Using Your Lens Sharply!

Posted by on Jul 8, 2012 in Blog, Full Frame, Image Processing, Lenses, Lighting, Maine, Nature, Nikon, Photo Workshop, Scenics, Tripod, Uncategorized | 1 comment

Using Your Lens Sharply!

Near LaGrange, Maine: Found this spot while on vacation last week in Maine.  Taken with my Nikon D800E, Carl Zeiss 25mm Lens at iso 100, f7.1 @ 1//160 sec on a tripod.  Eveything is sharp from the foreground to the trees in the background even though I only used f7.1.

Most folks would think they needed an aperture of f16 or f22.  Not true when focused properly and using a tripod.  I used my depth of field preview button to look through the viewfinder and manually focused the lens to get all in focus. (having a full frame camera really helps when using depth of field preview). I adjusted the lens aperture to f7.1 and tried to get all in focus and it was just right.  Just about Every lens whether it’s a prime lens (single focal length) or a zoom have their sharpest aperture around f5.6, f6.3 or f7.1.  Think bell-curve from your school days where only so many kids get an A and only so many fail and the rest are in the middle so to speak. So don’t always ‘run’ to f16 of f22 for a sharp photo as you may not get what you want due to lens diffraction at such small apertures! Look up hyper-focal distance to see how you can do this too!

Bob Ring (

Things You can Learn From A Canon Guy With A Nikon!!!

Posted by on Jun 24, 2012 in Blog, Full Frame, Image Processing, Lenses, Nikon, Scenics, Tripod, Uncategorized | 0 comments

Things You can Learn From A Canon Guy With A Nikon!!!

OK, I’m a Canon guy.  Have been using Canon cameras since I ‘went digital’.  I’ve owned many film cameras over the years from 35mm to medium format to 4×5 view cameras.  Once I went to digital I wanted a medium format digital camera. But the cost was just too prohibitive and besides I was working in Electronics for my career & not as a fashion photog in NY, or something like that, to warrant a digital  medium format system.

So, here we are in 2012 and I just bought a Nikon D800E. My Canon friends are all up in arms and the Nikon folks are saying it’s about time! Why you ask?  Well the early reviews looked great & this camera (being 36Mp) might be the closest thing to medium format that I could get to without getting a 2nd mortgage.

As a new Nikon owner I’d like to share my observations as to how the D800E works for me and how it can help your photography too!  It’s really more about photography than what camera you use.

OK, on my D800E, the first thing I like is the menus.  There’s one called ‘Shooting Menu’. What a great idea.  If what you’re trying to set on your camera has anything to do with ‘shooting’ simply go to this menu and look for it.  Wish my Canon/s  were that easy (1DsIII & 1DIV)!  The Canon’s have their menus in color (Red, blue, yellow, etc)  for shooting, playback & utilities but they don’t feel as intuitive for me I guess.  Beyond that though both camera systems have layers of menus within menus.  If I’m looking for something I want to change I really have to hunt for it.  Both camera systems could use a software redesign if you ask me. I realize that these cameras have just about every setting option available to the user (which is great) but the paths to different settings can be difficult at times.

How does the body feel, and work with,  in the hand?  Well it’s not fair of me to compare the D800E to my 1 series Canon cameras.  But, the D800E feels really good.  My fingers can get right ‘in there’ and grab the camera really well.  The Canon 1 Series cameras are big but they are a pleasure to hold and work with. Having been shooting with Canon for years I’m used to the dial & button layout.  I can hold any Canon up to my eye and I know where the buttons are without having to look for them. And most of them are one touch (good & bad sometimes) and in perfect locations.  I can just about ‘run’ my Canons in the dark. I need to get that way with the new Nikon.   Not sure I’ll get to that with the Nikon. We’ll see.

