I always think of it later (almost)
Just after I had published the last post, the thought occurred to me that for some reason, I had to learn how to take technically good photos before I could shoot many of the more artistic photos from the last post, even if the artistic photos aren’t as good technically as most of my bird portraits are. I’m talking about the silhouettes of the birds in flight mostly, but that applies to the cornfield and a few others as well. When I first began shooting birds in flight, most of the time the birds were just silhouettes, but the photos that resulted weren’t very pleasing to the eye. Heck, many of my early photos of perched birds were little more than silhouettes and not very good either. But, over time, I learned how to overcome bad lighting most of the time, and there are even times when I take advantage of bad lighting to produce pleasing results.
That goes along with something else that I do more often these days, I visualize how the finished image will appear even before I press the shutter release. Not in the same way that I used to think that every time I pressed the shutter button, a good photo would result, but I’m learning how to visualize what the camera actually sees when I shoot an image these days. That visualization includes any editing that I’ll do to the image later in Lightroom.
That could be the subject of an entire post, learning how to shoot the original image so that the final result when edited later ends up looking the way that I wanted it to look as I was surveying the scene before shooting it. But, I’ll leave that to those who are experts in Lightroom, even though those aspects of photography and editing images are seldom addressed from what I can tell.
There are differences between what our eyes can see, and what a camera is able to record, either on film, or as ones and zeros in the world of digital photography. Our eyes adjust to varying light so quickly without our thinking about it, that we think that our eyes have a much higher dynamic range for light than we really do. It’s the same for focusing, our eyes adjust so quickly that everything we look at seems to be in focus at once. Because we can move our eyes around to take in the entire scene, we see things differently than a camera.
That’s not how a camera looks at all the things in a scene. It sees everything at once, and it can only be adjusted for the entire scene overall, not bits and pieces of the scene as we see it. It’s taken me way too long to teach myself what the camera is going to produce as I survey a scene before pressing the shutter button. For too long, I was attempting to make the camera see what I saw, and that doesn’t work, for the reasons stated above. But, I thought that if I got the camera settings just right, I could force the camera to do what it is really incapable of doing. Yes, I knew that there were limits, but I’ve always been one to push the limits.
In a way, pushing the limits was a good thing, as I now know just what the limits are, and how to get a good image as I approach those limits. That’s how I got the silhouettes of the heron and cranes from the last post to come out as well as they did. In the past, the birds would have been black blobs against a blown out background, but in the photos from the last post, I was able to get enough of the bird’s color so that you can identify the bird, yet it is still silhouetted against the sky or water, depending on which image we are talking about.
Now then, back to visualizing what the finished image will look like before shooting something. That may be the most important thing about photography that I’ve learned to do. Not that I’m a great photographer yet, but I have learned from watching a few videos about Ansel Adams, Edward Weston, and other truly great photographers that they didn’t shoot to create a perfect negative in the first place. They shot what they did, how they did, knowing what they would do during both the development of the negative, and the printing process to achieve the final result that they desired. I don’t know how the others did it, but I learned that Ansel Adams kept charts stored with the negatives he shot showing how much dodging and burning that he had to do to various areas of a print as he made it so that future prints would be a reproduction of his original print when some one ordered one of his prints.
That’s really the key to getting better photos, at least it has been for me, being able to look at a subject or scene, and quickly know how to shoot it so that the finished image will look the way that I intended it to look when I shot it.
There’s one caveat to this though, everything that I’ve said about my being able to visualize what the finished image will look like before I press the shutter applies to images shot with my 100 mm macro or longer lenses. I still struggle when I use wide-angle lenses. I hope that will change soon, as I’ve taken delivery of the 16-35 mm lens that I ordered and mentioned in the last post.
