I was walking around in my yard which I left mostly wooded, and found a newly emergent pine tree with the seed pod still attached to the end of the pine needles. I set up and was rewarded with a nicely backlit pine tree, but with half the background in bright sun.  What to do! I knew I would try to use Highlights and Shadows controls to brighten the shady area and knock back the bright area, as can be seen in the second photo. It is an acceptable result, but if I were done taking photographs, this post would be over also.

While maximizing the highlight and shadow adjustments of Lightroom results in an acceptable image, I know that I can do better, or at least different. And I better do it while I have a cooperative subject.

My approach here is to provide shade for the entire scene by placing my body between the sun and the subject. To accomplish this I need a couple of tools that I happen to carry with me whenever looking for small objects to photograph. First, the camera is placed on a stable platform such as a tripod or the Platypod if I’m getting very low to the ground, to keep the camera framed properly. Second, I control the camera using a remote control to trigger the capture. Although this can be a wired remote I prefer using a wireless remote because of the flexibility it provides. I’m no longer limited by the length of the cord plus the length of my arm. And third, I take advantage of the articulating screen on my camera body to be able to observe the scene I have framed in my camera, while I am maneuvering my body to block the sun. This ensures I properly position myself for the desired results.

By watching the monitor that I have flipped around to be facing me as I block the sun, I am able trigger the capture with the wireless remote when I am certain I am in the correct position. In the second image above, you can see the pine tree seedling in the green circle, the receiver of the wireless remote is on the ground to the right of the camera. To the left of the camera is a Litra Torch LED light on a Platypod Ultra, spigot adapter and small ball head. Before turning on the light, I made a few captures for comparison. The resulting image (below, left) has a nice even light to it, But the upper right quarter seems a little brighter than the rest of the scene. I feel my eye is being pulled from the seeding and to the upper right, but there is nothing significant there.

I dropped the overall exposure by about 2/3 stop and used the LED light to help separate the seedling from the dark background. It also brought out the texture of the seed and in the stem.

I used my body as a sun block and a remote control to trigger the capture in these two examples. For the Spotted Wintergreen I stood to the left of the plant while making the exposure.

For the red fungus growing on the side of the tree stump, the offending sunlit spot is to the far right of the subject. I set up the camera with the screen flipped around so that I could see it, stood behind the stump and held my hat in the path of the sunlight so that I cast a shadow in the correct location. In this case I also added a Litra Torch to the left side of the stump to light the underparts of the fungus.

On occasion, I find a composition I like, but the brightness of the foreground and the background are so different that a single capture is difficult. I find it best to get the image captured with the least amount of processing anticipated. In this example, I have a starflower; a small white flower next to a moss-covered fallen tree. To complicate matters, a breeze is blowing the flower around, at times quite a bit. It is in the shade and the background is lit by the sun.

These images are captured with the Olympus E-M1 Mark II and a 12-40mm f/2.8 PRO lens set at 14mm (equivalent to a 28mm lens on a full-frame camera), exposure of f/11 and ISO 200. The shutter speed is 1/10^th second or 1/60^th second as noted later.

The first two images show the amount of image blur captured due to the occasional breeze. Even when it seems as if the wind has reduced enough to make an image, there is some slight motion. Some may question why I didn’t change the ISO to 3200 to get a shutter speed of 1/160^th second.   While that may be one way, it does not solve the problem of the bright background, and it may not be enough to stop the motion in the flower and leaves. With flash, I can do both.

For this reason, I had brought out my small Flashpoint Zoom Mini R2 Speedlight, a Westcott Micro Apollo softbox, and the Flashpoint R2 transmitter. The transmitter allows the flash to be controlled by the camera electronics without being physically attached to the camera. This permits enormous flexibility in placing the flash relative to the subject. The camera controls the amount of light the flash provides by measuring the light reflected from the subject into the camera sensor. The amount of light from the flash can be controlled using flash compensation control. While the camera makes the decision on what it thinks the correct amount of light should be used, the photographer can adjust that by adding more, or less, than the camera calculates. I typically set the flash compensation to -1 stop as a starting place as I find the image too “hot” at +/-0 compensation. 

