Stuck At Home? - Fun Photo Projects Lesson 1

The COVID-19 pandemic has turned many lives upside down. It has caused many of us to completely alter our routines, and has impacted nearly all aspects of daily life. The good news is that we are photographers, and we can entertain and enrich ourselves at home even during these trying times.

This is the first in a series of Blogs in which I want to share creative ideas and tips for you to do at home. You may be familiar with some, and others might be new to you. Either way, give them a try. I hope they will help you tap into your creativity, and provide some fun and relaxation while you fill your days at home.

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TODAY'S LESSON - THE TWIRL TECHNIQUE

You can start with any image. It really doesn't matter because the end result is completely different from where you started. You can try this with wildlife, flowers, scenics, buildings, and more. Here is the image I started with. This is Sandhill Cranes taking off at Bosque del Apache National Wildlife Refuge in New Mexico.

BEFORE

You never know how the colors or shapes are going to turn out, and that is part of the fun.This technique is done in Photoshop. It just takes a few steps to create a unique abstract work of art. Here are the basic steps, but feel free to experiment once you have done the basics. Let your imagination and your creativity run wild! Ready? Here's how to do it.



1. Open an image in Photoshop.

2. Go to Filter > Pixelate > Mezzotint. Make sure the Mode is set to "Medium Lines" and click OK.

3. Now go to Filter > Blur > Radial Blur. Amount 100, Blur Method "zoom," Quality "best." Click OK.

4. Repeat the Radial Blur step above as many times as you like. I generally do the Radial Blur step 3 times.  

5.  Now, make a duplicate copy of the Background Layer (the main image layer you have been working on so far). The keyboard shortcut to create the duplicate layer on a Mac is to press and hold the Command key and then press the letter "J."  If you are working on a PC, press and hold the Control key and then press the letter "J."  This duplicate layer will most likely be automatically named "Layer 1."

6. Now that you have two identical layers, click on the original Background Layer in the Layers Palette to highlight it. Then go to Filter > Distort > Twirl. In the Angle number box, enter a positive number anywhere between about 80 to 200. Make a note of this number. (You can also set the number by sliding the pointer to the right to obtain the positive number of your choosing). Click OK. Note that you will not see the effect of what you have just done unless you turn off the "eyeball" in the Layers Palette of the duplicate layer above the Background Layer.

7. Now click on the duplicate layer (Layer 1) that you made a few moments ago to highlight it. Go to Filter > Distort > Twirl. In the Angle number box, enter a negative number than is the same as the positive number you used for the Background Layer. (You can also set the number by sliding the pointer to the left to obtain the negative number of your choosing). Click OK.

8. With the duplicate layer still highlighted, you will now change the Blending Mode. This is a very powerful tool, and you will be excited when you see the results. To activate the Blending Mode, look for the word "Normal" in the Layers Palette, a little above the duplicate layer (Layer 1). Click on the tiny arrow next to "Normal" and a drop-down box will appear. Click on each option in the drop-down box one at a time and watch the magic happen! Choose the Blending Mode that appeals to you most. There is no right or wrong choice. One Blending Mode might work best for the image you are working on now, but another one might work better for other images in the future. Be creative and choose the one you like best for each particular image.

9. When you have found and selected the Blending Mode you like best, you can either flatten the image, save it and be done, OR you can continue to experiment and play by rotating one layer or the other to see what effects are possible.  You can also experiment by flipping one layer or the other, and use Blending Mode again to see what happens.

10. For finishing touches, you can saturate the colors for more punch if needed, or crop the image for better composition, or convert to black-and-white, or use any other options that you feel works with the image.

TODAY'S QUOTE: "The true method of knowledge is experiment."  -- William Blake

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Congratulations Bernie Lewis!

This spectacular image of a Bald Eagle was captured by Bernie Lewis on an Awake The Light trip to Alaska last summer.  There was a great group of photographers traveling with me for a week aboard a private chartered yacht on the Inside Passage. We had several opportunities to photograph eagles from our boat, and Bernie nailed this shot perfectly.

This superb image titled "Got It" has garnered many awards for Bernie. It won a First Place for Best Bird at the 2019 annual New England Camera Clubs Council competition, was a semi-finalist in the annual 2020 North American Nature Photography Association competition, Image of the Year Honorable Mention in the 2019 Delaware Photographic Society competition, First Place Two Rivers Photography Club end-of-year 2019 competition, and Acceptance in the 2019 Merrimack International competition. Quite a list!

Congratulations, Bernie!

TECH SPECS
1/2000 sec at f/6.3, ISO 1000. Canon 100-400mm f.4.5-5.6L IS II lens set at 180mm on Canon 7D Mark II body, handheld.

TODAY'S QUOTE: "Winning doesn't always mean being first. Winning means you're doing better than you've ever done before."  --Bonnie Blair

Sunrise Sunday

If you love sunrise but miss too many of them because it comes too darned early, this Sunday is your chance! We go back on Daylight Savings Time which means that sunrise will be an hour later than it has been. And Sunday will be the latest sunrise time until next winter. So seize the day, set your alarm, and get out there on Sunday!

This dramatic scene was shot in Acadia National Park in Maine. The sun broke through heavy mist just briefly to create this fiery sunrise.

Some sunrise shooting tips:

- Pick a location ahead of time so you know where you want to be on Sunday morning.

- Arrive on location at least an hour before official sunrise time. Why? Because the sky will already be getting light, and some of the best shots are possible long before the sun actually breaks the horizon. The colors are better, and the contrast is not as intense as it will be once the sun appears.