I’ve only had a few minutes to play with it so far, but the results are very promising. I shot the apartment building that I live in to test how much distortion the lens has, and the lens is very good in that respect. Buildings are good for testing distortion because they have straight vertical and horizontal lines that can be used to see any distortion. Then, by loading the image in Lightroom, and turning on and off the lens correction profile, I could see that the building’s lines were close to being straight, even without the lens correction applied. The lens does show a little vignetting, that is darkening of the image towards the edges when compared to the center of the image, but I’d have never noticed it if Lightroom hadn’t fixed it when I applied the lens correction.
It’s too soon to tell about how sharp the lens will be once I get used to using it, but it appears to be sharper than the 15-85 mm lens that I have been using.
I’m going by the hairs on the petunia bud and leaves to judge sharpness, as I put the focus point on the bud.
Two things about the lens really impress me so far, the overall clarity of the images that I shot, and the color reproduction. The 16-35 mm lens reproduces colors much more vividly than any of my other lenses, it may be better than my 100 mm macro lens in that respect.
I know, no one else would get excited about seeing green grass or a brown leaf, but those are what struck me as I viewed the image for the first time. Even if the 16-35 mm lens isn’t the sharpest lens that I have, and as I said, it’s too early to judge that yet, great color reproduction and clarity are excellent attributes for a lens meant to be used for landscapes most of the time. Since the lens has minimal distortion, it will be easier to stitch two images together to create a panorama for those scenes when 16 mm isn’t wide enough to capture the entire scene in one image.
Other good points about the new lens, it’s lighter than my old one, and both the zoom action and focusing are all internal. The lens stays the same length all the time, meaning it’s less likely to suck dust or moisture into itself as I zoom in or out, and being a L series lens, it’s weather sealed also.
So, with this new lens, it’s time for me to go out and shoot a few more landscapes than I have been lately, using the tripod and setting everything correctly for the very best image quality possible in order to fully judge what the lens can do. The weather forecast for the upcoming weekend doesn’t bode well for great landscape images though, as the weather is looking too good for that. Bright blue skies with hardly a cloud in the sky is what’s forecast, but for testing the new lens and for practicing seeing through a wide-angle lens, I’ll have to make do.
Switching gears, I have many photos leftover from earlier this summer that aren’t great, but were too good to delete, so I’m going to use a couple of them here so that I can clear room for newer images. The first is a juvenile pie-billed grebe.
As you can see, the juveniles show more color than adults of that species do. I was hoping to catch the juvenile on a day with better light so that the color would show up better, but that didn’t happen.
It’s the same story for these eared grebes, the only time that I was able to get close to them was on a dark, dreary day.
I also have a series of bad images of sandhill cranes in flight.
I never expected the cranes to take flight coming in my direction, I expected them to go the other way.
That was shot as I was trying to decide which bird(s) to track, it would have been a good shot if I hadn’t cut off their wings.
As they got closer, I couldn’t keep two birds within the frame any longer.
This last one was ruined by a number of things. The crane was so close that I didn’t have enough depth of field to get it all in sharp focus. When even slow birds are that close, one needs to go to an even faster shutter speed to freeze the motion, which I didn’t do. And, I’m sure that I was moving the camera too much for a sharp image. Not only do you have to track their forward motion, but they “bounce” up and down as they flap their wings, and I have to move the camera up and down along with tracking the bird’s path.
The weather forecast for this past weekend was spot on for a change, unfortunately in a way, that was a bad thing. I wanted to try out the new wide-angle lens, and I did, but the resulting images are pretty boring for the most part. Here’s a couple of them that I shot.
The new lens does show a great deal of promise, despite to poor subjects of these photos.
I’m loving the sharpness of this lens, but even more so, the clarity and color that show in the images that I’ve shot with it so far.
However, I’m still learning to use the 7D Mk II as a landscape camera. I’ve used the 60D so much that it’s become automatic for me to get it set-up to shoot landscapes, not so with the 7D. I still have to fumble around with the controls, and remember in what ways it performs differently than the 60D as I set it up to shoot landscapes. I’m sure that a few more outings using the 7D, and I’ll get used to setting it up correctly the first time. Once I’m more familiar with setting the 7D up for landscapes, then I’ll be able to put more thought into the exact composition for landscapes that I want rather than concentrating on camera settings. However, the main thing is that the 16-35 mm f/4 lens is a winner, and a noticeable improvement over the EF S 15-85 mm lens that I’ve been using for most of my landscapes the past few years.
