I have an upcoming solo exhibition in the main Ottawa library branch (downtown).
It is for the whole month of October 2009.
There will be more – will keep you updated.
Sunday, June 14, 2009
Sunday, May 31, 2009
Photographic Society of America Editorial Award Bronze Star
I am really excited to receive a letter stating that I receive a PSA Editorial Award Bronze Star.
Hurray!
Just when I needed it! Source of an inspiration and a nice kick to get the camera and get out there.
My attempt to think of nothing and just enjoy the summer ended rather quickly – I am starved for good photography and I will be returning to my projects. More schedule adjustments… and I will squeeze it in!
Got to throw some shot - here is a common Alberta scene:
This shot is a bit unusual for me because it was not shot in tungsten - but much warmer.
Hurray!
Just when I needed it! Source of an inspiration and a nice kick to get the camera and get out there.
My attempt to think of nothing and just enjoy the summer ended rather quickly – I am starved for good photography and I will be returning to my projects. More schedule adjustments… and I will squeeze it in!
Got to throw some shot - here is a common Alberta scene:
This shot is a bit unusual for me because it was not shot in tungsten - but much warmer.
Saturday, May 30, 2009
Noctilucent Cloud Season Begins
I got an alert from the Spaceweather.com on the beginning of the Noctilucent Cloud Season.
You can browse to the speaceweather website to view gorgeous pictures of this phenomenon.
Below is the picture of Noctiulcent clouds I took in Alberta two years ago, on June 26, 2007 (wow, time flies!).
It was taken in Dorothy.
Below is the information from the spaceweather newsletter:
“FIRST NLCs of 2009: The first noctilucent clouds (NLCs) of 2009 have been sighted over northern Europe. Last night, May 29th, photographers recorded wispy electric-blue tendrils spreading across the twilight skies of Denmark, Northern Ireland and Scotland. This follows a similar display over Russia on May 27th. These sightings signal the beginning of the 2009 NLC season, which is expected to last until late July. Early-season NLCs are usually feeble, but these were fairly bright and vibrant, suggesting that even better displays are in the offing. Check today's edition of http://spaceweather.com for photos.
Noctilucent clouds are an unsolved puzzle. They float 83 km above Earth's surface at the edge of space itself. People first noticed NLCs in the late 19th century. In those days you had to travel to high northern latitudes to see them. In recent years, however, the clouds have been sighted in the United States as far south as Oregon, Washington and even Colorado. Climate change, space dust, and rocket launches have all been cited as possible explanations for the phenomenon. Interestingly, low solar activity seems to promote the clouds, so the ongoing deep solar minimum could set the stage for a good season in 2009.
The best time to look for NLCs is just after sunset or just before sunrise when the sun is between 6 and 16 degrees below the horizon. That's when the geometry is just right for sunlight to illuminate the tiny ice crystals that make up the clouds.
You can browse to the speaceweather website to view gorgeous pictures of this phenomenon.
Below is the picture of Noctiulcent clouds I took in Alberta two years ago, on June 26, 2007 (wow, time flies!).
It was taken in Dorothy.
Below is the information from the spaceweather newsletter:
“FIRST NLCs of 2009: The first noctilucent clouds (NLCs) of 2009 have been sighted over northern Europe. Last night, May 29th, photographers recorded wispy electric-blue tendrils spreading across the twilight skies of Denmark, Northern Ireland and Scotland. This follows a similar display over Russia on May 27th. These sightings signal the beginning of the 2009 NLC season, which is expected to last until late July. Early-season NLCs are usually feeble, but these were fairly bright and vibrant, suggesting that even better displays are in the offing. Check today's edition of http://spaceweather.com for photos.
Noctilucent clouds are an unsolved puzzle. They float 83 km above Earth's surface at the edge of space itself. People first noticed NLCs in the late 19th century. In those days you had to travel to high northern latitudes to see them. In recent years, however, the clouds have been sighted in the United States as far south as Oregon, Washington and even Colorado. Climate change, space dust, and rocket launches have all been cited as possible explanations for the phenomenon. Interestingly, low solar activity seems to promote the clouds, so the ongoing deep solar minimum could set the stage for a good season in 2009.
