After taking way too many water ski photos over three days… over 10K pics… at the Malibu Open two weeks before. I really needed to have some fun before finishing editing them. It was the first day of vacation, and a very steamy Saturday morning and I set out to find some birds. As hot as it was, I wanted to stay in or near the car, did not want to travel too far, and I also wanted to play with flashes.
Last year about this time, I went to a spot and had some luck with hummingbirds after going to the beach and taking photos of surfers. This year without the hurricane swell from storms to capture more surfing first, the hummers would be fun and also perfect to set up some High Speed Sync (HSS) flash on a few of the plants to see what I could capture.
Below you can see one of the flashes on a stand near the flower\plant I choose to photograph. Either I got my shots the way I wanted, or not but I was setting up and hoping to get lucky. I stayed in the car down low out of view as much as possible, with only the lens hanging out of the windows with the camouflage lens cover. Trying to move it slowly not to startle any visitors. Staying in the the car around most wild birds makes a big difference how close you can get to them. Just saying… get out and walk around around birds that are not used to it, and you need a longer lens to get your shot.
Cool thing about hummingbirds is they feed a lot… and almost like clock work. Most on a 15 minute schedule, but every hummer can be a little different. Use your phone and time the hummers feeding cycle. Unless there is more than one or they happen to be sitting in the bushes near you, you can pretty much do anything for 10 minutes after they leave, but after that get low and hidden before they are expected back. If using flashes, it may take a little while before they don’t fly off when the flash goes off. But after the second or third time they usually are used to it and it doesn’t really bother them at all. I find the plastic defuser on the end of the flashes seems to work great on the speedlights and gives you a little better chance of getting a hummer by spreading out the light around the plants.
Take a few hours to get to know them, and watch for patterns and how they move and feed. After a while you will get a feel for where they will feed eventually. If you are too close to where they feed, they will not come, so backup… it is not rocket science. Having enough reach with your lens so that you can pick your shots and background while still maintaining your distance is key. That way you don’t get stressed or the birds.
Setting you a remote camera with a motion activated trigger with a feeder with one open spot for feeding and multiple flashes, on a tripod with a fixed background can also yield some great results even using a macro lens using manual focus, but I prefer the challenge of shooting them on the fly. Have a bad background… use the flash to black it out if you have to do so. Photos are not as natural, but I still like them.
All images shot with a Canon 5d Mark IV with a Canon 300mm f/2.8 L lens on a 2x converter with a pair of remote speedlights and a trigger.
In 2017, the Malibu Open was relocated to Trophy Lakes on Johns Island, SC. Trophy Lakes has been the home of many record braking slalom ski runs so it seems fitting to have some of the best skiers in the world come and show their stuff! Below are a few little images
If you follow my work, you know I love photographing people doing what they love to do. Nothing is better than a competitive level sport and especially if it involves water or jumping! The higher the level of competition, the greater the challenge and the more I like it. I have been going to Trophy Lakes for over 5 years photographing every competition I can to practice my photography. When the Malibu Open was announced that it was going to be in Charleston, I took vacation days to photograph the warmup day and following two days.
Usually, I will take photographs every weekend of something I enjoy to practice. I try to take at least 1500 images every weekend and have fun. If I can find a sports event I want to photograph, I will, or I’ll find some birds or something else to photograph. In September 2017 alone, I took over 20,000 photographs. This was high even for me and so far it was the month to remember for my hobby. Captured some of my favorite images ever, that month! We had three hurricane swells of surfing at the washout at Folly Beach, and most of the best days were on the weekend and most of them were not raining and/or blown out. All the same month, my son was playing his senior year of high school football every Friday night, and his girlfriend played Volleyball during the week.
Some of the sickest swell I’ve ever seen a Folly over three consecutive weekends in a row!
I was already getting tired from the long month of photo opportunities, but it helped that with the surfing I was using a mono pod, but then to finish of the month with over 5000 skiing photos in three days with a night football game on Friday in the middle just to up the anti a bit for the weekend.
My son #1 running out of bounds the game on the Friday during the Malibu Open.
