Mindful Travel Photography Tips Ossian Lindholm 1 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW “Photography is extremely good at getting straight to the point. Perhaps too good. There is something in front of the camera; so shoot and you have an image of it. Doing it often enough may produce some gems, but thinking first is guaranteed to do it better” -­‐ Michael Freeman Table of Contents Welcome to Mindful Travel Photography Workshop pg. 3-­‐5 A Simple Guide to Practicing Mindful Travel Photography pg. 6 Ossian’s Quick Tips pg. 7 The Art of Travel Photography pg. 8-­‐9 4 Simple Rules to Help your Composition pg. 10-­‐13 The Search for Texture pg. 14 Wildlife and the Burst Mode pg. 15-­‐16 Pay Attention to the Time of Day pg. 16-­‐18 Changing Focal Lengths pg. 19-­‐20 Trees, Black and White Photography and Backlighting pg. 21-­‐22 Three Tips, Two Images, One Stunning Sky pg. 22-­‐23 Sweet Lights and a Wide Angle Lens pg. 24 The Challenge of the Camera Movement pg. 25 A Full Moon Isn’t Just for Lovers and Wolves pg. 26 Great Skies, Composition and Creativity pg. 27 Birds and Backlight pg. 28 Nothing Beats Practice, Especially With Animals pg. 29-­‐30 Landscapes, Roads and a Telephoto pg. 31 Shooting with a Wide Angle Lens, Wide Depth of Field and Patagonia pg. 32 When a Nature Image Becomes Fine Art pg. 33 Choosing the Right Shutter Speed pg. 33-­‐35 Creating a Bond with Wildlife and the Environment pg. 35-­‐36 From Wildlife to Portraiture pg. 36 One Camera, Two Ways of Preparing for Different Situations pg. 36-­‐38 Travel Photo Equipment pg. 38-­‐39 Travel Vision Journeys pg. 39 Skip Cohen University pg. 40 2 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW Welcome to Mindful Travel Photography Workshop! As a form of introduction to this course, I wanted to share my personal story with you, about how I began in photography, how I took a passion and made it into a lifestyle that embodies my way of thinking, seeing and being. My interest and curiosity of photography began when I was a child, inspired by the photos in National Geographic that my grandfather collected. As a young child, I had no technical knowledge; I had a simple “Point and Shoot” camera so I could not go beyond the basics and everything was very intuitive. I would however watch my father play with the controls on his German camera and listen attentively to him discuss technical concepts like aperture and shutter speed. It was all very mysterious and fascinating for me. By the time I was a young teenager, my father allowed me to use his camera and that was my first encounter with controlling light. At that time, my photographer friends began giving me helpful tips and I became excited and inspired to read and learn as much as I could about photographic techniques. 3 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW When I was 18, I got my first SLR camera and I began meeting and working with professional photographers. This was a very intense and wonderful experience; I learned a lot and was fascinated by the world of professional photography. This experience, combined with extensive reading and hours of practice, were the building blocks of my career and passion for photography. It was also my window to the world of nature and beautiful landscapes. While I enjoyed the process, it took me many years to learn concepts that in today’s world of photography I could have (and would have like to) learned and practiced immediately. One of my goals for this workshop is to synthesize and share my years of experience with you and give you the essence of my photographic knowledge so that you can practice it immediately. But not only that… In a photograph you see a result that is final part of an amazing process that begins even before you press the shutter release button. In a photo you see where the camera was pointed and what was happening in front of the camera but ever since I began taking photographs, there was another aspect of photography that caused me to reflect. I tried to imagine what was going on behind the camera: what were the feelings and passions that drive the photographer to spend hours in a dense and humid jungle, in the cold snow or in a dry and hot desert? At that time I wondered if there was something more than technique and creativity behind a good photograph. What was that? How can a photograph bring forth such extraordinary feelings in the observer? Certainly there is a special inner strength, an intuition that is capable of producing fantastic results. The question is: how can a photographer better understand and control this force? During my career better understanding this inner strength became a challenge. The first thing I realized is that it is a learning process which we requires an ability to put our mind in tune with our surroundings. Before taking a photo, we need to create a strong connection between our mind and our surroundings. We not only must learn to see, but realize that all of our senses must be alert. While waiting for hours to see a sunrise, a sunset or wildlife, your mind enters another frequency, your perception of time changes and you sharpen your observational skills. 