Let’s get to the real reason why I got the D800E.  Scenics/landscape captures and  BIG images. And with that comes BIG files.  I already have a small hard drive ‘farm’ on my desk so I’m sure I’ll need more drives as these files really are huge.  But you know what that’s OK as long as you plan for it.  The native size of the RAW file out of this camera is 18″x24″.  I love it.  Oops, a few caveats are in order though.  The pixel density of this camera requires a few considerations. My shooting ‘style’ is already fine for using this camera and what I mean by that is I use my tripod about 98% of the time.  This camera just about requires that you do.  However, I also use mirror up now and for extremely sharp images this camera essentially requires that you do that too.  ISO 100 is fine even though this camera has low noise up to fairly high ISO which is a huge plus for stopping those windblown leaves in trees.  The big thing is lenses.  For best performance one needs to have the best. Nikon makes some very sharp & high resolution lenses which work quite well with this camera I’m sure (now have the 105 Micro Nikkor and an 85mm Nikkor and they’re great!).  Since I’m a fan of Carl Zeiss lenses (yup…manual focus) they are perfect for this camera.  I now own four so far: 18mm f3.5, 25mm f2, 35mm f2 and the 50mm f1.4.  The micro contrast and Zeiss ‘look’ is great with this camera. In total that gives me a range from 18mm up to 105m for scenic photography.

Here’s a photo of me holding up a 24″x30″ print of Motif #1 in Rockport, MA.  The detail in the building is fantastic and the two folks on the left are full of detail. This camera and prime lens combo is great for making nice large prints with incredible detail.  Print viewers are supposed to stand back & admire the print from so many feet away.  Does it really happen that way?  Actually, no.  Most folks get right up close to a print to check it out so why not give them the detail to see?  This camera is almost like having a medium format for me.  I thought the pixel ‘race’ was dying but I’m glad that Nikon made this camera and I’m enjoying it!

One thought before wrapping up: why did I get the E version?  What about Moiré? Is it a problem?  The E version of this camera does not have an anti-aliasing filter. For those that don’t know just about all digital cameras have one of these ‘filters’ over their sensor (with a few exceptions). The AA filter basically softens the image so that you won’t get (or to minimize moiré) in your photos.  Fabric and architectural type objects can reveal moiré.  I showed the photo of Motif on purpose as when I was taking that photo I could see moiré on the roof shingles on the camera’s LCD!  Once I loaded my files into Lightroom V4 I didn’t see it.  LR4 includes some moiré settings and it works!  Moiré is not visible in the print either.

Wrapping up.  So for me to effectively use this Nikon D800E and for YOU to get the best results possible with your camera one should utilize certain ‘shooting’ techniques such as:

– Tripod (a strong & sturdy one….no spindly little pencil sz legs for me)

– Mirror up mode with a 2-3 sec delay (with self timer or cable release)

– Lowest ISO you can & still get the image you want (no windblown leaves for me)

– Premium lenses (recommend Nikon primes or lenses like Carl Zeiss)

– Live view with critical focusing

– Use the ‘sweet’ spot aperture-wise of the lens (f5.6 -f7.1) if possible

– Keep an eye on the shutter speed though & try to avoid a slow shutter speed even on a tripod (you can change the ISO)

– Shoot in RAW and at 14Bit

– Fill the frame with your subject (don’t plan to crop later if possible)

These are my recommendations for getting the best possible images with not only the Nikon D800E but for your camera too!  Whether it’s a Canon or a Nikon BEST PRACTICES  will result in great images.

The Versatility of You

Posted by on Jun 11, 2012 in Blog, Full Frame, Georgetown, Haverhill, HDR Photography, Image Processing, Lenses, Lighting, Lightroom, Long Exposure, Macro Photogaphy, Maine, Maine Coast, Massachusetts, Nature, New Hampshire, Night Photography, Nik Software, Nikon, Photo Workshop, Rhode Island, Scenics, Silver Efex Pro 2, Toothaker, Tripod, Vermont, Viveza 2 | 2 comments

The Versatility of You

Digital Photography is incredible.  Never before has our potential as photographers been so unlimited.  Today’s cameras are loaded with technology and capable of producing a broad range of results.  All they need is our creativity to make them shine!  We all should strive to be the best photographers we can be; not just the best portrait photographer or sports photographer or wedding photographer.  Your camera is loaded with versatility and you should be as well.

For me, one of the greatest aspects of digital photography is the opportunities it offers.  Pour yourself a cup of coffee, or something a bit stronger if desired, and spend some time studying your camera.   Look it over and learn its buttons and menus.  Understand what YOU need to do to make adjustments in the field.  How do you change your ISO?  Where is your histogram?  Does your camera have bracketing for HDR shooting?  Can you view your images in Black and White?  How do you set focus tracking?  Where do you set file size?   Contemplate what the camera and its technology is capable of.  Then, think about what it can do when combined with your creativity.  It is critical to know your gear but, it is even more essential to realize your aspirations  as a photographer.  The camera is just a tool and, ultimately, it is only as good as you are.  How good do you want to be?   Be aware, be creative, and be versatile.