And on top of all of this “practice” mostly on the weekend, finishing up the month photographing professional skiers happened to be the greatest photographic challenge I have ever faced. Why, because they are so dang fast and only going in a straight line for a fraction of a second. They are going generally just over twice the speed of the boat and slowing down in the turns, and the complete run is usually less about 24 seconds. Which amounts to over 72 MPH for men and 68 MPH for women during various parts of the course in various directions relative to the photographer.
Besides the speed, another challenge is that the light most of the day just sucks on sunny days. It is not like they start at 7:00 a.m and finish at 9:00 a.m. when the sun starts to get harsh like I normally would aspire to do. Taking creative images is a must, depending on the location, time of day, wind and weather. High key and low key images were required to get some of the shots at all with the harsh shadows and extremes. Depending on the time of day, in a single 20 second run, you can go from complete high key situation with backlit subject, to normal crappy washed out bright day light, to a low key situation with splashes and refractions being blown out all over the place. Sometimes I pray for clouds and the wind to stop for the 30 seconds during the run and to start back after it is over! Sometimes you do get a cloud and then end up with a backlit nightmare and have to make the best of it. And I try.
I could setup on one buoy with a tripod and and take one shot or series of shots of each skier in one spot per run…but if you follow my photography, that is just not me. I want to get two or three buoy shots and the runs in between if I can. Depending which camera I want 7-10 frames a second of action at each point. I also want to get in the best spot to take the shot depending on the light
And below are the skiers that I had the privilege to photograph in 2017. I think I got all of them once, but I did leave at around noon every day in 2017.
The best news is that in 2018 the Malibu Open is coming back to Trophy Lakes! I cannot wait to take many more skiing photos and attempt to stay past noon all of those days. I have to learn to pace myself and not take photos of everything that moves until I get tired, like normal. But that is the great thing about being an amateur photographer, if I want to go home at noon, I usually do. One of my cameras has over 250,000 thousand pics on it already, I hope it lasts the rest of 2018.
Learning photography is a journey. I’ve not met anyone that could wake up one day and say I’m going to be a “great” photographer by tomorrow, next week or next year. There are so many different aspects to be considered when taking a photograph that every one of them cannot even be learned at the same time. Some are technical, like getting sharp properly exposed images, learning the post processing software to use, but many are creative and open to interpretation. That last aspect is the real tough side of photography, putting your unique personal spin on your images.
In this case, I’m not talking about snapshots right now or phone photos for use in Social media. I’m talking about a photo that someone would eagerly pay money to have a copy , that they could look at every day, or one you would be proud to hang on your wall or maybe it looks like an image on a magazine cover. Learning all the different aspects of the photographic process needed to take unique attractive images takes time and lots of practice . It is often the case you will have to learn one layer of a process, before you even know about other things you need to consider and learn for the other layers of the process. (Pardon the pun there, for those that are familiar with photoshop already.) If you have been taking photos for any length of time, you know what I’m talking about?
Depending on your subject and light, you may want to freeze all motion, or you may want to blur certain aspects of your image. You may want to only parts of the image sharp and the rest smooth like butter using bokeh with a shallow Depth of field, or have the image in focus from front to back and have to use a tripod to hold the camera still to get the shot you wanted. I could keep going about the different aspects that we have to learn, manipulate and control while learning photography, but things being out of control is why I choose to capture sports. Getting a cool image when you cannot control the light or angle of a subject completely is fun.
That may sound odd, but there is a method to my madness. I want to practice all the aspects of photography that I have learned and explore new techniques, and subject or aspects all the time. At the same time, I want to challenge myself in order to grow. With sports one of the best teaching aspects, is that you are out of control 99% of the time for multiple aspects of the shot. You could be outside, in a gym, in water up to your chest, at the beach or in a field. You cannot always control your distance to your subject if there is a fence or boundaries that you cannot cross. Referees are always trying to keep me away! You often cannot control the speed of your subject or in many cases the direction it will move, or they direction relative to the light or sun.
It also seems like it never fails, that the higher level of sport, the less the photographer can control regarding the photograph, the faster your subject moves and the less time you have to capture that moment. With many aspects of the creating the image out of your control, you have to use reliable practiced technique along with a solid understanding of photography principles to capture those fleeting moments and get good actions shots. You have to have studied and know your subject you will be able to capture those emotional moments that come through from effort, focus, or relief. The better you know your subject and are passionate about your subject, the better your images will be.