The best time to look for NLCs is just after sunset or just before sunrise when the sun is between 6 and 16 degrees below the horizon. That's when the geometry is just right for sunlight to illuminate the tiny ice crystals that make up the clouds.
Friday, May 8, 2009
Light Painting Fly Fishing Gear
It’s been over 3 years since I enjoyed Fly Fishing. As much as I love photography, I was not a happy camper away from physical activities and hobbies, which I slowly abandoned in the past due to life circumstances. Life is back on a tight schedule and wonders of time management that free up some time to indulge in life’s pleasures.
I threw together a modest naturmort that consists of my main gear and the flies (I tie my flies myself btw).
The image below is a composite of 4 in-camera light painting shots.
Tight Lines!
I threw together a modest naturmort that consists of my main gear and the flies (I tie my flies myself btw).
The image below is a composite of 4 in-camera light painting shots.
Tight Lines!
Rosco to Lee
I have about a couple of hundred different filters available for light painting. Needless to say, I never use them all. Some are for the backup (the essentials), some were a mistake (I mix and match gels to achieve the desired effect that unfortunately doesn't always work).
I am in need of a few specific filters for my current work, and since I moved to Ottawa, I wasn’t able to make a contact with a good Rosco dealer.
I was presenting for the RA Photo Club here in Ottawa, which is the largest and the oldest club in the National Capital.
People left a couple of comments below the presentation's announcement here:
http://www.raphotoclub.ca/smf/index.php?topic=1186.0
Going through those comments, I actually learned about the shop that carries entertainment lights and equipment. When I showed up, I was disappointed, because they had just a few Lee filters. Maybe a dozen or so. I was given a promise that any of the filters could be ordered though.
And indeed, just as one commenter mentioned, they have tons of old wrinkled filters in the shop. Haven’t asked how much they sell those for, but I suspect it would be peanuts.
I went to Lee’s website and tried to identify the filters I’d need.
Here is some info that might be useful:
Rosco catalog (one can be lost for hours in it):
http://www.rosco.com/catalogs/US_catalog48.pdf
Rosco has conversion table here on this page:
http://www.rosco.com/UK/technotes/filters/lee_equiv.asp
Now, that’s where I got confused. When I go to the Lee’s site and enter the Rosco gels into the conversion box, some of the Lee values do not match those quoted in the Rosco conversion table. Here is the gel comparator: http://www.leefilters.com/go.php
Lee’s website has the most impressive java swatch ball. See for yourself: http://www.leefilters.com/architectural/products/colours/
You can download their swatch ball to your desktop.
It also has a mired shift calculator here, which I found cool:
http://www.leefilters.com/go.php
And I absolutely love Lee’s Gobos!
I am in need of a few specific filters for my current work, and since I moved to Ottawa, I wasn’t able to make a contact with a good Rosco dealer.
I was presenting for the RA Photo Club here in Ottawa, which is the largest and the oldest club in the National Capital.
People left a couple of comments below the presentation's announcement here:
http://www.raphotoclub.ca/smf/index.php?topic=1186.0
Going through those comments, I actually learned about the shop that carries entertainment lights and equipment. When I showed up, I was disappointed, because they had just a few Lee filters. Maybe a dozen or so. I was given a promise that any of the filters could be ordered though.
And indeed, just as one commenter mentioned, they have tons of old wrinkled filters in the shop. Haven’t asked how much they sell those for, but I suspect it would be peanuts.
I went to Lee’s website and tried to identify the filters I’d need.
