IDX pre-production use thoughts

Canon loaned me with a pre-production 1DX this past week. The camera is impressive in hand with greatly improved ergonomics and improved functionality. It appeared with my limited time for in-flight use to AF quickly and accurately, and maintain subject tracking even against busy backgrounds :~) Static subjects were tack sharp. I really liked the spot focus and AF expansion capability. Tones looked smooth and the color produced is the most accurate I have used to date. Even the reds were outstanding. I only shot ISO 200-1600, and the lack of noise and pixel structure looked impressive. The 1DX and my new 600EX-RT flashes produced highly accurate flash images in ETTL. The flash is easy to use with clearly defined buttons and a new layout. The additional power, zoom to 200mm, and wireless capability make this Canon’s best flash to date. I am greatly looking forward to using the new bodies after delivery… this coming June/July.

Best, Chas in FL

1DX pre-production, 500mm 1/400 @ f/8, ISO 800 LR4, CS6, NIK

1DX pre-production, 500mm 1/800 @ f/8, ISO 200 LR4, CS6, NIK

Charging Brown Bear, Featured Photo, Photobotos.com

Click the image above for more on Chas and the Featured Photo on www.photobotos.com

 

Michael Johnson on Japan and STL Workshops

 Hi Chas,
 I thought I would take a moment and write to thank you for all that you did on the Japan STL workshop.  As you know, I have attended many of your workshops.  I have also thanked you for all that you have taught me about photography.  What I thought I would do this time is explain why I keep coming back.  At first, I was impressed by the images that you create and wanted to learn as much as I could to try to be able to create them myself.  I remember saying, these are images with impact.  From the first day in the field to the most recent workshop you continue to impress me with your knowledge, creativity and willingness to share about all aspects of photography.
 I’d like to think that I have picked up a lot of the skills and am increasingly pleased with the images I can now create.  But, there are many images yet to create.  Which is what this note is about.  When folks ask me about the STL workshops I always mention the fact that you go to a variety of places and seem to have worked out the logistics for both a pleasant experience as well as maximum time in front of quality subjects.  It is this aspect of STL that keeps me coming back.  At my age, having maximum time in front of quality subjects is important to me.  I suppose we might run out of interesting subjects, but my guess is you will continue to find new ones.
 The other point that I wanted to mention is that it has been my experience that you attract a great group of folks on your workshops.  Since you are spending a week or two in close quarters and all your waking hours with the group, the fact that they are all friendly and helpful is definitely a plus.
 Thanks again for a great Japan trip and I’m looking forward to the Falklands and Svalbard.
 Mike
 PS:  Here are some of my favorites from Japan.

Red Fox Editors’ Choice 500px by Tin Man Lee

Editors' Choice 500px by Tin Man Lee

I just came back from Chas’s Winter Yellowstone Workshop which brought so many good memories, new techniques, and new ideas that I will remember a life time.

Ever since I first saw Chas’s wildlife photos, I have been hooked.

Not only is each of his photos technically perfect, be it exposure, f-stop, shutter speed, sharpness, colors, and compositions, but his photo has extremely strong visual impact and always tells a story. I wish my photos were like that. And after reading many of his online educational articles, I found that I really like his philosophy. So I took his workshop, knowing that the best way to learn is to be in the field side by side with him. I am glad I did. He is really tech savvy, so much fun to talk to, and has never ending interesting photography stories to tell thru his career. Chas is the very rare bred of pro photographer who had formal master education in photography so his theories are superb, he also had learned under and worked with great masters in photography and had a hugely successful career in portrait, studio, wedding, commercial, sports, before wildlife photography. He had many high profile clients before, so he had no room to mess up in each project. What that means is that he really mastered the use of light, understands how light illuminates and shadow defines, and bring all the best stuff from these experience in different photography fields into wildlife, creating image after image of creativity and stunning impact.

Some of the numerous things I learned from him in this trip:
Try to get the best photo in camera, before post processing. Many people nowadays rely on digital, always thinking about cropping afterwards for composition, darken or brighten an image if metered incorrectly, etc. His mantra is “if I buy a camera which has 21 mega pixels, i want to make use of all these 21 mega pixels”. Chas strive to catch the moment with the right exposure, composition, etc in camera, which maximize the capability of the digital camera, be it noise control and pixel counts. I think its a perfect way to train myself to pay attention instead of take it and fix it later if possible.

Though Chas pushes for the best photo in-camera before post processing, he is a master of photo editing. His emphasis is to bring out something in the scene that’s not possible from the image (e.g. dynamic range) while those data were “hidden” in the raw file, e.g. as long as the whites are not blown out, one can always extract those details afterwards. Basically Chas thinks very differently when he takes a picture. He already knew what the limit of the camera is, so try to get the best in-camera first and then knowing what data can be recorded, he brings those hidden data out from post-processing.

Chas makes the best use of any nature condition be it good or bad. For example, it was snowing really bad in Yellowstone, shooting condition was bad, yet when he saw the bison walking along the river, he immediately sees that the dark river which can add as a backdrop to show the white snowfall, which wouldn’t be possible with a white snow background.

He is very good with animal behaviors. He would tell us when the pronghorn are going to jump, bison are going to dash down the hill, crossing the river, and would give us suggestions how to capture that moment. I made sure to try to stay not too far from him in the field so I can learn what he’s thinking in certain condition and why, which helped a lot. He is always paying attention to avoid distracting lines that cut off the subjects, the placement, and how one should leave some space for the legs even if the legs of the animals were blocked by foreground objects.

And did I say Chas is a lot of fun, he kept feeding us good info on photography whenever he can and he seems to have unlimited energy.What I am glad to know is that when I look closer to his photos, every time I learn some new things, which I didn’t pay attention to before because he intentionally avoided those distractions with careful placement in order to let readers focus on the story itself. He really pays a lot of attention to the details to create each image.

The service in his workshop is first class, he takes care of all the luggage transfer, always put us in the best vehicle and best lodging and never cuts corner.

The only thing bad from the workshop is that after learning all these new things from Chas, when I look back on my old photos, I want to throw most of them away and start all over.

I had a great time in the workshop and really enjoys the company of all attendees. Most of the time we were laughing and enjoying so much of our time!

I highly recommend Chas’s workshop.

See you in July for the Brown Bears, Tin Man Lee

T, Congrats! You should be very proud of your accomplishment.  Chas

How to expose in snow (bison)

Hey gang,

Thought I would share a bit of how to expose correctly in snow. This image taken a few days ago during the Winter Yellowstone Workshop. The next session starts tomorrow, wink.

Spot meter the snow highlight adding plus 2 to 2.7EV depending on scene contrast. Sunny days plus 2, heavy overcast 2.7.  Push the highlights just shy of RGB clipping, as this will move the whole image histogram to the right, making the blacks in effect brighter, not darker. Thereafter, select only the highlights and use post-production techniques to render all the highlight detail you desire. Shooting in this manner noise is almost never an issue. Note… some Nikon bodies require less of an exposure increase, typically .7 stops less than above. Best to test your gear, once you get the exposure nailed down it is repeatable. Manual focus in falling snow is highly recommended.

1Ds III, 70-200 II, manual focus
Manual, Spot metered on snow +2.3 EV, 1/250 @ f/8, ISO 400
Post-production- 15in MBP, LR3, CS5, NIK

See you where there is light, or at the computer,

Chas in YNP