4 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW At a later stage of my profession, when I became a photography teacher, the new challenge became: How do I convey and release the power of that inner force when teaching photography? Now we call it Mindful Photography and understanding it is one of the steps in taking breathless photos. The Mindful photographer walks, observe, looks for the best angle, waits for the best light and thus does not just take a picture but feels all of the sensations of the place: the sun, the wind, the cold or heat. This photographer fulfills his purpose if he can transmit at least some of those feelings in his images. So, the second goal of this workshop is to guide you in the practice of Mindful photography. I look forward to a great and inspiring week and helping you reach your goals! Ossian 5 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW A Simple Guide to Practicing Mindful Travel Photography Here are some ways to get in touch with your senses and to take more mindful photographs: Carefully choose your photo companions: they must be photographers or al least nature observers. Others will be a distraction and probably ruin your photography experience. Plan B: Better alone than in the wrong company! Prepare your gear the day before: charge batteries, format your memory cards, clean you lenses, pack your bag, think about what are you going to eat and drink, take sun cream, insect repellent, a lamp, GPS, hat, rain jacket, tripod. (You will need a comfortable backpack). In this way, your are preparing your gear and your mind. Do not feel badly for not having professional gear (many camera bodies and many lenses). You just need a camera! The mindful photographer can take good photos with a simple cellphone. The camera does not make a photographer; a good camera helps a good photographer. During the trip do not to talk too much but if you do, only about things you are seeing and will capture. This will help your concentration and will lead your mind towards creativity and perception. Once in the place, put focus your mind in focus, observe carefully and use all your senses, hearing, smell and touch. Be in silence and thus you will stay alert. Before taking any pictures simply observe and “set up” your mind to: Look around and see with new eyes When you are ready, take your camera and capture the photo that is in your mind. Think before you shoot 6 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW Ossian’s Quick Tips Intro by Skip Cohen Six months ago I had a chance to meet Ossian Lindholm in cyberspace. We share a common love for photography, education and the environment. Plus, that passion extends into the world of travel. Thanks to Travel Vision Journeys, these short tips are being reprinted from SkipCohenUniversity.com where Ossian has been a regular contributor each week with another gem from his skill set as an incredible artist. One Image – Five Solid Tips – Photographing Hummingbirds As a wildlife photographer I have learned the importance of always being ready. When the decisive moment comes along, you're not going to have time to think through anything except when to click the shutter. Here I was at the perfect situation to shoot hummingbirds. There were at least three of them flying around me and a lot of beautiful cactus in bloom. If I hadn't been prepared I would have missed the shot. So, what does it mean to be prepared and ready? Choose the correct lens, in this case a 500 mm and I had it on the camera body all ready to go. Set your camera in speed priority and select a high shutter speed: for a hummingbird not less that 1/1600 sec. •
Select the autofocus for this kind of situation: Continuous if you have a Nikon or AI Servo with Canon. •
Select a fast burst mode. •
Have your camera turned on, lens cap removed and be ready to photograph! Now, I just needed to wait for a hummingbird where I wanted him. •
•
7 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW The Art of Travel Photography Travel photography has such a broad definition. It's about people, landscapes, flowers, animals and some times even pulls in the world of macro photography. However, there's one universal common denominator, no matter what your subject matter, you have to be creative. These images are from an estancia (ranch) in Patagonia, Argentina. It's called “Monte Dinero” very close to The Straits of Magellan. It was a cold, cloudy and windy day without a lot of colors and one of those days when you'd prefer to stay inside and read your favorite book in front of a fireplace. But if you are a photographer you feel the energy in your body, you ignore the bad weather and decide to challenge your creativity. I was in front of a herd of sheep, and I thought to myself: good situation to play with a slow shutter speed and show the movement of the animals. No matter how many images you capture on a trip or a project, you should always leave time to experiment. Just to bring a different look and get something out of a flat-­‐light kind of day, I had a tripod with me and decided to slow things down and pick up the movement of the sheep in the bottom image. These two images were shot at 1/6 sec f16 at ISO 100. While technically this is a tip on dragging the shutter, it's a plea for you never to stop experimenting. You're an artist. Your camera is your paint brush, and your canvas is everything around you! 8 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW 9 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW 4 Simple Rules to Help Your Composition The Rule of the Horizon Line This rule is great for composing landscapes. Understand that a photograph with the horizon line right in the middle will provoke indifference. However, putting the horizon line higher will center attention on the land, and putting the horizon line lower will give the sky center stage. 10 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW The Rule of The Gaze The rule tells us that when we are taking a photograph, a person or an animal, we need to try to leave a space beyond the frame where they can fix their gaze 11 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW Rule of the Movement Similar to the Rule of The Gaze, but in this case we need to leave a space beyond the frame to where the subject moves. The Rule of Thirds It entails dividing the frame of the photograph into a 3x3 grid. The points where the horizontal lines cross with the vertical lines are called power points. 12 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW The theory is that if you place points of interest in the intersections or along the lines that your photo becomes more balanced and will enable a viewer of the image to interact with it more naturally. Studies have shown that when viewing images that people’s eyes usually go to one of the intersection points most naturally rather than the center of the shot – using the rule of thirds works with this natural way of viewing an image rather than working against it. 13 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW The Search for Texture