Darken the Background

First I wanted to darken the background so that it would not draw the eye to the top of the image. By reducing the shutter speed to 1/60^th second, the background became darker by 2 ½ stops and it brought down the amount backlight on the moss by the same amount. However, it almost brought the foreground into complete darkness as seen in Image 3. This is a good thing because I wanted my flash to provide most of the light on the subject: the flower and the moss-covered log. 

Leaving the camera setting as they were, I turned on the flash controller, held the flash to the right and above of the scene, and captured Image 4. The softbox on the flash results in a soft even light on the subject leaves no harsh shadows. I make a capture then check the focus on the key elements in the scene and fire away.

I usually make several additional captures with the same setup and settings but move the flash to different positions relative to the subject. With the breeze moving the flower around, I had the capability to stop the motion of the flower in different positions because the flash was providing virtually all the light required for the exposure.

Lighten the Background

Another example where flash was helpful in similar circumstances is shown in these images. These unedited images are captured with a Canon  5D Mark II and Sigma 150 f/2.8 macro lens, the best macro lens I ever owned (sadly no longer in production),  ISO 400 and f/10 at 1/40 second. They were taken 15 seconds apart. The only difference is that I used a Canon 580EX II Speedlite to light the tree in the background. I thought that the dark tree disrupted the background and sought to even out the tonality of the tree to match the more distant sunlit forest.

As you can see, flash can be a handy tool to have in your camera bag. If you can’t find a similar lighting situation in your yard, you may want to try the technique on a scene you create to force the conditions similar to those shown in this post. The last image shows my in-situ setup to capture the starflower images showing the camera mounted on a ball head with Platpod base and the flash with softbox handheld. I used an RF remote control to trigger the camera.

Our lodging was located in Townsend, TN. There are several lodging choices in this town, and it is located to the northwestern corner of the park near Cades Cove, a popular area of the park for wildlife and historical structure. We made a late afternoon drive through this area on the first day of the trip and saw 14 black bears and cubs. However, due to the unpredictability of wildlife, we had only one sighting during the other four days of our trip. All the wildlife images were made in the Cades Cove area with the exception of the snail which was found on a tree near the river along the road to Tremont. While we occasionally sighted white-tailed deer and turkeys a few times, the opportunities were not great most of the time. That’s nature for you.

Wildflowers were everywhere in the lower elevations, the trees and other vegetation at the higher levels were still bare. Some species, such as the white trillium were past prime and showed a pink coloration. Occasionally, a blossom or two in good condition found their way in front of my lens. Since I was traveling with a group I was conscious not to get too carried away with any particular patch of flowers, although John encouraged me to get the images I wanted and did not rush me.  There were several roadside river locations that had a variety of flowers growing, and several images could be made in a short time. Once in a while I had to rely on flash or small LED lights to provide illumination in the darker areas of the forest.

Rivers ran near many of the roads, and small cascades and waterfall were found in many locations. The ideal weather to photograph these water features is overcast, preferably after a rain. The overcast conditions provide an even lighting and the rain wets the rocks and vegetation darkening their color. The last day was the only one that was cloudy and we had saved the road to Tremont for the last morning. John said that we would have visited this area earlier in the trip if the weather had been better.

Additional images from the Great Smoky Mountain trip are coming in the next post.

This spring was a spectacular year for the lady slippers in my backyard.  There was one cluster of 20 flowers, with smaller plants of one to three flowers nearby.  The flowers are located on the edge of the forest, next to a pile of cut logs with a rack of firewood behind it.  Natural lighting can be difficult to deal with as the sun is low on the horizon sending shafts of light through the foliage of the trees.  Occasionally overcast skies provided flat light that reduces or eliminates harsh shadows on the flowers. It was an opportunity to try several techniques capturing these beautiful flowers, and I went out early each morning while the air was cool and still.  Once the sun starts warming the ground, air currents are created and even the slightest breeze results in significant movement in these large flowers on long stems.  I often used a 160 LED lamp to illuminate a single flower. Most images are captured with a Sigma 150mm lens on a Canon 5D Mark II.  I used tripod or beanbag for support and a wireless remote shutter release to avoid any movement during exposure. In addition to single captures of the scene, I made many captures with focus stacking in mind as well sets of images (a series of the same image at all f-stops) for use in teaching programs.  I also made a few images using a 50mm f/1.8 on the Canon 7D.