The thought just occurred to me, I could see that there are times when the 15-85 mm lens may be a good choice, when I want a more impressionistic image, versus an extremely sharp image. Great, a reason to carry another lens with me, just what I don’t need. On second thought, if the 16-35 mm lens is too sharp for what I’m trying for in an image, I could always soften the image in Lightroom later.
Okay, switching gears, nature isn’t always pretty. Just after I had talked with another photographer on Sunday morning, I noticed a small raptor within a flock of smaller birds. It took me a few moments to stop my vehicle, roll down the passenger side window, grab my camera, and shoot this, just after the raptor had made a kill.
I can’t make a positive identification of either bird, but the poor victim of the raptor is definitely a swallow of some type, I can tell that from its forked tail. Judging from the size of the raptor, I’d say that it was a sharp-shinned hawk, although it could be a merlin. I was able to fire a burst of three photos before the raptor landed with its breakfast. In the other two, you could see that the raptor had a very long tail, one of the identifying features of a sharpie. It’s hard to believe that there’s a raptor agile enough to catch a flying swallow.
I should also add, that the other swallows in the flock were harassing the raptor at first, but gave up when they saw that it was of no use.
Of course I felt bad for the swallow, but it’s the way of nature, and one way to keep a balance between various species in nature. In my last post, I had a photo showing a “wall” of insects, here’s what it looks like when the swallows get hungry.
That was shot with the 400 mm lens, and only shows a small portion of the flock of swallows. I switched to the 70-200 mm lens for this shot.
I tried to set-up to shoot a video several times, but each time that I did, the swallows all pulled up and dispersed, there must have been another predator nearby. That, and I couldn’t get the camera to focus at a point where it would show the entire flock as well as I wanted. But, it was a sight to see, with thousands of swallows all feeding together in such a small area.
By the way, here’s the possible predator that may have been making the swallows nervous.
I had shot the Merlin just before I began shooting the swallows. Here’s a better photo of a Merlin that I had shot on Saturday.
That would have been much better if there wasn’t a branch growing out of the Merlin’s head. But, they don’t stick around long enough for me to get into the best position to photograph them.
In a similar vein, I saw a flock of grackles…
…and I was going to go for a better flock shot of them all showing their yellow eyes and their colors, when a gunshot from nearby caused this to happen before I could recompose for the flock shot.
Oh well, nobody wants to see grackles anyway.
I did go for a stroll through one of the woodlots at the wastewater facility on Saturday, but the only bird that I could get close to was this blue-grey gnatcatcher.
The gnatcatcher was one of many small birds of various species that I saw, but migrating birds are extra wary, or so it seems, as I couldn’t get close enough to any of the others for any photos, not even bad ones.
Here’s the rest of the photos from Saturday.
I was able to get close enough to a great egret that I had to turn the camera to portrait orientation when it raised its head…
…then go back to landscape orientation when it lowered its head.
It was nice enough to do a few wing stretches for me as well.
This red-tailed hawk was calling to another that was circling the same area. I couldn’t tell if they were a mated pair, or if the one on the ground was warning the other to stay away from its hunting area.
I also caught a turkey vulture sunning itself to warm up on a chilly morning.
I tried sneaking up on some sandhill cranes, but this was the best that I could do.
I’ll be glad when the ducks have grown their breeding plumage, as it’s hard to tell them apart at this time of year, especially the young ones.
There’s no mistaking a juvenile turkey vulture though.
Well, that’s not all the photos that I have, nor everything that I’m thinking about at this time, but I suppose that this is where I should end this post.
That’s it for this one, thanks for stopping by!