streamed LIVE and feature Photoshop luminaries including NAPP’s Scott Kelby, John Loiacono,Adobe Senior Vice President and General Manager, Creative Solutions Business Unit, NAPP Photoshop gurus Dave Cross and Matt Kloskowski, Adobe Photoshop star Russell Brown, and other key members of the Adobe Photoshop team. This fun-filled night will feature a walk through Photoshop history, a glimpse into the future, and celebrates all things Photoshop.
Icebergs and ice are an increasingly important topic in recent years, as climate change is becoming more of a resounding, everyday issue. On a recent trip to Antarctica I developed a personal project of capturing the ice in as artistic of a way as possible. During the day, cruise ship passengers disembarked in Zodiacs to go ashore and view penguins. I have photographed a lot of penguins, so my mission became the ice that was floating in the vicinity. On this particular trip I asked a Zodiac driver to take me over to a distant iceberg that I could see towering over all of the other icebergs. It looked almost like a cathedral, standing out there over a 150 feet above its surrounding neighbors.
This first image shows the dramatic angle of the pinnacle of ice as it’s surrounded by smaller icebergs. As usual I circled my subject and look at it from all angles before settling on an image.
As we travel around the iceberg it takes on a slightly different shape. This new vantage point allows me to incorporate more of the surrounding icebergs in the foreground.
With image number three I am able to incorporate a foreground “bergie bit” (little piece of iceberg) that is found floating around its larger cousins. I am using a 16-35mm wide angle zoom lens and a polarizer to compose this image. My main objective is to balance the foreground ice with the iceberg in the distance.
I put on my 70-200mm zoom and circled back around to the location where I captured my initial composition in image 1. I chose to shoot a vertical to emphasize the vertical sweep of this dramatic iceberg.
I noticed a distant iceberg with an arch and directed the Zodiac to it. As we headed over to it I put my wide angle zoom back on. I circled this iceberg looking for a point of view in which to include with my initial perspective.
This composition reveals the first iceberg in a very beautiful way. I also love the way the green arch surrounds the distant blue icebergs, and how the wide angle gives the image a nice perspective by incorporating some of the blue green ice just below the surface.
I decided to go back to my 70-200 to try to pull in that distant iceberg. This lens allowed me to compress the scene while still keeping the strong foreground element of the arched iceberg in my composition. However, because I am further away now, you can see the blue sky above the arched iceberg. I have lost the drama that I had with the last image.
I zoomed in to try and eliminate the sky from the previous shot,but in doing so I have lost the top of the distant iceberg.
This is my favorite image in the series. It conveys the drama of the arch, it frames the iceberg in the distance perfectly, and it has a nice sense of color with the blues and greens.
The result is 3 or 4 distinctly different compositions of the same iceberg, which demonstrates how perseverance and a change of perspective can yield a stronger set of images.
Are we all about pretty pictures? This is a question that has been asked many times and in many forums to define the work that conservation photographers do. The real question however, is, do we want to focus on inspiring people, or do we aim to shock them?
There is a constant tension in finding the right balance between images that seduce and move and those that horrify. I believe that finding the right mix means the difference between entertaining people and moving them to action.
A carefully edited mix of images, woven into a compelling story, can show both the beauty of what we stand to lose as well as the devastation that our planet’s ecosystems are enduring all around the world. Most importantly, if we do our jobs right, photography can help us connect the dots to show the impacts that this loss has on human societies, and especially on the most vulnerable among us.
The ways in which the iLCP membership continues to expand and evolve, is a clear reflection of this philosophy. Although we will always need to rely on beautiful imagery to win and maintain the attention of our audience, we are also committed to working with photographers who focus their efforts on serious photojournalism. Perhaps the most important aspect of our work, is that regardless of whether images are beautiful or disturbing, they should be truthful and compelling. Our most valuable currency continues to be credibility; the perception by the public that what we are showing is a true reflection of reality.
Creating beautiful images that depict some of the most devastating and tragic losses our planet’s ecosystems are suffering is the ideal that compels the work of conservation photographers; succeeding in propelling law-makers, donors, government officials, corporations and society at large, is our ultimate mission.
Drawing form 36 years of international travel, Art will delve into a vast range of subjects; from discovering the subject to elements of design and even new works such as time lapses. Imagery of nature, wildlife and the world’s varied landscapes will round out the curriculum to provide the most comprehensive and imaginitave class available. For more information visit our workshop website. Don’t delay, our first two events in Toronto, Canada – May 20 and New York, NY – May 22 are filling fast.
This, the first series of images in a new section on our blog, involves Kazakh eagle hunters in western Mongolia.
These are a very strong people that have a strong sense of culture. One of those cultural icons is hunting with eagles. I wanted to get a shot that really conveys the sense of spacious land in Mongolia, the power of the eagle, and the traditional dress that seems to be seen less and less in the historical cultures of the world today. This first photo basically establishes where we are – two eagle hunters, a horse, and the eagle traversing an open slope on the border of western Mongolia and Kazakhstan.
In this second photo you actually see how close I am to my subjects. I am using my Canon 1Ds Mark III camera with a 16-35 wide angle zoom lens, which allows me to include a strong foreground subject (the hunters) as well as the dramatic sky in the distance. Also note that the light looks a bit flat in this shot, but from the viewpoint from which I am taking the photo things look completely different.
In my third image, which is at a right angle to the direction of the sun, I have attached a polarizer to my wide angle. You can see how much more dramatic the light appears. This image also highlights the problems of working with dramatic light – very harsh shadows were cast every time the eagle moved its wings.