The latest line of DSLR’s, both pro and consumer grades, give us more versatility than ever.  Seven years ago I bought my first DSLR – the 6 megapixel Nikon D70s.  It was a great consumer grade camera but, struggled at any ISO higher than 400.  I shot scenic’s at ISO 100 and used ISO 400 for sports/low light shooting.  I never went over ISO 400 unless I had to:   very similar to how we worked with film when you think about it.   My new Nikon D800 is a 36 megapixel powerhouse that will transform 35mm digital photography as we know it.  Right now, it gives me once unimaginable potential and versatility.  I welcome  that.
When I was a film shooter and headed to Maine for a weekend, I would typically bring 10 rolls of Fuji Velvia for pretty scenic’s, 10 rolls of 400 speed Fuji Provia for shooting in lower light, and 5 rolls of Kodak Black and White TMAX 400.  Each film had a job to do that was necessary but, costly and, at times, frustrating.  It would never seem to fail that I had half a roll of Velvia still left in my F5 but, now wanted to shoot a portrait in Black and White.  Instead of wasting film, I wasted opportunities.  Now, I dial a button and blow away anything that those films could ever do.  Think about that.  Think about the amazing versatility of that from a technology standpoint.  Now, think about the versatility of that as a photographer.  In a moments notice you can adapt to any situation and capture it with beautiful results.  That is not only very exciting but, it is highly empowering.
All of us should be very excited at the options available to us through technology.   The increasing resolution of today’s camera’s gives us breathtaking detail.  Being able to produce high quality images at ISO’s of 1600, 3200, and 6400 is mind boggling.   I can be in my garden shooting macro shots at ISO 100 and capture fine detail and rich colors.  A short time later, in order to defeat a frustrating breeze,  I can change my ISO to 800 and create a sharp, abstract image with similarly beautiful results. Then, just a few minutes later, change my ISO to 3200 and catch a GREAT portrait of my cat in poor, indoor light.  The power of versatility.   Wow.  No, seriously, Wow!!  
Technology continues to grow at an amazing pace but, to make it effective you must grow as well.  Having the latest, greatest camera does not make you a photographer.  YOU make yourself a photographer.  Push the limits of technology but, push your imagination just as far.  Nurture your creative energy, embrace the versatility of your camera, and harness the power of “you”.   The LCD screen and histogram give immediate feedback on your successes, your failures, and your necessary adjustments but, the best results all come from within.
How Versatile are You?
“Photograph What You Feel”

Old Friends

Posted by on Jun 9, 2012 in Blog, Full Frame, Georgetown, Haverhill, HDR Photography, Image Processing, Lighting, Lightroom, Maine, Maine Coast, Massachusetts, New Hampshire, Nik Software, Nikon, Photo Workshop, Scenics, Silver Efex Pro 2, Toothaker, Uncategorized, Vermont | 0 comments

Old Friends

I turn to my camera often when I am compelled to be creative and expressive.  My trusty Nikon’s never fail to be a source of great comfort for me.    I feel safe with them, secure with them, and inspired with them.  They are constant companions and familiar “friends” as I explore my world and pursue my love of photography.  The images I make are a part of me.  They too are like old friends but, what happens to the images I DON’T process?

The creative process, for me, is something very personal, spiritual, and meaningful.  Every photo is taken with great purpose but, not every one works as a “final” image.   Too often my expectations exceed the final results but, one characteristic of experience is that I shoot less frames and come away with more “keepers”.  My workflow dictates that I immediately make a folder of my subject, download my images into the folder, and mark the images that I believe are notable.  Once done with those I make another pass through and look for more keepers.  I always find more but, inevitably there are many that never get much of a look, let alone processed.  I keep every image unless there is something excessively wrong with the photo.  Like my cameras, ALL of these images are my friends.  Like real life friends, we need to visit with them and nurture them and learn from them; even our mistakes.  They should not be forgotten.

