Photography Tips
by Michael Frye | May 9, 2009 | Photography Tips, Yosemite Photo Conditions
Last night I joined the throngs in Cook’s Meadow to photograph the lunar rainbow on Upper Yosemite Fall. There were at least 100 photographers around the meadow, and probably many more at the bridge below Lower Yosemite Fall. Like Horsetail Fall in February, lunar rainbows have become a photographic phenomenon. Until recently the most popular place was at Lower Yosemite Fall, but since Don Olson published specific times for seeing the “moonbow” from the Sentinel Bridge in Cook’s Meadow this spot has attracted lots of photographers. The big advantage is that it’s dry! At the bridge below Lower Yosemite Fall it’s impossible to keep mist off the front of the lens.
You can’t really see a lunar rainbow with the naked eye. Our eyes don’t render color very well in the dark, so at best you can see a bright arc and maybe a hint of color. But the color is there, and film or digital sensors capture it well. One of the reasons that more people haven’t photographed lunar rainbows from Cook’s Meadow in the past is that you can’t really see it from there. With film you’d just have to guess about the position and wait to find out whether you were right. With digital sensors it’s easy to just take a photo and see the position of the rainbow.
Last night the moon was bright enough that I could see the rainbow fairly well. Along with everyone else I watched it move down the fall as the moon rose. When the rainbow fell too low, most people packed up (it was 11:30 p.m. after all), but I followed the moon westward and saw an even more vivid rainbow from near the Yosemite Chapel. This photograph was made from that spot. Rainbows form a circle around a spot opposite the light source—sun or moon. Lunar rainbows can be seen on any waterfall that gets moonlight if you position yourself properly. In fact I photographed a lunar rainbow on Castle Geyser in Yellowstone many years ago. Maybe I’ll put that image in another post.
Long exposures with digital cameras can create lots of noise, but newer models handle this pretty well. You’re usually better off making a long exposure at a low ISO than a shorter exposure with a higher ISO. But with lunar rainbows you don’t want to make the exposure too long or the bands of color will blend together. I used a six-minute exposure at f/4 and 100 ISO for the image above. Trying to lighten a dark image will exaggerate noise, so it’s best to make the photograph as light as possible without overexposing it. Don’t rely on just how it looks on your LCD screen. Since it’s dark, the screen will look bright even if the image is underexposed. Use your histogram.
Having said that, a nighttime photograph shouldn’t be too bright. You don’t want it to look like it was taken under midday sunlight. I actually darkened this image—especially the sky—in software to give it more of a nighttime feeling.
by Michael Frye | Apr 23, 2009 | Advanced Techniques, Photography Tips
Everyone has heard of Photoshop. It’s permeated our culture deeply enough to become both a noun and a verb, as in, “She Photoshopped a telephone pole out of the picture.” So when photographers first dive into the digital world they naturally think of Photoshop or it’s baby sister, Photoshop Elements, for their image-editing software.
Until recently there wasn’t much choice. But in the last few years the landscape has changed, and photographers have many other options. One of the best of these new tools is Lightroom. Actually the full name is Adobe Photoshop Lightroom—it’s made by the same people who make Photoshop. Yet despite the name Lightroom seems to be off the radar screens of most photographers.
In the Spring Yosemite Digital Camera Workshop I’m leading for the Ansel Adams Gallery this week I teach both Photoshop and Lightroom. One of my students asked me recently why she should learn Lightroom when she has Photoshop CS3. What can Lightroom do that Photoshop can’t?
My answer was: very little. Photoshop is the most powerful image-manipulating tool in existence, and can do anything to a photograph that Lightroom can, and much more. But Lightroom has two main advantages over Photoshop: It’s a much better editing, sorting, keywording, and cataloging tool than Photoshop combined with Bridge, and it’s easier to use. And while it’s not as powerful at manipulating photographs as Photoshop, for most images it’s all I need. The image of Mono Lake above, for example, was processed entirely in Lightroom. Having one program that elegantly integrates all these functions takes a lot of friction out of my workflow.
I should point out that I’ve used Photoshop since 1998 and know it inside and out. So I don’t use Lightroom because Photoshop is too complicated for me. But for many people Photoshop is difficult to learn, and Lightroom is a friendlier alternative. I should also add that Lightroom is not for snapshooters. It’s for serious photographers who want an easier, more integrated solution than Photoshop.
There’s one more advantage to Lightroom: It’s a non-destructive editor. Adjustments you make in Lightroom never modify the original Raw or JPEG file. The adjustments are just a set of instructions describing how you want the image to look, and these instructions are only applied when you export the image out of Lightroom. While Photoshop can be tricked into behaving in a non-destructive way, that’s not the way it was designed.
Photoshop is still essential to me for things that Lightroom can’t do. But I’d never want to go back to using only Photoshop and Bridge. And I think Lightroom is a better tool for many photographers than Photoshop. It’s probably time it appeared on more photographer’s radar screens.
by Michael Frye | Mar 17, 2009 | Photography Tips, Yosemite Photo Conditions
The spring equinox is only a few days away, and the light is changing rapidly in Yosemite Valley. In winter the rising and setting sun strikes formations on the north side of the valley like El Capitan, Three Brothers, and Yosemite Falls. In summer the best light shifts to the rocks and falls on the south side of the valley – Glacier Point, Sentinel Rock, Cathedral Rocks, and Bridalveil Fall.
