Archive for the ‘Photography Instruction’ Category

We All Start Somewhere…

Tuesday, February 9th, 2010
Sunset, Entlebuch, Switzerland 1997

Sunset, Entlebuch, Switzerland 1997

I was hanging out at my parents house the other day when I went downstairs, down the hallway that led to my old room. On the way, I noticed my first print “exhibit” on the wall. Placed there nearly 15 years ago, this was a veritable blast from the past, and one I couldn’t help but study and ponder. Wow–talk about photography 101! I gazed at the images sheepishly, wondering what I was thinking with the blown highlights here, centered composition there and numerous other nitpicks in between. And then it hit me–I wasn’t thinking. I was simply shooting.

Sunset, Eiffel Tower, Paris, France 1997

Sunset, Eiffel Tower, Paris, France 1997

It was a simpler time during my senior year in high school. I had taken my only photography class the year before and had learned just enough to operate my father’s old Canon FTB. It was a literal aluminum tank that hung from my neck, with a light meter that bounced up and down in an unsure motion as I panned across shadows and highlights. To this day, that photography class at Highland High School remains my only formal education on a medium that would one day define my career. Who knew? I certainly didn’t.

Fall color, Mill Creek Canyon, UT 1996

Fall color, Mill Creek Canyon, UT 1996

This is less of a “look at me now” post, and much more of a “look where I started” reflection. The simple truth is this: we all start at the same place. A place unfamiliar, curious and rarely comfortable. It’s an insecure place, where one is pestered by self doubt and a lack of knowledge. Conversely, however, this place also bursts with a desire to create and explore. It’s a place illuminated by the glimmer that comes from rounding every unknown bend, and returning with a new morsel of skill or knowledge…

Eiffel Tower, Paris, France 1997

Eiffel Tower, Paris, France 1997

Times have changed a great deal since I first picked up a “real” camera. Film has been replaced to a large degree by digital sensor. Notepads with scribblings of apertures, shutter speeds and focal lengths have been replaced by high tech programs that record it all for you at the click of the shutter. Entry level cameras can do more now than the best pro cameras could ever dream of mustering 15 years ago. One factor, however, remains the same. Creativity, passion and the will to achieve can never be replaced or switched out. They are the photographic foundation that will never crumble.

Sunset, Lake Powell, UT 1996

Sunset, Lake Powell, UT 1996

Think about where you started. Maybe it was ten, fifteen, or even twenty five years ago. Maybe it was yesterday. Remember not what you didn’t know then. Rather, remember that all you knew was that clicking the shutter brought mystery and joy and crazy, care free satisfaction. What a cool thing…

Focusing Fast Action (Contest Post!)

Sunday, January 3rd, 2010

For you antsy folks, there is a contest at the bottom, but you’ll have to have read the post to have a fighting chance!

Image 1: Julian Carr skis fresh Utah powder at Alta Ski Area

Image 1: Julian Carr skis fresh Utah powder at Alta Ski Area

Earlier this week we were blessed with a bounty of blower (read: ridiculously light Utah powder) here in the Wasatch. It was the first day of shooting skiing for me this season, and it did not disappoint. There are some days where most everything goes right, and this just happened to be one of those days.

Image 2: Jen Hudak skis fresh Utah powder at Alta Ski Area

Image 2: Jen Hudak skis fresh Utah powder at Alta Ski Area

Anyone that has ever attempted to shoot fast and unpredictable action knows well the challenges of coming away with a sharp image. It’s hard enough to frame it up exactly as you’d like, let alone focus. Any athlete that has ever shot with me knows my typical response when I see something I like on my camera LCD display–”that will be killer if it’s sharp”. IF IT’S SHARP….

Nowadays, the auto focus systems on pro (and even some prosumer) cameras are so advanced that it’s tough to screw things up. That said, it still happens, and it always seems to happen to the shot or frame that you wanted the most. There are a few things we can do as photographers to nail the shot every time. When shooting skiing, there are essentially two techniques I use to focus. I will use a focus tracking method where I’m utilizing the auto focus in my camera throughout the image sequence and at other times I may pre-focus on a specific spot where I’ve directed the athlete to go. Both techniques work well in certain situations–some better than others.