So I chose to capture sports to become a better photographer, expand my skills, practice exiting skills and techniques, and challenge myself to capture high quality creatively exposed images in a more consistent fashion. At first, every sports photograph you take is a really a challenge to get in focus. Since most photographers don’t start out with professional glass or fast glass, it can be even a greater challenge. Starting out with faster glass or lenses that let in more light in for the shots.
After you start getting some shots in focus, then you can start getting the exposure correct and in sharp focus. That is when it started to get fun. Then you start exploring different compositions and angles depending on the sport. Then you start to get close enough to fill the frame and getting some images you are really proud of taking. After a while you will start to focus on limiting your depth of field for your focus on your subject to inches, less than a foot or a few feet, depending on your subject.
Depending on your dedication and the amount you practice, eventually, you can walk up to any sport or location and “intuitively” know where to stand. It is one of the most important aspects to know where the best place “to stand” that you are permitted access to get a great angle with the light at the best to get detail… or hightlights. You might be laying down or up a ladder, so standing should be considered a loose term. Next, you will “know” the approximate exposure that you want to start your shoot with to get the DOF you want.
I also found that setting your camera to a baseline configuration. Set everything back to what you shoot most. Use Lightroom and see what your camera is on most often and use that as your baseline. That way you can make the setting changes without even looking at the camera. Then you can start changing the settings from your baseline to get it where you want it for that shot.
Once setup, you can feel when the light changes, or a cloud passes between you and your subject, and adjust your exposure to compensate without looking or even loosing focus on your subject. You can zoom in and out as a subject approaches you at 50 to 70 mph almost stops and then suddenly turns away. For example, going from 200mm down to 70 mm and back out to attempt to fill the frame for the best view of your subject if shooting with a zoom lens.
I like to say “three times” to myself when I try a new sport or photography subject. I try to only need three times to shoot any sport or subject at any location, to get the most out of myself and my equipment. To attempt to capture that magazine cover moment that makes people look twice at the image and sometimes take the time to really study an image. They may only look at that special image for 10-15 seconds… but that is 7-10 seconds longer than they look at most images on social media. Do I really need three times? Heck no, at least not always, but it really depends on the sport, the location, and how many keeper images I want from each “competitor” or player in the sport.
I take photos of what I want, when I want, when I can! As a non professional photographer with a real job during the week, I have the luxury to do so. No one is paying me most of the time to take photos so I can take them anyway I want, but I practice hard and challenge myself every outing. I’m only “competing” with myself, but every now and then I end up at a great location, with great light and a spectacularly amazing subject, sports related or not. And with all my practice, I can see the photo in my mind before pulling out the camera and know what gear I need to use to capture that image, and can efficiently setup for the image to capture what I saw in my mind.
I often am asked when I’m out to take photographs if I am a professional photographer. Usually this happens when I am out to take sports photos. I walk out with my relatively large camera and sometimes other professional looking gear, depending what I am shooting that day, and it is a natural assumption that I am I guess. I do take my hobby very seriously which is reflected in my gear choices.
I’m usually pretty quick to say that I am not a professional photographer when asked, sometimes too quick, and have seen where I have put people off being so quick with my response. I often say “no I am not, I am taking photos for me”. Because I am and if I have my camera with me, I’m thinking of the photos I’m going to take next already. The best part of being an Amateur photographer, I take photos of what I want, when I want, when I’m allowed to do so and always have permission.
Why do I not want someone to assume that I am a Professional Photographer? I have the utmost respect for many professional photographers, and many that I consider friends. But why does my skin crawl at the thought of being a professional photographer? A professional photographer must take pictures of what their clients are paying them to photograph a majority of the time. A majority of the time, a professional photographer, or someone that makes all of their income directly from photography, is not going to have the opportunity to be taking photos of subjects they want to photograph when they want to do so. Of course some are lucky and do get to do so, but sometimes they are not even taking the photographs the way they want to take them. Also professionals are taking “marketable images” like landscapes or images they were paid to capture and in some cases were told what the outcome should look like. They are asked “Can you take an image of this subject and make it look like this image the client found off the Internet?”
There are a few photographers that are lucky enough and or good enough to take photos of only what they love all the time, but that is not the fate of most professional photographers. Booking clients, meeting with them, setting up for shoots, prepping for the next shoot, scouting locations, or editing the photos from past shoots to get them to their clients take up a lot more time than actually taking the actual photographs. the business side of photography is much more time consuming than capturing memorable images. The hard part is that this also limits their time to explore the subjects they want to photograph.