Whether you're an established pro or a serious hobbyist, we all have the same goal. Each of us are on a never-­‐
ending quest for the ultimate image. Each time we've got a camera in our hands, we're searching to isolate that one moment to set our work apart from everybody else's. We pay meticulous attention to lighting, exposure and composition, but so often we forget about texture. Never miss the opportunity to bring texture into your images...and speaking of textures the dunes are the Superstars of the texture arena. Here are a couple of simple things to remember, because just being at a dune some place on the planet isn't enough. In order to achieve that spectacular image you're in search of, for the dramatic image you hope to achieve, you've got to be there at sunrise. The horizontal light presents a pallet of shapes and shades in the waves on the sand. The fresh dust free morning air allows you to see even Next, set your tripod up at a low angle, not more than 40 inches from the ground. Now, choose a wide angle lens and a good aperture to get a wide depth of field. The dunes in the image above are in Cafayate, a place we typically visit during sunrise on the second day of our 9 day Travel Vision workshop in North West Argentina . The specs on the image were F8 at 1/30 sec with the camera set at ISO 100. 14 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW Wildlife and the Burst Mode
Just about every serious camera today has a burst mode for continuous shooting. Some of the higher end DSLRs will typically shoot 5-­‐7 fps (frames per second). Set up and ready to go, when you press the shutter-­‐
release button the camera will take a burst of images. When photographing wildlife I recommend you set your camera in the fastest shooting mode. While every situation is slightly different, this will allow you to capture moments that would normally go unnoticed by the naked eye. It also allows you to have a variety of images of a similar action. Plus, there's no such thing as too many images these days. We're all shooting digitally and "extra" images are easily edited out later on. I was in front of a Buzzard Chested Eagle, which is one of the biggest eagles we have in Argentina. The eagle was on a rock not too far in front of me and I knew it was about to fly. My finger was poised on the shutter button, ready to capture the images. With the first movement of the eagle I started shooting. There are five photos in the sequence. The camera I was using shoots 6 frames per second, making all of this action occurring in less than a second. Technology is constantly changing and today we have the most 15 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW creative tools in the history of photography. These images would have been impossible to register if the camera wasn't set to shoot in a fast burst Pay Attention to the Time of Day As a landscape photographer it’s never enough to just be in the right place. You have to pay attention to the time of day as well. This is about investing time in your quest to capture the ultimate image. This mountain is one of the most famous in South America, it is called the Fitz Roy and its eastern face is a wall of granite rock just under 6300 feet high. For climbers it is a regular challenge and is just as important for photographers. The Fitz Roy is one of those mountains you have to photograph on any trip to Patagonia. Here we see it at dawn, noon and dusk. It’s all about personal taste, but for me the first one taken during morning sweet light is my favorite. Don’t be afraid to return to great locations at different times of the day. The lighting on any landscape scene is constantly changing and giving you one creative option after another to capture outstanding images. 16 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW 17 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW 18 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW Changing Focal Lengths Varying the focal lengths you choose when photographing landscape settings is one of your most valuable tools. You’ve got the ability to capture multiple images of the same essential scene simply by changing focal lengths. It’s also important to remember that persistence and patience will always pay off. I had already made multiple attempts to capture the image I wanted. It took me three times to finally get the images I wanted. On the first morning I came, it began to rain. The second day the rain stopped, but now the mountain was covered with clouds. The third morning was the charm – I had the entire mountain in front of, my cameras and different focal length lenses. When you get an opportunity for images like this you have to be ready to experiment and put in the time. That’s a big reason I always have a fairly full compliment of gear with me – I always want to be prepared for that one single moment when everything is right. Everybody who’s been in this area knows that the Fitz Roy is a mountain often covered with clouds and so often photographed the same way by many artists. That’s the way so many images look, but I