I feel it is VERY important to go back and review your images at another time.  Almost every time I do this, I find an overlooked gem that now resonates with me.  In our enthusiasm to process what we believe to be good, we hurriedly overlook failed images that we can learn from and still work on.  Our skill set with software does nothing but improve and the software itself becomes more and more powerful.  Re-visiting our images from this year, last year, and years before should become an integral part of our creative process.  The advancements in Lightroom, HDR software, and Nik Software broaden our ability for post production.  Dig deep into your creativity and you WILL find more quality images in your library.   If nothing else, you will reconnect with images, places, and people who have meaning for you.

Go ahead, take the time to say hi to an old friend today; one way or another.


“Photograph What You Feel”

HDR: ENF– USE You’ve got more options!

Posted by on Jun 2, 2012 in Blog, Full Frame, HDR Photography, Image Processing, Lenses, Lighting, Long Exposure, Massachusetts, Night Photography, Nik Software, Photo Workshop, Scenics, Silver Efex Pro 2, Tripod, Uncategorized | 0 comments

HDR: ENF– USE You’ve got more options!

Don’s mantra of Shoot What you Feel is a great way for you to think about your own photography and what you are trying to do.  My ‘mantra’ is one that complements Don’s: Get The Shot YOU Want.  So, if you’re trying to convey a particular feeling or simply to capture a subject in it’s best ‘light’ then know how to do it and what to look for.  Everyone knows I’m a fan of HDR.  I use HDR techniques more often than not.  I’ll even photograph a scene with 3-5 different exposures and determine at home on my PC if I ned the extra shots.  Sometimes I may only use one of the ‘extra’ images.  Other times I’ll use 3, or 5.  If you’re at location and the light is great don’t just take a shot>>>>get the data while you’re there.

During one of our Boston at Night workshops I took three exposures of the skyline from Fan Pier.  Those that were there know that I heartily encouraged that they do the same>>even if they didn’t have an HDR software program!  The sky was great and the Boston skyline is a great part of why we love New England!  So, get the shot.  The skyline is an easy scene to recognize that HDR will help you get the image you saw.  Our eyes are great at being able to see into both the shadows and the highlights but our cameras can’t match that (yet).  Being able to recognize if a scene should be captured with muliple exposures can be difficult at times but the ‘general’ rule is to use HDR techniques when the scene has a high contrast range within it.

Photomatix & Nik’s HDR Efx pro are two widely used and respected HDR software programs.  I use both depending on the subject. I find that Photomatix is great for scenics with trees & grass, etc whereas I think Nik’s is great for architecture in particular.  There is another choice that is not so widely known: Enfuse ( which works directly in Lightroom as a plug-in (Very cool!).  It’s reasonably priced and provides a natural looking result. I tried it yesterday and like what I see.  You might too.

The image above is what the camera thought was correct for the scene. Of course it averaged the bright sky & buildings in shadow to give us that result.  The 3 photos below are the result of different HDR processing techniques.  You might want to compare them to your own work especially if you’re looking for a ‘natural’ looking scene.  I like a color scene to have some ‘extra’ color but also like a scene to look natural as well.  Depends on your mood at the time (!) and what you feel the scene should look like!

So the 3 images below are with Enfuse, Photomatix (using Tone mapping) and Photomatix using (Fusion Auto). On the 2 Photomatix images I used the preset with no adjustments.  My findings are:
– I like the Photomatix with Tone mapping for my ‘extra’ color scenes but has some haloing and noise







– The Photomatix image with Fusion Auto is more realistic but has a very flat almost silvery look to it (can be hard to adjust in LR) with a small amount of noise but sharpens up well

Photomatix-Fusion Auto






– The Enfuse image is more natural and has very little noise and sharpens up quite well

Enfuse HDR

Which one do I like?  I need to run more tests but the Enfuse version is very good.  I’ve looked at other images of landscapes and found the Enfuse software to provide very good low noise results with a more natural look.
All versions need some work in Lightroom or other editing software to give them more contrast.  In summary, I would suggest you try Enfuse for yourself as you may find the results to help you to get the shot you want!
Bob Ring, June 2012


Only in New England

Posted by on Jun 1, 2012 in Blog, Full Frame, Haverhill, Image Processing, Lenses, Lightroom, Lobster Boats, Long Exposure, Macro Photogaphy, Macro Photography, Maine, Maine Coast, Nature, Nik Software, Nikon, Photo Workshop, Scenics, Silver Efex Pro 2, Toothaker, Tripod, Uncategorized, Viveza 2 | 2 comments

Only in New England

This past Sunday I was in southern Maine enjoying a fantastic day at the beach. Goose Rocks Beach is a beautiful stretch of white sand and cedar shingled homes just outside of Kennebunkport.  Not far from the beach there is fine dining, shopping, antiquing, and the booming, eclectic city of Portland.  Southern Maine is a worthy destination for a day trip, a weekend getaway, and photography.