Also professional photographers can be under great pressure to “get the shot” for whatever purpose the image is needed that they were hired to capture. The magazine cover, wedding photos, newspaper, marketing shot, prints or online display that their clients want or need. That stress alone would keep me from taking wedding photographs for a living. Bridezilla stories scare me worse than horror movies.
As an amateur photographer, I am only competing with myself and capturing images that make me happy. Learning computer development software and expanding my skills and challenging myself creatively to capture unique images that are memorable to me. And I’m under no pressure, because if I go to any event or location and feel like my arm is tired, or want to be home by noon so I can take a nap, or eat lunch it is OK. Or if I feel like I want to take photos of something else, I will just go do so. I’ll follow the light anywhere if I think I can get a unique shot.
Sometimes, I’ll challenge myself though as if I was a professional photographer. Limiting myself to the number of shots or attempts to get the look I want. Attempting to capture what I would consider at least one image “worthy” of being a “magazine cover” or in a magazine of every competitor in an event. And I have to tell you that really does turn up the pressure, that I don’t envy. And if I didn’t love taking photos of the subject I’m photographing, I would not most likely consider doing so. If I really like the subject, it helps keep me focused on taking images and being creative, or consistent, depending on the subject.
It is funny though, if I’m asked if I sell my photos, I respond differently than if they ask if I’m a professional photographer. I’ll give them a card, if I remembered to bring any which I often don’t, and I tell everyone to visit my website and that I hope they find something they like. I really I hope they find images that make them want to look at them more than once. If they like an image of themselves and want to use it on their social media as their cover photo sharing an image of themselves, that is one of the greatest of compliments. Nicer when they buy the image without a watermark and still give me photo credit.
Would I love to sell enough images to pay for one of my cameras or lenses someday, or even better all of them even? I really do appreciate the purchases from my website that support my hobby. And I also mark my calendar for similar events, when I have a good time and purchases were made from going to an event. Is it nice when people like or recognize my work on social media? Of course it is, but it is not what motivates me to go out and take photos almost every weekend, always looking for new challenging subjects and take thousands of photos. I take photographs for me, and that is all the motivation I hopefully ever will ever need. Sharing what I capture is just a plus.
Now if someone likes my work and is wants me to take some photos for them, I’m not against the idea if it is a subject I’m interested. But I have a real job, so hopefully they can wait until my vacation.
Does it matter if all your images are tack sharp? Well, that depends on what you want to do with your images. Or who and how you plan on showing them to others? For posting on the web and on social media… sharp enough is usually good enough. Facebook, Instagram, and other social media formats shrink and compress the image files and the images don’t always look great even from a really sharp image… but a good quality image does help it stay looking good when the are done with it. Also it is important to note, when editing a really sharp image that is properly exposed, over editing them is not always as apparent so the overall image looks much better also when done.
Below are two images taken within the same exact second with a 5D Mark 4, using a Canon 300mm f/2.8 lens using a 2x converter for a total of 600mm. A 5D Mark 4 takes 6.6 to 7 frames per second, so that is not surprising. And for a fast moving subject like birds in flight, depending on the angle, they can really challenge the auto focus systems of any camera and photographer, because it takes both to get a sharp image. Technique being way more important more often than the camera for moving subjects, even with newer cameras are getting better all the time and lenses with image stabilization that recognize panning motions help as well, but good technique will increase your “keeper” image rate drastically. You don’t need a $10,000 dollar camera to take great photographs of most subjects on a sunny day, but try a moving subject or even a subject sitting still in a snow storm.
Both of the images were 1/2000, ISO 1000, and f/7.1 at 600mm so the technique had to be spot on since the bird was coming at an angle off to my slight right so it was almost coming toward me. The closer it passes, the faster it will appear to be moving, and the harder it is to keep the focal point on the eye of the subject and the depth of field was getting smaller. The eagle was coming by for a relatively low close flyby, but thank goodness not too close, and I was handholding the camera, which I usually do when out shooting birds in flight, or birds period unless I’m in a blind type situation. It was about 25 degrees out and sunny, so the air was clear and free of moisture that can add haze to bird in flight images and why the sky was so blue. It was a two pair of gloves day with everything covered including my eyes with sunglasses.