For Yosemite Falls, the best light doesn’t match up with the biggest flow. As the water volume grows in spring, the sun rises further and further north, and the light doesn’t reach the falls until 9:30 to 10:00 a.m. in April and May.
But Bridalveil Fall is better situated for spring light. From late March through about the end of April the sun sets through a gap to the west, and Bridalveil receives beautiful golden light just before sunset. The accompanying photo was made on March 27th, 2007 from Tunnel View. In May and June the light gets cut off earlier, but it’s still nice.
Bridalveil Fall can be photographed from across the river along Northside Drive (location 4 in my book, The Photographer’s Guide to Yosemite), Valley View (location 5), Tunnel View (location 8), or from the Bridalveil Fall parking lot and trail (location 7). You can see a rainbow right from the parking lot between about 5:00 – 6:00 p.m. throughout the spring. (Unfortunately the book is temporarily out of print; it should be available again sometime this spring.)
Poppies Update:
The poppies in the Merced River canyon are still going strong. While the earliest-blooming spots – mainly in the burned areas – may start to fade soon, other areas have just started flowering and should last a little longer.
by Michael Frye | Mar 2, 2009 | Photography Tips
I’ve made several additions to my web site, including a Tips and Tutorials section, with two tips: one on reading histograms, and another about how to re-create the effect of a graduated neutral-density filter in Photoshop. The foreground of the Mono Lake photo above was lightened using my “digital graduated filter” method. I’ve also added a Books & Posters area, plus an Articles section.
by Michael Frye | Feb 21, 2009 | Photography Tips, Yosemite Photo Conditions
On Thursday evening I photographed Horestail Fall from near “Rowell’s View,” one of the small clearings east of the El Capitan picnic area. Two friends and I arrived about 4:30 and got the last two marginal parking spaces. There were easily 100 photographers in the vicinity, most set up right in the plowed parking area – not the best view in my opinion, as it’s too directly underneath the fall. But once we left the picnic area we were virtually alone.
On Wednesday morning Horsetail was a trickle, but two days of warm weather had increased the flow to perhaps average or slightly-below-average February levels. The light was slightly muted by some haze, but Horsetail still glowed nicely, as you can see by the photo at right. Last night was cloudy, tonight looks the same, and tomorrow and Monday the forecast calls for rain. So Thursday might have been the one good day for photographing Horsetail Fall this year! By Tuesday we are beyond the window for the best light, although it can still be good, especially if the sun breaks through some clouds at the right time.
But all the “bad” weather has done great things for the snowpack, and bodes well for waterfalls and flowers this spring. Keep it coming!
by Michael Frye | Feb 8, 2009 | Photography Tips, Yosemite Photo Conditions
The National Weather Service is predicting snow tonight and tomorrow down to 3500 feet near Yosemite, and they’ve issued a winter storm warning. They’re expecting unsettled weather all week, with another system arriving Wednesday, and a third around Saturday. In the short term this could mean some great conditions for photography between storms. In the long term this is good news for the state’s water supply, and for photographers hoping for waterfalls and wildflowers.
I was in Yosemite Valley Friday afternoon and all day Saturday for a private workshop. The valley received a few inches of snow Friday morning, but it had all melted by the time I got there. Saturday brought a mix of sun and clouds, though mostly clouds early and late in the day, blocking the best light.
Despite the clouds my student Tom and I found plenty of things to photograph. In the afternoon we headed to the river near the old Camp 6, hoping for Half Dome to emerge from the clouds. Some pretty light on the cottonwoods across the river caught our attention and we temporarily forgot Half Dome. I made a series of images with the white trunks of the cottonwoods and some orange willows, one of which you can see above.
Here’s a little exercise for you: take a quick glance at this photo, then look away. Now answer this question: which is closer to the camera, the white cottonwoods, or the orange willows? After answering take a longer look. I know the image is small, but a close look will reveal that the willows are in front of the cottonwoods. In fact the willows were about 50 feet closer to the camera than the cottonwoods. A 200mm telephoto lens compressed the space and flattened the appearance of the image. Long lenses are great for creating visual juxtapositions between distant objects. I use this telephoto compression all the time to create abstract designs and patterns.
In fact I didn’t just stumble upon this composition. I saw these trees from about two hundred feet further to the left. From that angle the willows were well to the right of the cottonwoods, and trying to include them both would have left too much space in between them. But I knew that if I moved to the right I could position the willows in front of the cottonwoods and might find an interesting juxtaposition.
This ability to think in three dimensions, to imagine what might happen if you move left or right, forward or back, up or down, is an essential photographic skill. Ansel Adams wrote that while sitting in a chair he would often mentally compose images of his surroundings, and imagine how the composition would change if he moved a little to one side, or higher or lower. This is a great exercise – try it sometime!
Here’s hoping that the approaching storms will bring lots of photo opportunities and chances to exercise our composition skills.