didn’t want just another image. So, I took a lot using different compositions and different focal lengths. Here are two of my favorite images: The image on top was taken with a 300 mm tele and the one below, taken with a 35 mm lens at the same moment. Both lenses were mounted on 1.5x crop factor cameras. It’s so important to take the time to capture exceptional scenes with different focal length lenses. Don’t be satisfied with any single image and take the time to capture whatever you see in your mind’s eye. 19 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW 20 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW Trees, Black and White Photography and Backlighting Sometimes you're walking around with your gear and you come across a situation like this one. It's just a tree, but you see the potential for a great image in your mind's eye. You say to yourself , "This is perfect for shooting HDR in Black and White with a wide angle lens". The settings are different and with a scene like this you have time for a correct composition. There's no rush. I put the camera on a tripod and I choose f 16 because I was looking for a deep Depth of Field. I set the camera on 100 ISO because I was looking for the best quality. I didn't mind a slower shutter speed since my subject wasn't moving. Plus, I was shooting with a tripod. Expecting to do an HDR image, I set the camera on auto-­‐bracketing mode with +/-­‐ 1.0 EV. Then I was ready to shoot the tree and sometimes nothing adds more drama than black and white. Here's another look at a completely different scenario, trees with a red backlight. 21 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW Photography is light and some of your most beautiful images, just require understanding how to meter. The secret here was simply correct metering of the back light. This is my favorite series of photos to explain the benefits of using the Manual exposure mode. This was before sunrise and the sky had a beautiful red color. I set my camera on Manual mode and pointing to the sky I metered the light : f 2.8 1/15 sec Then, without changing that exposure value I took several photos. The fun of photography and capturing images you love goes directly back to practice, practice, practice. Learn to experiment and get to know all the different shooting modes of your camera. Then, when something spectacular comes along you're ready to match your vision with your results.’ Three Tips, Two Images, One Stunning Sky I had so much fun with these two images and decided to add one more tip and talk about composition. Tip #1 Clouds: Sometimes they are amazing. I love to use them to get a more interesting composition. While a beautiful clear blue sky means it's a gorgeous day outside, it doesn't bring very much impact to a landscape image. I'll always take a cloudy sky to photograph, rather than just a big blue background! Tip #2 Use a polarizer, you will achieve a nicer blue and better contrast of the clouds against the sky. Polarizer filters are available for virtually every lens and should be a standard component in your camera bag. Tip #3 Landscape photographs are almost always framed horizontally. However, I liked the feeling of the clouds in this image and they worked nicely with a vertical composition. 22 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW Just remember: situations will come up where you'll need a vertical photo. For example, the cover image of a book or magazine will almost always need to be a vertical. But here's another instance I've enjoyed over the years -­‐ A vertical landscape breaks the monotony in a gallery showing or exhibition. 23 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW Sweet Lights and a Wide Angle Lens As a landscape photographer, we all need to capture the best images at whatever time of day the scene we love is available. However, there's very little that beats the "golden hour" of sunset or as many of you call it, "sweet light". This image was captured at Salinas Grandes, the Salt flats in Northwest Argentina during a recent Travel Vision Journeys trip. It's one of my favorites and while I won't deny Mother Nature gave me some help, there were plenty of things in my control. First, shooting with a wide angle lens captured the feeling I wanted. Second, a low camera angle together with the time of day brought out the shadows and gave the image texture. Third was my tripod, not only for help with a longer exposure, but to make sure my horizon was level, which is especially important when shooting wide angle. In a workshop I taught earlier in the year, my style of teaching was described as, Increasing your visual awareness and to intuitively use the camera to connect, compose, enhance and expand your mindfulness and personal vision...By embracing serendipity, we will enjoy the fine art of wandering and we will connect more intimately with our natural surroundings. Take the time with each image you capture to connect with your surroundings. Capturing great images isn't as much about timing as it is about taking the time. Think through what you're seeing and remember, your camera is only a tool to help enhance your mind's eye. 24 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW The Challenge of the Camera Movement In travel photography you’re often caught in situations that you just didn't plan. You don’t have the control of a studio or a planned shooting session. You have to work with whatever you have in your skill set and hopefully camera bag. For example, we all know when shooting landscapes, ideally you want a tripod to avoid any camera movement. But, what happens if you’re in a boat? Added to the challenge, the boat is sailing and the waves are moving the boat all over the place. Using a tripod would only make things