The first thing I look at is the “catch light”, which can be in the birds eye or on other reflective parts of the bird. You would be surprised how often, there is a catchlight on the claws or beak on bright sunny days. Sometimes, the catch lights are on drops of water near the birds face, but in most cases if you have a small catchlight that doesn’t look like an over exposed blurry square, that is a great sign you have a really sharp well exposed image.
Sharp enough for most…when not 3x regular size as it is below.
After that, Start looking at the feathers and the depth of field to make sure the image is clean. The longer your lens and the larger your aperture the smaller your Depth of Field (DOF) relative to distance to your subject. And for the bird you also have to pay attention to the Plane of Focus as well. If you are using more than the single point of focus, your camera will focus on the closest point to the camera of your subject, like the tip of the wing. If you have a shallow DOF, which you likely do shooting birds, then you may get a great photo of the wing closest to you and the body of the bird is out of focus. For most photographers, it takes a lot of practice to keep a single point of focus on the head, eye or a centered focal point of the subject to keep your small moving subject.
When evaluating my images the uniqueness of the behavior gives some breathing room to allow for the images being less sharp. But that is mostly for images posted to the web, large prints are not as forgiving.
Next, look for the lines around the edge of the head or subject center of focus, is it a really thin line enlarged, or a little wide… thin is good. Below is the sharp image that the was focused very well .
Below is the image that is sharp enough for the web or Facebook, but cropped a little closer to make it easier to see, it is not as clean as the image above but doesn’t look that bad.
I take photos of what I want, when I want and post what I want all for me. I use Facebook to look back at previous years to see where I went to take photos, and look back and see where I had fun. I like taking photos of moving subjects, because of the many challenges associated with moving wildlife and sports.
My photographic journey is for me. Most days I go out shooting for just for the practice and to be ready when the light, subject, and I are all in sync and can capture something cool. And if you follow me on Facebook and Instagram, you will know, I share shots from every weekend, when I go to a contest or just go for a walk. I’ve met some great people and made some friends along the way, but in the end, it comes down to is the image sharp enough for me?
Below are a few more quick edits, mostly eagle shots, from the same morning Jan, 8th in Green Pond, S.C. as we were thawing out from a really odd long cold spell for the area. I had hoped that the freeze would make all the birds hungry and the fish slow, and I got lucky. I took over three thousand photos that morning. I could clean them up, likely a lot, but they are sharp enough from me. Even after taking photos for over 30 years, my best photos to me are the ones I will take next time!
Why should you get a new camera? Besides, because you want one, what are the logical reasons for getting a new or “better” camera?
You have to ask yourself some questions. Have I reached the limits of my current camera? Are you not able to get the shots you imagine because of the camera or your technique? New cameras can compensate for some technique flaws, but not all.
Newer cameras are faster some taking 10-20 frames per second, but if your timing is off and you don’t know your subject, faster doesn’t matter.
Newer cameras can take photos with less noise, if you set the proper or correct “creative exposure” to capture the scene in it’s best light.
Newer camera have more megapixels, but will create just as noisy of an image, if you don’t set the proper creative exposure to capture the scene in it’s best light.
Newer cameras have better dynamic range, if you set the proper creative exposure to capture the scene in it’s best light.
Newer cameras or lenses have better image stabilization to help keep the camera from shaking, but if you don’t hold your breath or hold your camera properly camera blur impact even the best of photographers if they get lazy.
Getting proper or creative exposure comes with practice, so does holding the camera still, and taking advantage of all the features of newer cameras. So back to my original question… the logical and simple reasons for needing a new computer, I mean camera.
You take hundreds of thousands of photos and your camera wears out completely. I know pieces can be repaired and replaced, but the chance of failure increases with use, just as much as it increases with the lack of use or proper maintenance, and could fail just when you needed. So replacing the camera before it fails, may be necessary if you really use your camera often.
Cameras and lenses abilities to focus are electrical driven with motors and other things. Just like a vacuum cleaner or a laptop they need to be replaced or tuned up.