Carlo Travarelli skis fresh Utah powder at Alta Ski Area

Image 3: Carlo Travarelli skis fresh Utah powder at Alta Ski Area

Focus Tracking

Focus tracking works well when:

a) the athlete is moving towards or away from you at a rapid pace

b) you’re not sure where the climactic action will occur OR there are a number of images throughout the action sequence that you may want as keepers

c) there could be confusion between you and the athlete as to where exactly it is you’d like them to turn, air, etc.

d) generally speaking, the athlete will not remain parallel to the focal plane throughout the sequence

*Note: As a Canon shooter, I focus with my AF-On button instead of my shutter button. This allows the camera to continue micro-adjusting focus as the shutter clicks away.

*Note #2: It is best to manually select a focus zone in your camera. Place that focus zone over the part of the athlete you’d like in focus (most often the face). I typically start “tracking” focus about two seconds or so before I start clicking the shutter.

Image 4: Julian Carr skis fresh Utah powder at Alta Ski Area

Image 4: Julian Carr skis fresh Utah powder at Alta Ski Area

Pre Focus

Pre focus works well when:

a) you have a specific, mutually understood spot (between you and the athlete) where the climactic action will occur

b) the athlete is maintaining approximate equal distance from the focal plane throughout the action sequence

c) you’re shooting at infinity focus–in particular, this pertains to long lens, big line shots where the athlete is a great distance away OR wide angle shots where you’re shooting at infinity

d) there may be anything present (obstacles, weird lighting, atmospheric conditions) that would confuse your auto focus (there are ways to tweak your AF system so it doesn’t get thrown off as easily with things like this)

* Note that pre-focusing requires precise explanation and understanding on the part of the photographer and athlete as to where the action should occur. Generally speaking, the longer you have worked with an athlete, the better you will understand each other, and the more confident you will feel that the athlete can nail the spot on which you’ve pre-focused. Additionally, it’s wise to use larger apertures when possible, thus giving yourself and the athlete a margin for error across the focal plane if for some reason they are a bit closer or further away than the spot you mentioned.

Image 5: Julian Carr skis fresh Utah powder at Alta Ski Area

Image 5: Julian Carr skis fresh Utah powder at Alta Ski Area

So. Contest time. I’ve included images throughout this post from shooting at Alta Ski Area on New Year’s Eve Day. I have a super cool Clik Elite medium lens pouch (great for wide angle zooms or moderate primes) and t-shirt for the first person that can correctly state which focusing technique was used on each image in this post. The contest will end on Wednesday, Jan. 6. Good luck!

Image 6: Julian Carr skis fresh Utah powder at Alta Ski Area

Image 6: Julian Carr skis fresh Utah powder at Alta Ski Area

Teaser: AdamBarkerPhotography Master Photo Workshops DVD

Monday, December 28th, 2009

Here is a small snippet from my DVD to be released this February by Master Photo Workshops. The DVD will focus on mastering landscape filters. Stay tuned for a pre-order sale announcement. There will be free goodies to go with the DVD for a select number of early purchasers!

Edit: Here’s the link for the DVD Pre-order: http://masterphotodvd.com/site/catalog/dvds/mastering-the-art-of-landscape-filters

Zion National Park: Pretty, and then some…

Monday, November 30th, 2009

I recently had the opportunity to travel down to Zion National Park with fellow photog Kevin Winzeler to check out the fall foliage at its peak. The Box Elder and Cottonwood trees were going off, making for beautiful yellows, contrasting against the red rock. Unfortunately, an unusual cold spell had pretty much stripped the maples of their red leaves, leaving the color palette somewhat one-dimensional.