Here is some info that might be useful:
Rosco catalog (one can be lost for hours in it):
http://www.rosco.com/catalogs/US_catalog48.pdf
Rosco has conversion table here on this page:
http://www.rosco.com/UK/technotes/filters/lee_equiv.asp
Now, that’s where I got confused. When I go to the Lee’s site and enter the Rosco gels into the conversion box, some of the Lee values do not match those quoted in the Rosco conversion table. Here is the gel comparator: http://www.leefilters.com/go.php
Lee’s website has the most impressive java swatch ball. See for yourself: http://www.leefilters.com/architectural/products/colours/
You can download their swatch ball to your desktop.
It also has a mired shift calculator here, which I found cool:
http://www.leefilters.com/go.php
And I absolutely love Lee’s Gobos!
Thursday, May 7, 2009
My article will be published in the June issue
My article on Twilight Photography is coming out in the June issue of the PSA Journal. I got a PDF file with the article and had a chance to go over things before it goes into print.
I have to add that I am not entirely happy with the way I wrote it. It was done rather in haste and it shows. It still is a great article on the subject that provides useful information, but I am not quite happy with the wording. I also realized that I am not quite happy with the images that I submitted for it.
That actually is quite interesting. I haven’t done night shooting for a few months and although I start feeling the itch, I was questioning whether I burned out or simply lost interest. Going through the article made me realize one thing – I grew out of my ‘old style’ and I need to re-invent my night shooting. It actually served well to take a rest – it was a good chance to step back and I know that I will move forward taking a different angle. Neither I was playing a truant all these time – my Black Light project transformed into something special and I’ve been working away on my next baby.
And as I already blogged, I am planning on doing some “traditional” landscape photography this summer. Here is the image from Alberta:
Meanwhile, using the occasion, I would like to introduce the PSA. Below is the text taken from the PSA Website:
PSA is a worldwide interactive organization for anyone interested in photography, be they casual, serious amateurs or professional photographers. Individual, Camera Club, Chapter and Council members are offered a wide variety of activities: a monthly magazine, photo and digital competitions, study groups via mail and the internet, how-to programs, an annual conference and a raft of other activities and services.
The Photographic Society of America was founded in 1934 to "Promote the Arts and Sciences of Photography and to further public education therein". There are members in all 50 states as well as 60 other countries of the world. PSA Headquarters are located in Oklahoma City, OK.
PSA is Worldwide
The opportunity to enjoy your hobby with members in 60 countries throughout the world. Established in 1934, it is the largest association of its kind, bringing together professional and amateur enthusiasts of all ages and levels of achievement. As a non-profit organization, its mission is to promote and enhance the art and science of photography in all its phases, among members and non-members alike.
PSA is People
The opportunity to meet folks from around the globe, to make new friends who share your interests, to reunite at our conference in exciting locations around the country. This annual "homecoming” offers total submersion in our shared craft where members and famous professionals present tutorials, shows, and workshops over four days with one- to five-day field trips before and after.
PSA is Sharing
The opportunity to teach through slide shows circulated to member clubs, councils, and chapters around the country. The opportunity to publish articles in our monthly PSA Journal, a quality magazine filled with stimulating and educational articles and features written by and for members. The opportunity to present shows and workshops at local, regional, and national meetings.
PSA is Learning
The opportunity for your images to be critiqued by experts via Personal Evaluation Services, accessed by fellow photographers in Slide and Print Study Groups, and evaluated around the country using Interclub Competitions.
PSA is Recognition
The opportunity to have your work displayed on the PSA Wesite, in the PSA Journal , and in International Exhibitions throughout the year. The opportunity to earn exhibition achievement ratings -- which can lead to PSA Distinctions for proficiency and excellence (PPSA , EPSA). The opportunity to volunteer your services on a local, regional, or international level which may lead to being elected an Associate or Fellow of the Society (APSA, FPSA) and other awards.vv
I have to add that I am not entirely happy with the way I wrote it. It was done rather in haste and it shows. It still is a great article on the subject that provides useful information, but I am not quite happy with the wording. I also realized that I am not quite happy with the images that I submitted for it.