The best reason, would be that your creative goals out weigh your camera\lens combination’s abilities to capture the images you imagine. The abilities to function in extreme conditions regarding the light, or lack of it, environmental conditions or subject matter. The speed of your subject, size, distance to subject, diminished light sources or the locations can greatly determine the abilities of the camera\lens required to capture the image.
I always wanted a Full Frame professional camera. But none of the logical reasons made making the purchase of a Full Frame camera required to make quite that expensive of a camera purchase. I could capture images of great or even good enough quality of what I wanted with the crop sensor cameras I had. I bought really fast lenses that allowed me to capture images in low light with good quality. So what made the difference for me? What requirement did the crop camera or a 7D Mark II not meet, that prompted me to move to a Full Frame camera?
Night games of high school football for my Son’s Senior season were the reason I needed to move to Full Frame. And I’m glad I did make the move. Doing so enabled taking pics of volleyball in the gym as well as to expand other creative areas of my photography.
Do you need an expensive camera to capture great images. As usual, that depends. A sunny day on a baseball or soccer field, no you don’t. Consumer cameras with basic kit lenses will take great images during normal daylight if properly exposed geared towards the strengths inherent to them. ISO 100, f/8 and auto shutter speed fast enough to stop motions enough to make good images and you can hardly go wrong and it all comes down to composition and technique. In fact, capturing memorable photos almost always comes down to composition and technique… even with a great camera.
I picked up a slightly used 5D Mark III on 5-30-2017 and sold it on 9-5-2017. After having a Rebel XT, T2I, 7D and 7D M2 which are all 1.6x crop sensor cameras, I decided I wanted to get a full frame camera to take sports photos at night and in the gym. I also wanted it for portrait work someday, but mostly for the low light ability and reduced noise at higher ISOs on the football field for my son’s senior year. It was one of the best decisions I have ever made regarding photography for me. (Buying my 300mm F 2.8 was the best decision I ever made, also for working in challenging light and for sports, but that is a different story.)
Why does a Full Frame camera have less noise in the images? Physics. Larger sensors with larger pixels means more light hits the sensor or each pixel on the sensor, which means a full frame sensor can gather more data per pixel, render images with improved dynamic range with less existing light.
Does that mean a Full Frame Camera is best for you? Not at all, and it is not always best for me either. I will not be giving up my 7D Mark II with over 230,000 actuations on it any time soon, or until the 7D Mark III comes out if it is even faster with better image quality.
So why was the 5D Mark III a great camera for me, and why did I sell it only three months later? Well it is easier to say why I sold it. The buffer for sports shooting was why I sold it. At only about 6 frames per/sec the buffer would fill up before I hit ten seconds and I would miss shots. After 20-30 shots shooting JPG, yes practically holding down the shutter, I was hosed and had to wait for a few seconds for the buffer to clear, or shoot in slow bursts timing for key moments. If I shot RAW files… it would freeze up after three seconds or less and have to wait for the computer to write the images to the memory card.
Was the full buffer all bad? No, shooting in bursts and focusing on key moments is a great skill to practice and a skill that should be developed. But when your son playing football his Senior year, runs over half the football field, stiff arming defenders, and spinning away from tackles, that buffer was unacceptable. I wanted my 6 frames a second, or more, of the entire length of the run. After the third game, the 5D mark II had reached it’s limits that did not meet my needs, which is the only time I would buy a new camera. I wanted them sharp, well exposed, minimal noise, and I did not to miss a moment.
But the 5D Mark III was an incredible camera and I captured some wonderful images with it as I got to know it’s limits and mine using it. These are in order from the last one taken to images on the first day I had the 5Dm3.
I have all L lenses for my Canon cameras. Picked most of them up used, but I love to shoot with them. And the 5Dm3 just loved every piece of glass I owned. The Auto focus was a challenge to get used to, since it was slower than I was used to with the 7Dm2. Most of the dials and switches were very close to the 7Dm2, so learning how to configured the manual setting at anytime without looking, or even in the dark when I picked it up before sunrise was very easy.
In the three months I had the 5Dm3 I put about 16,000 shots on it and besides the buffer filling up and the slower focus with less focus points, it was a workhorse and helped me to have a great three months. Also helped me to slow down, and focus on technique again and gave the 7Dm2 a rest after working so very hard for me since purchased. (Still works like a champ. The 7Dm2 being faster at everything, had me a little spoiled with the speed of focus and 12 frames a second. And it was a great way to get into shooting Full Frame and appreciating the differences. If I was a wedding photographer, two of those would have been all I ever needed.