The first set of images were made by selectively focusing on different parts of the flower, then merging them into one image file using Helicon Focus stacking software.  Last year I had done quite a lot of image taking and analysis in an attempt to understand where focus stacking works and where it doesn’t. The extensive blog posts totaled 30 pages.  Helicon Focus recently had an update and added a new stacking algorithm which I used on a trial basis.  I was satisfied that it performed well on these image and purchased a one-year license ($30) for the Helicon Focus Lite.  I plan to reprocess the images sets I took last year to see if the new algorithm solve some of the problems I described in my posts last year.

The reason for using  a stacking program is to benefit from an extended depth of field at the subject while shooting at a large aperture to retain the soft out-of-focus (OOF) background.  The images are labeled as a single exposure or number of images stacked, and the f-stop used.

To better see the effect of aperture on depth of field, images of a scene were captured at a various f-stops, and one image was constructed of several captures stacked together. The higher the f-stop (smaller aperture), the greater the definition in the background structure.  As the aperture is opened, the depth of field lessens and the background becomes a pleasant, soft blur. Unfortunately, the wide aperture doesn’t capture much of the flower in sharp detail, which is where focus stacking can be of benefit.  Care must be taken in capturing images for focus stacking to ensure sufficient overlap in the regions of sharpness.  The technique doesn’t always work cleanly, and in some cases there are artifacts that require a lot of editing to correct, if they can be corrected at all.

This small lodge, located in a valley between the Poas Volcano and Juan Castro Blanco National Parks offers a diversity of subjects to photograph. The owners, Federico and Vanessa González-Pinto are working hard, and succeeding in, developing an ecological corridor linking the two nationally protected areas.  They are amiable hosts and are truly concerned for the nature of Costa Rica.  In addition to the variety of landscape opportunities of the cloud forest moss-covered trees and rushing streams, the place is teeming with hummingbirds.  There is also an extensive collection of orchids located near the main building that hosts hundreds of orchids, and the owners sponsor orchid research supporting preservation efforts.  On the afternoon of our arrival, I spent some time photographing in the forest, and captured a few images of hummingbirds hovering near the feeders.  The first orchid in the series is a stacked focus images, made from six images that have different zones in focus.  I’ll be writing a blog post on the technique soon.

In addition to the local photographic opportunities, two setups for high speed flash photography were made available on the second day of our stay here and a schedule for use by the participants was established.  Initially we set up hummingbird feeders to attract the hummers to the sets, but switched to flowers after the first round.  While high speed flash set ups make photographing crisp images of hummingbirds possible, it’s difficult to predict exactly what the image will look like until you view the image.  It’s a simple matter to take a photo of the hummingbird with its beak in the flower since it stays there for a few seconds, although you never know what the position of the wings will be.  It’s much more challenging to catch the hummingbird approaching or departing from the flower, or if there is an altercation with another hummingbird. On several occassions the birds were landing on flower pants and breaking them off, making for a not-so-attractive flower.  I walked over to coax a Green-crowned Brilliant off a flower and it stepped onto my finger where it stayed for a full minute.  Luckily, I still held on to the wireless remote control and was able to capture some images.

On the third day of our stay at Bosque de Paz, we made a day trip to a nearby restaurant that has access to the 110 meter Bajos de Toros waterfall.  There are trails through the forest and a set of stairs that descend to the base of the falls.  Two hummingbird high speed flash setups were placed in the open air restaurant to take advantage of some species which were not found at Bosque to Paz.  This was the first time I had seen a black-bellied hummingbird, a very small bird that fluffs the feathers on its head in a curious way when it is perched.  When it is flying, the feathers are flattened aerodynamically.

After dinner at Bosque de Paz, a few of us ventured out around the lodge and down a path to find insects and frogs for some nighttime macro photography.  We did find a small tree frog which was about ¾ of an inch in length, and we had great opportunities with a cicada which had just climbed out of its shell and was still damp and unable to fly.  We all had our turn photographing this amazing insect by flashlight.