That actually is quite interesting. I haven’t done night shooting for a few months and although I start feeling the itch, I was questioning whether I burned out or simply lost interest. Going through the article made me realize one thing – I grew out of my ‘old style’ and I need to re-invent my night shooting. It actually served well to take a rest – it was a good chance to step back and I know that I will move forward taking a different angle. Neither I was playing a truant all these time – my Black Light project transformed into something special and I’ve been working away on my next baby.
And as I already blogged, I am planning on doing some “traditional” landscape photography this summer. Here is the image from Alberta:
Meanwhile, using the occasion, I would like to introduce the PSA. Below is the text taken from the PSA Website:
PSA is a worldwide interactive organization for anyone interested in photography, be they casual, serious amateurs or professional photographers. Individual, Camera Club, Chapter and Council members are offered a wide variety of activities: a monthly magazine, photo and digital competitions, study groups via mail and the internet, how-to programs, an annual conference and a raft of other activities and services.
The Photographic Society of America was founded in 1934 to "Promote the Arts and Sciences of Photography and to further public education therein". There are members in all 50 states as well as 60 other countries of the world. PSA Headquarters are located in Oklahoma City, OK.
PSA is Worldwide
The opportunity to enjoy your hobby with members in 60 countries throughout the world. Established in 1934, it is the largest association of its kind, bringing together professional and amateur enthusiasts of all ages and levels of achievement. As a non-profit organization, its mission is to promote and enhance the art and science of photography in all its phases, among members and non-members alike.
PSA is People
The opportunity to meet folks from around the globe, to make new friends who share your interests, to reunite at our conference in exciting locations around the country. This annual "homecoming” offers total submersion in our shared craft where members and famous professionals present tutorials, shows, and workshops over four days with one- to five-day field trips before and after.
PSA is Sharing
The opportunity to teach through slide shows circulated to member clubs, councils, and chapters around the country. The opportunity to publish articles in our monthly PSA Journal, a quality magazine filled with stimulating and educational articles and features written by and for members. The opportunity to present shows and workshops at local, regional, and national meetings.
PSA is Learning
The opportunity for your images to be critiqued by experts via Personal Evaluation Services, accessed by fellow photographers in Slide and Print Study Groups, and evaluated around the country using Interclub Competitions.
PSA is Recognition
The opportunity to have your work displayed on the PSA Wesite, in the PSA Journal , and in International Exhibitions throughout the year. The opportunity to earn exhibition achievement ratings -- which can lead to PSA Distinctions for proficiency and excellence (PPSA , EPSA). The opportunity to volunteer your services on a local, regional, or international level which may lead to being elected an Associate or Fellow of the Society (APSA, FPSA) and other awards.vv
On Photoshop and on being a Purist
I’ve got a CS4 for my birthday and been playing with it non-stop. I am getting quite efficient and just can’t believe all of the awesomeness the software delivers (provided one knows how to use it). I design software for a living, so I can tell a good product from a not too great one. I can also tell when I run into a superb product. Well, the Adobe’s software I think has my highest respect. I’d say I became quite an advanced user in the last little while and it’s only know I can truly appreciate Photoshop.
I am learning software post processing for the composites and for some interesting people photography. While I did go nuts and made a “Martian” version out of some of my night shots, I intend to keep my light painting “organic” and not to tamper with them.
Below is the tame version of the “Martian” shots, which was really intended to mimic the night “IR”.
I used to be quite adamant about any software manipulation and I would always pride myself that I can do required job ‘in-camera’. And that is still valid. I am equipped with enough knowledge, patience and filters to get the shot I want. In the past, I was the first violin in the orchestra that plays the “poo poo” symphony to Photoshop.
Now, I processed my film and printed my pictures since a tender age. The dodging and burning, tinting and performing basic Vodoo moves in the contrast department seemed honest. Was it only because I was honestly inhaling chemicals that accompanied the magic? And how do I do it with digital?
Anyway, this rant could go on and on. And while I am becoming quite proficient in Photoshop (the results will be available in a few months when I am done with a current project), I still feel guilty manipulating my night shots in some ‘untruthful’ way.