The wing of the eagle is now down, but the man that’s controlling the eagle is casting a shadow on his assistant.
I decided to get lower and shoot upwards to bring in some of the openness of the sky in hopes of creating more of a story than in the previous shots.
The result is that I don’t have nearly the problems of the previous images with the shadows. This is a very satisfying image to me, but in an effort to see what else is achievable, I begin working the scene a bit more.
I’m standing at eye level again with the hunters, but the problem with this shot is that the man closet to me is staring straight at me. I try to maintain a little anonymity when I am taking pictures, and would prefer that the subject is not staring straight into my camera.
I ask him to look straight ahead, but now with movement of doing so, the eagle is staring straight at me. This isn’t necessarily a bad composition, but I would prefer the eagle in a different position.
I move a little bit further around and discover I love the way the light is falling across the main eagle hunter and his beautiful fox fur hat. However, as you can see, I have moved in too close to get all three in the frame.
I decide to back off a little bit, and now I am getting what I am looking for. I love the fact that the man in the middle is kind of looking my way, the assistant is looking off to his left, and the eagle is conversely looking off in the opposite direction. There is a nice balance to this image, with no shadows on their faces. In addition, the eagle has nice light on his eye. This to me is a winner.
I also like this last photo because it has a nice sense to it; the eagle is looking further opposite now, and is even more absorbed in what is going on in the landscape, rather than in what the photographer is busy trying to achieve. Both of these final two images are very strong photos for me, and I am very happy with the results:
good balance of compositon, dramatic light, openness of the land, traditional wardrobes – it all comes together in a very nice way in these last two images.
We have partnered with the Sheraton in Seattle to hold short classes on digital camera basics throughout the summer. Thousands of tourists set to explore the area or board cruise ships stay at the Sheraton every week. We will hold the classes up to four days a week.
John Greengo, a member of the Art Wolfe’s Travels to the Edge crew, is conducting the classes dubbed Camera Confidence. John is a talented photographer in his own right as well as an engaging speaker. He will devote some time to unraveling the mysteries of individual cameras attendees bring to the class. The classes cost $69 for an hour and a half session, with discounts available for Sheraton guests.
Our trip to the Antarctic Peninsula with Joseph Van Os Photo Safaris in 2010 is just about full. Now, we have the opportunity to visit the Peninsula and South Georgia on the recently refurbished Clelia II this November. We couldn’t say no. We love the Van Os trips because they land on less-traveled beaches and Joe always allots maximum time for photographers on land. The voyage on the Clelia is designed with unheard-of comfort in mind, complete with piano bar, dvd player in each suite (every room is a suite), and beds in place of bunks.
As I have often said, South Georgia is my favorite place in world. Mountains two miles high bracket tidal glaciers calving into the South Atlantic. Nesting king penguins blanket beaches patrolled by albatrosses and skuas. Comical macaroni penguins shake off seawater on isolated rocks, and giant Elephant seals belch and quarrel.
South Georgia is where Shackleton made his daring mountain crossing to safety after a year and a half fighting for survival after ice crushed this ship, the Endurance. The more hardy among us may retrace his steps on a multi day crossing with legendary guides Peter Hillary and Dave Hahn, the first Westerner to climb Everest ten times. (There is an additional cost for the traverse). I intend to think about them bivouacking on the glacier as I sip a gin and tonic after a hard day of shooting.
After South Georgia we will cruise past the rugged South Orkney Islands through the wreckage of disintegrating ice shelves. The abundance of icebergs is stunning. We will explore the islands and passages along the west coast of the Peninsula, culminating in the Lemaire Channel, one of the most scenic in the world.
The trip runs from November 21 to December 13, US to US. Prices range from $15,995 to $25,995 for the penthouse suite.
If you want to join us, or just need more information, contact us at firstname.lastname@example.org or call 206-332-0993.
I have only recently taken the time to explore the resources available on the Web. I did so partly get ideas for my new website and partly to learn what other photographers are doing and the techniques they’re applying, as well as their responses to the rapidly changing business environment. In that exploration I have uncovered some real gems.
I am immediately attracted to any website that makes teaching its mission. My very incomplete list includes:
Luminous landscape is probably the most comprehensive website devoted to the kind of photography I love. Although much of it concerns the latest equipment, the point of view is that of a landscape and travel photographer. The breadth and depth of information available on this website is breathtaking.
If anyone is considering going pro or is already a professional, there is no more valuable perspective on photography in the marketplace than this website hosted by Rob Haggart, the former director of photography for Men’s Journal and outside magazine. In addition to his blog, he lists important contacts such as photography consultants, agents, agencies, and website design professionals. He also lists his favorite wildlife photographers (thanks for including me, Rob) and photography books.
Chase Jarvis is a Seattle-based studio photographer who seems to spend an inordinate amount of time outside the studio either photographing or creating interesting videos. If you want to learn about the life of a professional studio photographer, can’t beat this one. Chase is afflicted by too much energy and we all benefit.
Joe was one of the icons of American photography, and he approaches his art with irreverent seriousness. He is clearly obsessed with getting the best possible shot and he shows us how he works toward that goal through trial and error and error until he nails it. Check out his blog and his Youtube posts. His book, The Moment It Clicks, present similar material in a more organized way but with his signature self-deprecating good humor.
I’m sure there are many, many more. When I find other sites I like, I will let you know.