Fall foliage at Temple of Sinawava in Zion National Park

Fall foliage at Temple of Sinawava in Zion National Park

I’m a bit embarrassed to say this was my first time down to Zion. It didn’t disappoint, but it did overwhelm to a certain degree. Much like any other iconic photo location, Zion presents a challenge in finding original identifiable images. Identifiable is the key word there, as there are photo ops around literally every corner in this impressive national park. The majority of people, however, enjoy seeing images of something they recognize. As a photographer, you must answer the question as to whether you want to shoot something a little more common that sells, or something a little more obscure that may give you a greater satisfaction in creating. A little bit of both was the order of this trip, and I tried to balance my shooting time between the customary and the innovative.

A different take on Temple of the Virgin at Zion National Park, UT

A different take on Temple of the Virgin at Zion National Park, UT

The one thought I had while shooting in Zion over a short 3-day period is that you really must put in your time not only to research the locations, but, more than anything, to hopefully luck out with some dramatic weather. We were stuck with clear skies whether we liked it or not, which made for good bounce light in the Narrows, but uninteresting sunrise and sunset shoots otherwise. You see so many shots from places like Zion, that you really must score unusual weather conditions if you hope to come away with something unique and memorable. My suggestion is to try and get down there for a couple weeks at a time, but it just wasn’t in the cards for this father of two this time around.

Countless photo opportunties abound in the Narrows of Zion National Park, UT

Countless photo opportunties abound in the Narrows of Zion National Park, UT

An intense, warm glow is the result of reflected light bouncing off canyon walls high above in the Narrows, Zion National Park, UT

An intense, warm glow is the result of reflected light bouncing off canyon walls high above in the Narrows, Zion National Park, UT

One of the shooting opportunities most unique to Zion is found in the Narrows. Carved over time by nothing more than rushing water, this deep slot canyon harbors a plethora of otherworldly images just waiting to be captured. It’s not too common to see direct sunlight in the Narrows, but high canyon walls serve as perfect natural reflectors, sending bounce light to and fro, creating colorful glows in unusual places. Should you decide to venture this way, be prepared to wade through ankle to thigh deep (and sometimes deeper) water the entirety of the canyon. Bring a sturdy tripod, and don’t forget your polarizing filter.

Fall foliage and red rock in the Narrows of Zion National Park, UT

Fall foliage and red rock in the Narrows of Zion National Park, UT

The Narrows, Zion National Park, UT

The Narrows, Zion National Park, UT

One particularly helpful tool I had with me on this trip was my Singh Ray LB Colorcombo filter. Combining a polarizer and color intensifier filter, there’s no better way to bring out the color in the leaves and red rock walls, all the while taking the glare off the water for a complete image.

Fall color and emerald water from the Virgin river shot with a Singh Ray LB Colorcombo filter. Temple of Sinawava, Zion National Park, UT

Fall color and emerald water from the Virgin river shot with a Singh Ray LB Colorcombo filter. Temple of Sinawava, Zion National Park, UT

Although not surprising, I was a bit shocked at the sheer number of photographers down in Zion during the display of fall color. Iconic locations like Temple of the Virgin and The Watchman were extremely crowded at sunrise and sunset. It is a bit unnerving to have so many other photogs around, but we all have our own creative vision, and really, in the end, it’s great to see so many people passionate about photography and its ability to tell a story. Be prepared to arrive very early to your iconic locations if you want to have the pick of the litter for your tripod spot.

Photographers line up to shoot The Watchman as sunset approaches in Zion National Park, UT

Photographers line up to shoot The Watchman as sunset approaches in Zion National Park, UT

While I had hoped for a bit more drama in the weather, it’s tough to complain about a place as beautiful as Zion. Just like so many of our National Parks, it truly is a treasure.

Utah landscape photographer Adam Barker shooting in the Narrows, Zion National Park, UT p: Kevin Winzeler

Utah landscape photographer Adam Barker shooting in the Narrows, Zion National Park, UT p: Kevin Winzeler


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