Early that morning I had set out to shoot sunrise at the quaint seaside village of Cape Porpoise.  The lackluster sunrise yielded very few photos but, as always, I enjoyed watching the little harbor come to life in the early morning light.  Cape Porpoise is a working harbor that features colorful lobster boats, a fishing pier, and a lighthouse.  The area around the harbor was dotted with wild lupine, singing birds, and picturesque scenes.  Like many seaside locations there is always something to see and photograph along the coast of New England.


That night I drove three hours north to meet Bob at his family camp on Schoodic Lake.  The lake is a fairly remote area in central Maine that is surrounded by many  thousands of acres of forest.  This is the heart of paper company land, logging roads, wildlife, and farms.  In this part of Maine you are far more likely to see a moose than find any fine dining or eclectic shops.  The people of central Maine are hearty, hard working people that carve out practical lives amid the elements of nature.  Schoodic Lake seems a world away from the comforts of Southern Maine yet, brings its’ own sense of peacefulness with the sound of calling loons and gentle waves.


The next morning we were on the road early for Baxter State Park just outside of Millinocket, Maine.  Baxter is true wilderness.  Encompassing over 200,000 acres, the park was created through donations of land by private land owners and one governor, Percival Baxter, with great vision for maintaining a segment of the Great North Woods to be “Forever Wild”.  Within Baxter there are no showers, no flush toilets, no running water, no logging, and no inhabitants other than park officials and wildlife.  Surrounding Baxter is some of the most remote, rugged, wild land in New England.


We spent the entire day in and around the park photographing moose, deer, wildflowers, mountains, and the rugged beauty of the Great North Woods.  At one of our last stops I photographed a huge bull moose grazing at the edge of a pond.  He was wild and majestic.  I could not

help but reflect that just a short time before I was photographing lobster boats amid the affluence and comfort of Cape Porpoise and now here I was capturing images of North America’s second largest land mammal in Maine’s remote wilderness.  How lucky I am to live and work in such an amazing, diverse place.


Only in New England.


DET 2012

The Inspiration of Water

Posted by on May 25, 2012 in Blog, Full Frame, Image Processing, Lenses, Lighting, Lightroom, Long Exposure, Nature, New Hampshire, Nik Software, Nikon, Photo Workshop, Scenics, Silver Efex Pro 2, Toothaker, Tripod | 0 comments

The Inspiration of Water

It is a rainy start to the day here.  I like it.

There is rain that whispers softly past your window and there is rain that steadily hammers against your roof.  Each have they’re own unique sounds and moods that, if you listen and feel, can brighten your day and inspire you.  This morning’s rain is quiet, gentle, and soothing.   Soon, the rain will saturate all of Spring’s colors and make everything look lush and alive.  The overcast sky serves as a giant softbox which lights the landscape evenly and softly.  There is no better light.  I would love to be out with my camera and a macro lens this morning!   How ironic that rain nourishes and rejuvenates everything that it touches, yet we look at such days as gloomy.  Rain brings us one of our most critical resources and greatest photographic subjects:  water.

Water is beautiful.  The woods of  New England are alive with trickling streams and proud rivers that make for wonderful  subjects.  Streams tend to be lined with moss covered boulders, colored rocks, and waterfalls.  All of these elements create dramatic patterns and shapes that allow for many compositions.   Waterfalls are mesmerizing, beautiful, and very powerful.  It is challenging to capture the feel of their strength in your images but, if successful the results can be dramatic.   Before you start making images, watch and listen to the movement of the water.  FEEL the scene around you and identify what appeals to you about the patterns, shapes, and sounds.  The more you open your senses to the scene in front of you, the more you can utilize the tools in your camera bag, and imagination, to create meaningful images.