worse, because you’d convey all the boat’s movements to the camera. So what would you do in front of this magnificent glacier in Patagonia? First: Select a high shutter speed. If you can go up to 1/1000 great! If you’re using a telephoto lens try to shoot at an even faster shutter speed. Second: Use your body as a steady camera system with your legs a little bit flexed to avoid the vertical movement of the boat. Third: Shoot fast and get a lot of images. Because the boat is sailing, your framing will be constantly changing. You don’t have time to think through composing each image. So, shoot a lot and edit later to find the best image. This photo was taken in Lake Gray in front of Glacier Grey in Parque Nacional Torres del Paine in Patagonia, Chile during our “Myth Mountains and Mammals Photo Trip” 25 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW A Full Moon Isn’t Just for Lovers and Wolves Having an evening sky filled with a full moon isn’t just a great attraction for lovers and wolves. It’s especially incredible for photographers and every artist wants a great shot of the moon. I thought it would be helpful to share some of the “secrets” of great moon shots. Everything starts with a good telephoto lens, preferably a 300-­‐500mm along with a tripod. Next you have to meter the light reflected off the moon’s surface. In order to do that I put my camera in manual exposure mode. I set the camera to spot metering. When I’m ready to capture the image, I point my camera at the moon, being sure it's in the center of my view finder. I choose the correct exposure value I want and click the shutter. Try and always choose a lower ISO and higher shutter speeds. The earth rotates and so the moon is always moving in the sky. Just a reminder: Once you’ve metered the light on the moon, remember, it will be the same throughout the night. You don’t need to change the exposure value and can just enjoy taking pictures of the full moon. 26 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW Great Skies, Composition and Creativity We've all tried to photograph landscapes when the sky is simply blue. Sometimes the images are still great, but when a few clouds roll the scene becomes so much more dynamic. Put a few clouds in any landscape and it becomes more interesting. But, I want to share a key point with today's tip: If those clouds in your image are spectacular, take the time to feature them in the most creative way. Remember one of the basics rules in landscape composition: avoid putting the horizon in the middle of the image. It's the old Rule of Thirds and it's so appropriate here. Divide your frame into thirds and put the horizon in the upper third or in the lower third. I know this is basic to so many of you, but I've seen so many images when the artist forgot the rule. With the image above, putting the horizon in the lower third gave me the ability to make the clouds the star of the shot. Then, I used a polarizer to increase the contrast of the clouds against the deep blue sky. This image was taken in the Colome Winery located in Salta province in the north west of Argentina. Located at almost 7000 feet above sea level, it's one of the highest altitude vineyards in the world. Here they produce some exquisite wines: an outstanding Malbec and the famous Torrontes white wine. That's also a fun part of our Vision and Vine Tour, tasting these incredible wines and visiting the vineyards! 27 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW Birds and Backlight We've all seen, and captured ourselves, plenty of images of birds nesting, sitting on a tree limb or simply flying overhead. It's not a difficult subject to photograph if you have the right lens and set up. To shoot a bird in flight, you need to set your camera up with a high shutter speed to start. I like to shoot in burst mode (continuos shooting), which will give me an opportunity to capture several frames in rapid succession. The last obvious component is a telephoto lens. Put all of this together and you're just about guaranteed a great shot. Now, let's throw in one more ingredient -­‐ backlight. Backlight doesn't just magically appear in the wild the same way it can in a studio. While you have little control, you do have the ability to increase your odds by shooting early or late in the day to start. Second, you need to be looking for it. You need to learn to see the light on your wildlife subjects the same way great portrait or commercial shooters create and see the light on their subjects. The image above was taken in a lagoon in the Andes of the Northwest of Argentina where the Andean Flamingos stay during the summer. The backlight brings out more detail in the bird as it shines through the feathers, and the edge light gives the image more perspective against the water. Plus, there's a bonus I loved in this image, the bird's shadow on the water. 28 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW Nothing Beats Practice, Especially With Animals So often I meet a photographer who wants to do more wildlife photography, but believes you have to be in the wild to get great images. The truth is, there are incredible images just waiting to be captured in virtually every zoo in the world. Zoos and reserves are terrific places to practice and experiment with composition, exposure and different focal length lenses. I always suggest to my students they practice any place they can find wild animals. It's also a good exercise to just watch the animals before you start shooting. Pay attention to how they move, their behavior and their personality, especially when interacting with their peers. While it might be more exciting capturing an amazing image in the wild, having a telephoto lens while observing animals in the zoo can still be