- Shoot on a tripod. Long exposures are fine before the sun breaks the horizon. Plus you can stop your lens down to f/16 or better for great Depth of Field in the low light. Use either a cable shutter release, or a remote trigger, or set your camera to a 2-second delay if you do not have either of them. That will reduce any camera shake when you press the shutter for long exposures.

- In the predawn light, start with an ISO of 800. As the sky begins to lighten, you can reduce the ISO to 400 or 200. Pay close attention to the light intensity as official sunrise time approaches, since the amount of light will increase quickly. Be prepared to change the shutter speed and f/stop as the skies lighten to be sure of getting a good exposure.

- Set your camera on Aperture Priority

- Set your f/stop to f/16 or f/22 for good Depth of Field

- The shutter speed will set itself, and as long as you are on a tripod, any shutter speed will be fine.

- Autofocus works well as long as you are careful. Find an area of the scene that A) you want sharp, and B) has some contrast so that the autofocus can grab onto that subject. A hard edge is also helpful, like the edge of a tree trunk or a line of mountain ridges. There MUST be some contrast in the area of the image you are focusing on for autofocus to work. Live View is not very effective in low light since it has trouble grabbing onto anything to focus on.

- Check the Histogram every few shots to make sure exposures are good. Remember, the light will be constantly increasing.

- Lens choice is yours, depending on the scene you are shooting. A wide angle lens will include more of the scene but the sun (when it finally appears) will be small. A moderate telephoto lens (70-200mm) will include less of the scene but the sun will appear larger. And a long telephoto (300 or 400mm) will make the sun look huge but will eliminate most of the scene. Bring 'em all to get a variety of views and interpretations. But keep in mind that when the sun does appear, it will move VERY quickly so having two camera bodies, each with a different lens, will help you get more shots in the short time you will have.

- Once the sun appears, it will most likely appear bright white in your images, and you will get the "blinkies" indicating overexposure. But that is OK since the brightness of the sun will be many times brighter than the rest of the scene. If you change exposure to reduce the brightness of the sun, the rest of the scene will be rendered too dark and underexposed, resulting in too much noise in your images.

- Take lots of shots. You can't take too many. Then, after you download them onto your computer, you can select the ones that work best for you.

So get out there and shoot. And have fun!

TECH SPECS
1/4 sec at f/11, ISO 200. Canon 17-40mm f/4L lens set at 17mm on Canon 7D. Gitzo tripod with ballhead.

TODAY'S QUOTE: "We can only appreciate the miracle of a sunrise if we have waited in the darkness."  --Sapna Reddy

MACHU PICCHU, Peru - August 28 - September 4

FANTASTIC PHOTO TOUR OF MACHU PICCHU, 

PLUS THE SACRED VALLEY!!!

This 15th Century Inca enclave is famous 

the world over for its ancient ruins. 

It existed virtually untouched from the mid-1500's 

until it was re-discovered by an American 

historian in the early 1900's. 

Incredible photo opportunities 

and a glimpse into an exquisite culture 

await us at this UNESCO World Heritage Site. 

This legendary and revered ancient land will be an incredible photo trip in all respects. And every step of the way we will travel in comfort and style.  See the splendor of Machu Picchu, plus travel back in time to the nearby Sacred Valley with even more ancient temples, citadels, artifacts, and exciting landscapes. We will also photograph the lively handicraft market.

Our days will be filled with a vast array of photo opportunities, and our nights will be in lovely hotels with wonderful meals. We will travel in style aboard scenic expedition trains and comfortable buses.

Here is a peek at our hotels:

And here is a look at our expedition trains:

TRIP DETAILS:
WHEN: Friday, August 28 - Friday, September 4

WHERE: The trip begins and ends in Lima, Peru

FEE: $4990 per person, double occupancy (single supplement $590).  Fee includes 7 hotel nights, most meals, ground transportation, photo instruction / personal coaching / technical pointers / informal image critiques, guide service, baggage handling, airport transfers, most gratuities, and detailed Destination & Travel Packet. (NOT included are airfare to / from Lima, and to / from Cusco, alcoholic beverages, drinks, Trip & Travel Insurance, personal expenses and incidentals, a few meals.)

DEPOSIT: A deposit of $750 will reserve your space.

ITINERARY: (complete Itinerary sent on request)
Friday, August 28 - arrive Lima from home (hotel night and the next morning's breakfast included)
Saturday, August 29 - fly to Cusco in the Peruvian Andes, and drive to the Sacred Valley (hotel night and BLD included)
Sunday, August 30 - explore the Sacred Valley with our guide for scenics and archeological sites (hotel night and BLD included)
Monday, August 31 - more in-depth exploration in the Sacred Valley with its citadel, ancient temples plazas, and a visit to the handicraft market (hotel night and BLD included)
Tuesday, September 1 - scenic expedition train to Machu Picchu for a day of exploring the Incan Citadel and archeological site (hotel night and BL included)
Wednesday, September 2 - sunrise shooting at Machu Picchu, and much of the day to explore more of the area (hotel night and B included)
Thursday, September 3 - sightseeing and photographing in and around Cusco including The Temple of the Sun, main cathedral, nearby valleys with a working camelid farm (llamas, alpacas, and vicunas), and weaving demonstrations (hotel night and BD included)
Friday, September 4 - fly back to Lima and home (breakfast included)

FOR MORE INFORMATION OR TO REGISTER,

EMAIL

awakethelightphoto@icloud.com 

or  CALL 757-773-0194