Well the Camera (5DM3) did not meet all of my needs. And the 5D Mark IV has an unlimited JPG buffer at 7 frames/second, and since I shoot most sports in JPG format I felt it would be a great fit. (It was and that will be another post.) I did consider the 1DXm2, but at over $5,000 and me taking photos for fun, it was a little hard to sell even to myself. It is a full frame and shoots 14 frames a second and I could really have used that a few times in the last three months, but for the price and image quality of the 5Dm4, it ended up being a great fit.
Check out more of my work at My web site www.carymcdonald.com and through Black Friday images are on sale. All purchases go to help pay for the cameras and future camera gear and all support is appreciated.
I have a lot to share about the last year and will be putting up some more posts very soon about what I learned and what I captured. I was also captured by friends and a selfie to start with at the beach at sunrise in the first pic on Bulls Island, Magnolia Gardens, Bear Island, Folly Beach (a lot) always with a camera and on a mission. And was fortunate to be with lots of great photographers all year.
Selfie at Bulls Island boneyard beach in January.
I went full frame with two camera purchases, one was for only a few months. Picked up a new camera bag that holds more gear at the same time making shoots a little more flexible without having to go home, or back to the car, which holds both cameras.
Had some wonderful opportunities to shoot some spectacular events along with some new sports, including nature at its finest with epic surfing conditions for three weekends in a row, a world class ski event called the Malibu Open and my son’s senior year football season. (He did excellent and came out of it healthy! I could not be happier.) All in the last three months and my shoulder hurts pretty much all the time right now, and I don’t care.
Expanded my skills to include what I thought turned out to be some great group portrait work trying to take some memorable team photos of my son’s high school teams, for the fall season, which included, of course, his football team photo that came out almost exactly the way I planned out of the camera. And taking lots of photos of the rest of the seniors that have been a part of our lives that we have watched grow up for the last 14 years along with our youngest son.
I also learned more editing skills in Lightroom and Photoshop this year. Many of the above were on my years to do list. A few were surprises that really made my year an epic year for photography for me, and going to be hard to top next year, but I’m sure I will.
I found some subjects that I want to take photos of a lot more of next year (waterskiing) and try to focus on a little more. I think I see some travel is very likely next year to achieve those goals as well.
This past weekend, I did a complete overhaul of my website and looked back on a wonderful year and with Thanksgiving right around the corner, it is really fitting how thankful I am for the year I had.
Below is the link to my updated website and I will try to get to writing more posts more often. Take a look at the updated website and thanks for the purchases and support.
Why should I consider shooting RAW + JPEG even if I’m a beginner? Well that depends on you? Do you plan to print and sell your work? Are you delivering images to someone that hired you? Do you plan on getting serious about photography in the future? Are you starting to use Photoshop along with Lightroom and getting into actions, advanced selections, or luminosity masks?
If I knew when I started that I was going to eventually really get into learning the “digital darkroom” the way I was into my B&W enlarger and attempting to expose paper creatively, I would have shot RAW + JPEG on many occasions that I just shot JPEG. I would have archived the RAW photos of what I considered the best photos to CD or DVD and saved them forever, going back with the different versions of digital software as it improves and seeing what kind of detail or drama that could be enhanced.
Why, let’s face it, some of what you and your friends consider your very best photographs are some of the easiest you were ever able to take. What I would call a snapshot in many cases, but a perfect snapshot image just happens sometimes. You jumped out of your car or happened to be standing in just the right spot, and grabbed a moment. You lifted your lens or looked through your camera at just the right time and captured that perfect sunrise, sunset, bird or action shot as a quickie pic as you were just passing by. Maybe it was just your father’s or mother’s photo at a sporting event, or your kids in just the right light with a perfect smile or funny face. But it was a shot of something you love, because that is why you took it.
JPEG files use lossy compression or irreversible compression and that means once the camera takes the initial image and decides what it wants to keep and what it wants to throw away, the data is gone… You may have lost all your highlights, all the detail in your shadows or some of the dynamic range that the JPEG creation code, thought was insignificant to the image. Your 12-50 MB RAW image just became a 3 MB image of a white bird on display taken with the intention of being a high key exposure and the JPEG made a bird ghost image. JPEG files can be adjusted, but to make a really professional printable image that pops, some minor or major editing may be needed.