A Polarizing Filter is almost a necessity when photographing water but, a Neutral Density filter is an option that you use to delve further into your creativity.  The job of a polarizing filter is to eliminate reflections and glare.  By rotating the front element of the filter you can control the shine from reflective rocks, leaves, and water that create distracting highlights within your composition.  Neutral Density filters come in varying strengths and are used to block light.  Less light means longer exposures which result in varying effects to the movement of water.  This is where your emotions take over.  How you connect to your scene will translate to your images.  The longer your exposure, the more smooth and silky the water will appear.  The faster your shutter speed, the more action will be frozen in the scene.  There is NO right or wrong; it is all about how YOU feel about the action and the final message:  YOUR message.  As in all photography, certain tools help you more than others but, nothing has a more dramatic effect than your own creativity.  Photograph what you feel!

Water is unpredictable and yet, consistent.  Be it a river or the sea, water moves with alluring purpose.  I admire that it never fails to find its’ way.  I love its’ varying sounds and sensual movements.  I envy its unwavering tenacity and strength as well as its’ dangerous fierceness.  I cherish its soothing nature.  I need its’ humble nurturing.  I am drawn to everything about water: it’s all so beautiful and necessary.
Water is inspiring.
DET 2012

Know How to Push Your Own Buttons

Posted by on May 15, 2012 in Blog, HDR Photography, Image Processing, Lenses, Lighting, Lightroom, Long Exposure, Macro Photography, Nature, Night Photography, Nik Software, Nikon, Scenics, Toothaker, Tripod | 0 comments

Know How to Push Your Own Buttons

Digital photography continues to evolve at an unbelievable pace.  The advances in technology provide photographers of every level with more and more options.  Today’s digital cameras, especially DSLR’s, are loaded with capability but, are you?  To make the most of these exciting advancements in technology we must commit ourselves to growing our vision first..

Current digital cameras are high-powered tools that require a great deal of knowledge to use.    Photographers have to learn such things as white balance, multiple metering settings, bracketing for HDR, the differences between a DX and FX sensors, and other nuances of present day digital photography.  Every manufacturer offers cameras loaded with menu options that give every photographer the ability to make professional quality images with the touch of a button.  In conjunction with the cameras is an even greater, and more powerful, array of software for processing our images.   There are so many products on the market it is often difficult to decide, and digest, what is best for this or that.  Creativity, or so it seems, is just a menu choice away.

Despite all the technology, there is nothing more powerful, or meaningful, as your own imagination.  Camera’s and software are just tools.  These tools are only as good as YOU make them.  Photography is about communication, self-expression, and emotion.  Whether you are in your home thinking about your craft or in the field working at it, KNOW how to push your own buttons first.  The more you know about your “self”, the more of yourself you can invest in your photography.

What good are dozens of menu options if you are not, or cannot, connect to your own “self”?   You need to know how to push your own buttons in order to make the most of  the hardware and software.  At every workshop we urge attendees to bring, and read, their owner’s manuals.  But, we also spend a great deal of time asking attendees why they chose this subject; why they shot their image in such a way, and how they feel about their image.  These answers are found in YOUR owner’s manual.  You gotta know that too!

As photographers we MUST connect to our subjects but, we must first connect with ourselves. Take time to think about, and feel, your subject. Take time to think about what has meaning to you.  Take time to find YOUR inspiration from the world around you.  Push yourself and find your own voice.  Creativity comes from within; not a menu option.

Photograph What You Feel


History Everywhere!

Posted by on May 8, 2012 in Blog, HDR Photography, Image Processing, Lenses, Lighting, Long Exposure, Massachusetts, Night Photography, Nik Software, Nikon, Photo Workshop, Silver Efex Pro 2, Toothaker, Tripod, Uncategorized | 0 comments

History Everywhere!

This saturday, May 12th, we are headed to Fort Warren for an exciting one day workshop.  The abandoned fort is located on George’s Island at the entrance to Boston Harbor and is the centerpiece of the Boston Harbor National Park Recreational Area.    Construction began on the fort in 1833 and was concluded during the Civil War: 30 years later!   Fort Warren was designed to guard Boston Harbor from hostile forces but, saw use mostly during the Civil War as a prison for confederate soldiers.  The fort was de-commissioned shortly after WWII but, today is a fantastic destination for tourists and photographers alike.  I can’t wait to lead a  group of adventurous photographers around this jewel of the Boston Harbor islands.