rewarding. And, as a practice session, it's obviously easier. The more you practice the better prepared you'll be and have the skill set when the opportunity comes along in the jungle. I took the photo above of a cougar in a reserve that belongs to the National University of Tucuman in the Northwest of Argentina. Everything looks like it was a shot in the wild, but if you look carefully you'll see a small piece of fence between the animal's legs. I could have easily removed the fence with Photoshop, but I always like to remain true to my reputation and profile. I am a documentary photographer of nature and always presenting accurate imagery is very important to me. The specs on this image were f 6.0 1/800 ISO 3600 500mm. The image below was caught in the wild, making all the practice over the years pay off. While it wasn't a difficult image to capture, time is always at a premium before a wild animal moves away and changes the 29 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW opportunity. As I've written before, consistency in your images is all about constant practice and knowing everything about your gear, especially each lens. This image was captured from a boat in Pantanal, Brazil. It's a jaguar in the wild shot at f 6.3 1/800 ISO 1000 at 500mm. 30 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW Landscapes, Roads and a Telephoto Now and then there's a landscape scene that unfolds in front of me, but instead of the natural beauty of the land, the object I want to feature has been made by man. I've grown to love some of the roads I've traveled, especially when they make a statement like the one above in Patagonia, Argentina. There are few things more fascinating that the way a road can cut through the landscape. But, there was also something else I thought about. Every road is an adventure. Each road represents the discovery of new lands, new friends and even our hopes and dreams. When I get a road like this, I love to use a telephoto lens. This image was captured with a 200mm lens, just after sunset with a spectacular sky adding to the beauty of the image and giving it even more impact. It was shot at 1/125, f5.6 at ISO 200. 31 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW Shooting with a Wide Angle Lens, Wide Depth of Field and Patagonia Many of you started out with a DSLR in a kit with a basic lens. Usually the quality of the lens in a kit is somewhat limited. It's also rare that it represents the manufacturer's highest quality. Regardless, as your experience and passion for imaging grows you have to consider buying additional lenses. One of my primary passions is landscape photography. If you find yourself falling in love with landscapes you won't be able to live without a wide angle lens. For example, you'll want a 10-­‐20 mm lens with an APS-­‐C sensor or a 14-­‐24mm if you have a full frame camera. A wide angle lens pushes your creativity and helps you capture more interesting images. Then, shooting with a wide depth of field, captures more interesting images and details from the foreground to the background. The image above was taken in Patagonia, Argentina, in Perito Moreno National Park where after a snow storm the west wind carved these amazing shapes. It was shot at 12 mm f 16 1/400 and ISO 100. 32 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW When a Nature Image Becomes Fine Art Most people, when they think about true nature photography, see themselves walking through the woods, jungles or hiking on a mountain path. When they see an amazing image from another photographer they imagine the artist dressed in a camouflage shirt and pants, spending hours with a long lens waiting for the decisive moment. The truth is, great nature images are all around us and often closer than we think. On a quite Sunday morning I discovered this frog in the garden of my house. No exotic location or spending hours in the wild searching for the shot. This little guy was comfortably sitting on a leaf sunbathing the morning away. I grabbed my camera along with a 300 mm lens and simply started shooting. My biggest challenge was making sure I didn't disturb his rest, part of the beauty and serenity of the shot. So, since there was no room or time to set up a tripod, I increased my shutter speed and shot it handheld. The image was captured at f8 1/2000 at ISO 400. Often the biggest challenge in nature photography is slowing down enough to pay attention to our surroundings. So, whether you're on a trip with me like Vision and Vine, a safari or just in your own backyard, take the time to look closely at the world closest to you. You'll be amazed at what you'll find. Choosing the Right Shutter Speed When beginners buy their first long lens, they always have high expectations. It's as if owning great glass is going to suddenly raise the quality of their images. What often happens is that after their first outing they find many, or all of their photos are blurred. The results are disappointing and far from those expected. Too often the poor images are the result of shooting at too slow a shutter speed. 