I fully believe that getting the exposure correct or even creatively correct in camera is or should be the goal and/or aspiration of every serious photographer. Don’t get me wrong, I shoot 99% manual out of preference, and I have learned to drive by or walk upon a scenic, low light situation, night time action shot, long exposure situation, or any outdoor available light subject and in 90% of the cases or more, I can set my camera to capture the exposure, and can “see” where I “need” to stand to make the most of the existing light and compose the shot I like I see it captured before snapping a shot, and then take a shot and be confident, I’m within and F stop or two of what I want to capture, before I lift the camera. If possible, I also try to take a few followup shots from other angles just in case… but after lots of practice, many times that first shot is the one I like the most. But if you don’t see the subject from the “other side” you may miss some incredible light to capture something unique.
I was not always adept at reading the light and getting the shot I wanted the way I wanted. Every now and then, I come across a shot from years ago that was shot as a JPEG with auto white balance, that I really liked that I could have cleaned up to make a fine print in Photoshop with a minor tweak and the more I learn about Photoshop, the more I could fine tune. But I’m finding that JPEGs having already disposed of the extra information stored in the RAW file not used in the rendering of the file, can make that small tweak a major job or impossible when editing a JPEG.
That being said, I also am working on learning the ever increasing capability of the digital darkroom or Photoshop. Photoshop is my number one goal this year for improving my photography skills, and the second is portraits which ties into my deep exploration of Photoshop. Even the great photographers darkened the corners and the skies to bring out more contrast in images on the enlarger before developing the image on a specific paper to get the look they were looking to produce.
When using a Canon Camera, it has a few built in JPEG or JPG image processing options, that can be set to tell the camera how to process the RAW image file at the time of capture. It uses these settings in combination with the White Balance selected, and saves the file as a JPEG, in camera and drops all the extra information and compresses the file after getting rid of the excess baggage that all the other presets save into the RAW file. This JPEG creation process also is a lossy compression image option. The process of creating the JPEG file drops detail and adds compression artifacts that need to be repaired to have an image that is captured as a JPEG look as good as a RAW image file.
When shooting some sporting events, I’ll shoot JPEG to make editing the images after the event easier. If the weather and light is constant, then applying the knowledge of how each preset can impact the JPEG process, letting the camera’s software process the image, saves time when processing the images after the event. If I shoot JPEG, I like the finishing touches that Topaz’s Dejpeg 4 and Topaz’s DeNoise 6 provide as additional tools in combination with Lightroom CC. They help refine the images, or clean them up, to get the final image quality that I would want for a print or to display on a really large detailed monitor. If you are not a photographer, you may not even notice the improvements.
If you elect to shoot JPEG, knowing how each setting impacts the final image really helps you to determine which setting to use. Changing them later in Lightroom, is possible, but it can degrade the quality of the final output. When the original JPEG file was created, in camera, it dropped all the other information captured in the RAW file that would have been used to support the other White Balance Settings optimally, for example. And that could have been used for other settings.
If you shoot RAW, you can take some RAW files and look at how each of the settings would have impacted the final images in Lightroom yourself. But if you don’t have access to Lightroom CC, below is the same image capture today in RAW, but exported multiple times, only changing the settings that the camera would use to help create the JPEG file, based on how the camera was configured at the time of capturing the image. Some of the differences are very subtle and some are easily noticeable.
Since RAW files do contain all the image details and data captured at the time the file was created, pushing the limits of editing images created in difficult light or even with the exposure slightly off can be addressed without the loss of image quality. Try to brighten a really dark JPEG file, and the noise can make it look pretty rough, but with RAW, lightening a file by a F-Stop or two, is usually not an issue.
The rest of the images below all are shown with the Camera Standard, but I chose each of the Preconfigured White Balance settings. White Balance is set based off the Temperature of the light and a Tint setting and deserves a whole article someday, maybe. If I get around to it.
Maybe you never shoot an image in RAW, or take the time to learn all of the default camera settings and how they impact your shots. But knowing a few of the more important ones, and how they impact your final images may help to save a life time of memories in a more vibrant light.