The greatest tool that a photographer can bring with them to the fort is their imagination.  As you walk the grounds and roam the old decaying buildings, stop and imagine the many souls that lived there, served there, were imprisoned there, and died there.  The granite used to build the fort came from the nearby Quincy quarries and others on Cape Ann.  As you observe the massive slabs of granite used in construction, imagine the many workers who cut that granite and labored  to bring it to the island.  Imagine the immigrants, and the families, that forged a life working in the quarries. Imagine where they came from, what their dreams were, where they lived, and how they lived.  Theirs was the American Dream; no different than our dreams today.   In 1833 construction was done with man power, horse power, and sweat.  The granite was brought to the island via sailing vessel.  Look at the massive slabs and imagine the difficulty of loading and unloading a boat by hand, wagon, and horse.  The work was staggeringly hard.  Fort Warren took over 30 years to build – by HAND.  Yes, the most powerful tool a photographer can bring with them to places such as Fort Warren is their imagination.

One of the most invaluable characteristics of New England is it’s rich and storied history.   I love history in general but, I LOVE the history and cultures of New England.  Photography is my profession now but, my degree, from Northeastern University, is in History.   I am thrilled to combine my reverence of history with my love of photography.  All around us, everywhere, history lives and breathes.  Some of it is on a very large and dramatic scale;  some of it is much smaller and inconspicuous scale.  Nonetheless, all of it is essential.  It is our responsibility to respect each and every story before us.  Being informed not only makes us better photographers but, more importantly, better people.  I remind people often that in order to be better photographers we first must  make ourselves better conservationists, better environmentalists, and better naturalists.  The more we know about a subject the more likely we will be successful photographing it.  The more we care about a subject, the more likely we will be successful at preserving it for others to enjoy.  The two go hand in hand.

When you are in the field working it goes without saying that you must follow good technique as often as possible.  However, good technique is not limited to only your camera and gear.  To me, it is equally important to understand what you are photographing and appreciate its story.  Follow good technique with your knowledge and imagination as well.  Know your subject and FEEL it.  Open your mind and heart to the scene before you and photograph with emotion.  More than anything this will lead you to making images with greater impact.  More than anything this will resonate with you far beyond a dramatic image.  The story of Fort Warren is OUR story and we should do all we can to feel it and share it.

Photograph What You Feel

Make Your Own Depth Of Field

Posted by on Mar 29, 2012 in Blog, Lenses, Lighting, Macro Photography, Tripod | 0 comments

Make Your Own Depth Of Field


Yes, we’ve had a preview of Spring lately. But I saw snow yesterday so some studio work may still be in order. This is a quick tip to make your own depth of field. Stopping your lens down to f16 or f22 is great for getting a lot of depth of field. Of course like most things in life good things come at a cost. Diffraction (or a softening of your image ) may be the result of stopping down your lens to it’s smaller/est openings. A work around may be to take multiple images at various focus points and stack them up in Photoshop to create a sharp image throughout.


However, lately I’ve been intrigued by narrow (or shallow….) depth of field. It helps me in my images to ‘direct’ the viewer to what I really want them to see. Hopefully, the other information in the image helps to set the story. So, the images here illustrate a rose placed in front of other roses about 10in behind the one rose. The exposure in this image is f9, ISO200 and 1/200 sec using two studio flashes on the sides of the rose. The main light is on the left with the fill on the right. The key here is that my ‘target’ rose is about 10in in front of the others. This is what helps to create a narrow depth of field look. This can be done with Speedlights and even window light!


Photographers should always control the depth of field in their images where possible be it wide or narrow.  In fact that’s one of the reasons you’ll hear most photographers use their camera on Aperture priority.  If you’re not using ‘A’ today you might want to consider it.

Here’s an image showing the studio setup I used this afternoon to make the rose image. Notice the single rose set away from the rest. You can do this with many subjects.

This ‘look’ can also be achieved in the field on other subjects as well by getting close to your main subject creating a shallow depth of field to make your main subject stand out within the image.  I was right next to that water drop with my zoom lens and took the photo at f8.  I used the Depth-Of-Field Preview button on my camera to stop down the lens to see what my image would look like before taking the photo. Check out how narrow that depth of field is.  Get close!

So, think about what you want your depth of field to be before making your image.  Planning your image before hand will help you to make a stronger image where you ‘direct’ the viewer into the scene by limiting what’s in focus and what isn’t.  The human eye will always prefer something that’s sharp so take advantage of that!

Bob               Get The Shot!