Arenal is the country’s most active volcano, with continuous emissions of lava and incandescent pyroclastic flows since the beginning of the present active cycle in 1968.  In 2010 when I visited this location, the eruptions could be heard day and night roaring, coughing and spitting, but due to the low cloud cover, not seen. I did get a view of the pyroclastic flows through a break in the clouds for about 30 seconds one evening. The weather did cooperate this year with clear skies one evening and clear skies one morning during sunrise.  Unfortunately, the volcano stopped erupting to a great extent three months prior to our visit.  It was quiet. You could still see steam coming from several vents in two locations near the summit, but no fireworks.  The lodge grounds offer many gardens, and there was an extensive garden right outside our room where we could observe hummingbirds feeding at the flowers.

We spent one day at a nearby facility that houses a wonderful collection of frogs, toads, snakes, and lizards. The staff set up several stages with natural vegetation, moss covered rocks and stumps; the vegetation on the nearby hills provided out of focus backgrounds, and we could photograph with natural light or with fill flash as we chose.  It was a great opportunity to photograph species which would be difficult, if not dangerous, to photograph in the wild.  The facility also had a butterfly enclosure which I visited while waiting for the set ups to be ready.  Once the stages were completed, several species were brought out and placed in the setup.  An experienced caretaker stayed with the animal at each set up, repositioning the subject when it moved into a position that was not photographic.  The caretaker would replace the animal when it appeared to be too active, or when photographic interest in that subject diminished.  At the end of the day, one caretaker asked my wife Chris if she wanted to hold the Rainbow Python, which she did.  She was surprised that it was very soft to the touch.

We also spent a morning at the Danaus Ecocenter.  There was a limited number of birds in the area due to the time of year, but quality is often better than quantity.  We had quite a long time with several Collared Aracaris feeding on fruit very close to the path.  And one of the guides showed us the location of a baby three-toed sloth since it was not on one of the main paths, but on a service road.

All in all, Arenal Observatory Lodge is one of those locations in Costa Rica which could easily support a week’s worth of photographic subjects, if you know where to look.  There are trails up through the forest to the lava fields and a large lake that we didn’t explore on this trip.  However, unless you were on a Foto Verde guided trip, you wouldn’t have the opportunity to photograph the variety of reptiles that I did on this trip.

Costa Rica 2011 The Art of Biodiversity – Part 4

My blog entries for this trip will be divided by location, starting with the Bougainvillea Hotel in Heredia, near San Jose, the capital of Costa Rica. We also traveled to Selve Verde Lodge, the Arenal Observatory Lodge, and the Bosque de Paz Ecolodge as well as side trips from those locations.

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The Bougainvillea Hotel This was my third trip to Costa Rica and each time I stayed at the Bougainvillea to start and end each trip. Tour providers choose this hotel in a residential area for its 10+ acres of gardens that include over 50 species of bromeliads, native trees, orchids and frog ponds. Each visit offered different plants in blossom. And while my two visits in March had quite a few birds in the garden, in June the migratory birds were gone, and the local birds were raising chicks and mostly staying hidden. There were more plants in blossom, but fewer orchids. In any case, I wasn’t disappointed with the opportunities to use my macro lens.

Costa Rica 2011 The Art of Biodiversity – Part 2

 Assassin bugs get their name from the way they attack their victims, inflicting sharp stabs with their beak.  Their front most legs have powerful muscles to grab and hold their prey while the body fluids are sucked out. The bug pounces on bees and other pollinating insects. After grabbing the prey, the insect thrusts its cutting beak in to the victim’s back, injects an immobilizing digestive agent, then sucks out the body juices.

 For these images I used a Canon 40D camera with a Sigma 150mm macro lens and a Canon MT-24EX twin light.

Photographing inside the exhibition was frustrating in that there were so many people there, even though I went the first day at the opening time.  Macro photography is the best choice as tripods are not allowed, you can get close to the subjects, and using flash can light up areas within blossoms even while hand holding the camera.

Watch for next year’s flower show scheduled for 25-27 June 2010.