Here is the source of the moderate guilt:
I didn’t make any serious offences with this image. It was converted to Black and White, slightly tinted. And that’s fine. There used to be a big stone in front of the cart and the bloody thing was just interfering with a scene too much. This picture was featured on my exhibition (original coloured version), I have a 24 inches print on my wall. I love the level of details and all, but I could never stand the stone.
I Photoshopped it out today. The purists will be disappointed I suppose as it doesn’t represent the reality and I had to compose better so the thing is not interfering with a scene. Sure, I didn’t work hard enough. Driving all the way to the very south of Montana and living over there for 10 days to get few shots. Cost me a fortune. My truck broke down and I had to walk at night to find help. I was sick to begin with when I went there and could hardly walk sometimes as it was just a few months after the car accident. I was sharing that night ghost town with a frigging bear and got frozen when the temperature dropped one night. Did I mention that I hardly slept for over a week? And so, when I finally composed the scene the way I saw it, the bloody stone was right there in front of the cart, and it would be a crime to photoshop it out ‘cause I didn’t try hard enough to get the best out of the scene.
It’s not about raising the bar, but I guess I am getting less rigid about Photoshop usage. Not to be disappointed – I am still going to be doing ‘organic’ light painting. It’s just I won’t feel guilty if I’d have to do adjustments such as in the example above. Especially in historical places, where I should thread lightly and not to move subjects around.
I should restrain myself from going over the Maya ruins I shot in Guatemala ;) grin….
I am learning software post processing for the composites and for some interesting people photography. While I did go nuts and made a “Martian” version out of some of my night shots, I intend to keep my light painting “organic” and not to tamper with them.
Below is the tame version of the “Martian” shots, which was really intended to mimic the night “IR”.
I used to be quite adamant about any software manipulation and I would always pride myself that I can do required job ‘in-camera’. And that is still valid. I am equipped with enough knowledge, patience and filters to get the shot I want. In the past, I was the first violin in the orchestra that plays the “poo poo” symphony to Photoshop.
Now, I processed my film and printed my pictures since a tender age. The dodging and burning, tinting and performing basic Vodoo moves in the contrast department seemed honest. Was it only because I was honestly inhaling chemicals that accompanied the magic? And how do I do it with digital?
Anyway, this rant could go on and on. And while I am becoming quite proficient in Photoshop (the results will be available in a few months when I am done with a current project), I still feel guilty manipulating my night shots in some ‘untruthful’ way.
Here is the source of the moderate guilt:
I didn’t make any serious offences with this image. It was converted to Black and White, slightly tinted. And that’s fine. There used to be a big stone in front of the cart and the bloody thing was just interfering with a scene too much. This picture was featured on my exhibition (original coloured version), I have a 24 inches print on my wall. I love the level of details and all, but I could never stand the stone.
I Photoshopped it out today. The purists will be disappointed I suppose as it doesn’t represent the reality and I had to compose better so the thing is not interfering with a scene. Sure, I didn’t work hard enough. Driving all the way to the very south of Montana and living over there for 10 days to get few shots. Cost me a fortune. My truck broke down and I had to walk at night to find help. I was sick to begin with when I went there and could hardly walk sometimes as it was just a few months after the car accident. I was sharing that night ghost town with a frigging bear and got frozen when the temperature dropped one night. Did I mention that I hardly slept for over a week? And so, when I finally composed the scene the way I saw it, the bloody stone was right there in front of the cart, and it would be a crime to photoshop it out ‘cause I didn’t try hard enough to get the best out of the scene.
It’s not about raising the bar, but I guess I am getting less rigid about Photoshop usage. Not to be disappointed – I am still going to be doing ‘organic’ light painting. It’s just I won’t feel guilty if I’d have to do adjustments such as in the example above. Especially in historical places, where I should thread lightly and not to move subjects around.
I should restrain myself from going over the Maya ruins I shot in Guatemala ;) grin….
Subscribe to:
Posts (Atom)