33 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW Shooting with a telephoto lens is NOT the same as working with a wide angle lens. You've got to pay more attention to your shutter speed to obtain great results. I know this might be basic for many of you, but let's go back to a very simple rule in photography, “The Reciprocal Rule.” The basics of this rule are simply if you’re hand-­‐holding your camera, your shutter speed should not be slower than the reciprocal of your effective focal length to avoid “camera shake”. It sounds complicated, but it is very easy to apply. For example, if you are shooting with a Canon 5D Full Frame with a 50 mm lens, your shutter speed must not be lower than 1/50 sec. If you shoot with a 100 mm telephoto, your shutter speed should not be lower than 1/100 sec and so on. But here's one other aspect of the rule -­‐ the rule says “The effective focal length,” which means you have to consider the “crop factor” of your camera. For example, if you are shooting with a Nikon D7100 that has an APS-­‐C sensor with a crop factor of 1.5x your safe speed for a 100 mm will not be 1/100 anymore, now it's 100 x 1.5. So, your safe speed will be 1/150. If you are shooting with many of Panasonic's LUMIX cameras with micro 4/3's sensors, your crop factor now is 2.0x. Your safe shutter speed, when you shoot at 100 mm, for example, goes up to 1/200. Remember though, if you put your camera on a tripod this rule does not apply, because your tripod avoids the camera shake. And, one more reminder, this rule works when you have a still subject, but when you are shooting wildlife things change. Your shutter speed should go up dramatically because you want to freeze the action. See my post about “Shooting hummingbirds”. The image above: This photo was taken in the region I live in NorthWest Argentina. Usually when I shoot landscapes I use a tripod, but here I was walking around this lagoon with a Sigma 150 -­‐ 500 mm without a 34 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW tripod because my intention was to get a good shot of a flamingo in flight . Suddenly the light became terrific. There was a storm in the background, black volcanic lava to add drama, no wind on the water, superb reflections and the grass in the foreground. I choose a high shutter speed because I wanted to avoid any chance of camera shake: 1/800 sec. Then I chose a small aperture to get a wide depth of field f /16 Creating a Bond with Wildlife and the Environment As a nature photographer, every now and then there's a moment that stops you in your tracks and makes you think about our relationship with the animals and our environment. I was walking in Ibera, which is a huge wetland area located in the East of Argentina. I had a 150-­‐500 mm telephoto lens with me, but no real agenda. I was just looking for some unique photo opportunities. Ibera is one of my favorite places to observe wildlife in Argentina. It's an example of how tourism can work with the community to recover an environment. I try and visit Ibera as often as I can. Here's why it's become so special. The story of Ibera began 15 years ago when gaming and fishing were forbidden and poaching controlled by the police. Today the area is a paradise for photographers and nature observers. Ibera has become an economic success as well. There's a strong business in tourism with new hotels and restaurants. Most important of all the hunters of yesteryear are now guides and teachers of future 35 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW young leaders. But the most interesting thing happened when the animals no longer felt threatened by man -­‐ they stopped looking at us as enemies. They no longer run away from human presence. They're comfortable around people and simply go about their natural activities. Today, they look at visitors almost like this Marsh deer looks at the Cattle Tyrant, just another member of the wildlife community. From Wildlife to Portraiture Every now and then I see an animal with a certain amount of poise. It's almost like looking at some of the more classic portrait artists and their subjects. An animal, just like a famous person, can display a level of confidence and stature. As a result, there are animals who are more confident than others and allow you to get closer. They have no fear of humans or my camera. When I see an animal like this it becomes the perfect time for me to switch hats and become a portrait artist. Just like working with human subjects, there are some ingredients that give a portrait more impact, starting with a narrow depth of field. Second, it's all in the eyes. We've all heard the expression, "The eyes are the gateway to the soul." Well, look into the gaze of any one of these birds and you can sense the depth of their experience, confidence and even knowledge. It obviously starts with finding the animal and practicing your skill set, but never underestimate the power of a good telephoto lens. And, last on the list is patience. You can't rush the process with an animal anymore than you could rush the process for a stunning portrait in the studio. While I do very little post-­‐processing, when doing portraits of animals it's fun to do a more square format. This adds to the feel of giving the image a stronger classic portrait look. One Camera, Two Ways of Preparing for Different Situations Camera 1: Prepared for Landscapes Lenses: A range of lenses from wide angle to a short telephoto: 24 to 200 mm referred as full Frame sensor. (1.0x crop factor)
Exposure Mode: Manual
Focus mode: AF-­‐S (Nikon) Single Servo AF (Canon ) or Manual Focus
Bracketing: ON 3 photos +/-­‐ 0.7 or 1.0 EV
36 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW Light Metering Mode: Center-­‐weighted
Polarizer: Yes
ISO: The lowest as possible
Shoot RAW
Use your Tripod Camera 2: Prepared for Wildlife Lenses: Telefoto lens not less than 300 referred to full frame sensor
Exposure Mode: Shutter priority 1/1000 to 1/1600 . Depending on the situation.
Focus mode: AF-­‐C (Nikon) Continuous Servo AF (Canon)
Bracketing: NO
Exposure compensation : -­‐0.7 EV
Light Metering Mode: Center-­‐weighted
Polarizer: NO
ISO: AUTO
Shooting Mode: Fast burst
Shoot RAW Monopod or Tripod Exposure Graphic #1 37 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW Exposure Graphic #2 Travel Photo Equipment
To purchase: I find B&H or HUNTS Camera photo/video the best and most knowledgeable and reliable online source for all your camera needs.
To rent: Want to try out equipment before you buy? You can also rent cameras, lenses and other equipment from www.lensrental.com
SUGGESTED LIST OF CAMERA EQUIPMENT:
Camera Bag: The Think Tank Airport line is great for travelling. Here is one that can hold your laptop, camera and all that you need and more:
http://www.bhphotovideo.com/c/product/859421-­‐
REG/Think_Tank_483_Airport_Essentials_Backpack_Black.html
OR Invest in a smaller bag like the Lowepro Sling shot.
• One-­‐two camera bodies (I like to have a back up…just in case)
38 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW • Lenses: (*)
Super Wide Zoom 10-­‐20 mm APS-­‐C or 14-­‐24 mm Full Frame ( Landscape )
Standard Zoom 17-­‐55 mm APS-­‐C or 24-­‐70 mm Full Frame ( Lands./Portrait)
Telephoto Zoom 80 – 200 mm ( Landscape / Portrait)
Super Telephoto Zoom 150 – 500 mm ( Wildlife )
• Polarizing filter for each lens to get the best blues in your sky!
• Inside pockets: 16GB memory cards (2), lens brush, cleaning cloth, camera manual, sunglasses, other glasses, sharpie marker, leatherman tool (carried in checked bag until destination), extra camera battery, charger, adapter for country, flashlight, water bottle, zip lock bags, extra luggage tag
• External hard drive
• Computer and charger
• Travel Tripod (really optional)
• Flash card reader
(*) Take this as a suggested list in case you want to have a complete range of focal length lens
OR just be ready to see and snap & invest or bring a good quality compact camera!
. Active Photo Journeys for the Culturally Curious 617-­‐640-­‐4837 www.travelvisionjourneys.com Join me on a Travel Vision Journey to Argentina, Peru, Chile or Brazil Are you ready with your camera (or iPhone) to snap a picture at every twist or turn of the road or trail? Would you like to learn how to better compose and capture the world around you? Are you excited to share this photography passion with other like-­‐minded active travelers and create images that perfectly capture the essence of your travel experience? 39 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW Travel Vision Journeys are active explorations (bicycling or walking) that immerse, inspire and connect travelers with the worlds’ most beautiful places through the transformational magic of the photographic experience. On our Travel Vision Journeys Photography Travel Workshops we guarantee you’ll experience the places we visit with new eyes and with all your senses fully tuned in and awake. “Life is your art. An open, aware heart is your camera. A oneness with your world is your film. Your bright eyes and easy smile is your museum.” -­‐Ansel Adams Photograph the most beautiful locations with our photo tours On each Travel Vision Photography Travel Workshop, you will not only improve and expand your photography skills and knowledge, but you will see more, increase your visual awareness and learn to intuitively use the camera to connect, compose, enhance and expand your mindfulness and personal vision. In the spirit of slow and mindful travel, you will be less intent on “taking” pictures and more focused on deeply capturing the essence of moments and places. By embracing serendipity, you will enjoy the fine art of wandering and connect more intimately with your natural surroundings. If you return home more skilled, inspired and passionate about sharing your experience with others through photography, then we have fulfilled our simple mission In addition to invigorating walks, we will teach you valuable technical lessons, engage you fully in daily critiques and thought-­‐
provoking talks about photography and mindful seeing. http://www.skipcohenuniversity.com/ In addition to the amazing courses you can find at Maine Media Workshop we would like to thank and introduce Skip Cohen University for helping is develop this Mindful Photography Booklet "There’s a fundamental misconception in photographic education right now. New photographers actually believe they can learn to be a photographer just watching videos and webinars. You can no more learn to be a professional photographer sitting in front of your computer than you could learn to drive a car just watching videos." So at SCU we've decided to do something radical. We're going to go back to basics. To human handshakes, telephone calls, meetings that happen face-­‐to-­‐face in a room full of people who share a passion for photography along with all the various educational tools for online access. If you want to learn, you need a variety of tools – including hands-­‐on education with outstanding instructors who know how to teach and can give you the time you need to develop your skills. Sure, we’ll do stuff online. We’ll offer webinars, blog posts and podcasts, Google Hangouts and more. But there will always be humans behind everything we offer, and a chance to interact with them in real life. You need a network of vendors and associates who help you through those challenges you face in growing your skills and business. You need the 40 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW ability to customize your own program in order to grow at your own pace without waiting in lines, dealing with crowded giant ballroom programs and never feeling the intimacy of building new friendships with your peers and instructors. Welcome to Skip Cohen University -­‐ a place where you can get both the online education and the personal touch you need to thrive, not just survive as a professional photographer. Skip Cohen 41 OSSIAN LINDHOLM MINDFUL TRAVEL PHOTOGRAPHY MMW