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Tuesday
May142013

New Colour Work and Master Workshops with Michael Levin!!

Hello everyone,

I am sure many of you are familiar with the photographic works of Michael Levin.

A fellow Vancouverite, I have been following Michael's work and career for many years. It has provided a continued source of inspiration for me.

Over the past 2 years, we have started to get to know each other better, and in addition to aforementioned photographic inspiration, Michael has given me many valuable pieces of business advice as well.

Michael came over to my studio a few days ago, bringing with him a copy of the freshly released 'Victor', the prestigious hard-bound edition put out bi- annually by Hasselblad and sold world-wide. It`s an elite book, over-sized, and beautifully designed. Over the years, it has featured many acclaimed photographers work.

'Victor' marks the launch of Michael new photographic works in colour!

Here's an excerpt, taken from Michael's website, of what he has to say about his 'move into color photography':

After the sharp edges and bold clarity of his black and white work, Michael Levin has bloomed into a colour photographer revealing a languid interpretation of how light and colour dissolve through space. Though cast in a soft, ethereal luminosity reminiscent of 19th century Romantic landscape paintings - or Delft seen by Vermeer on a cloudy day - the muted colours, vast perspectives and minimalist phrasing in these new photographs recognise a contemporary desire for contemplative awareness. There is a meditative aspect to each of the images, an allowance to situate ourselves amidst the atmospheric effects so we can gain a better appreciation of our place in this still big and rapturous world.

I am very excited to see this new work by Michael, and wanted to use the opportunity to give Michael a feature here and introduce you to his new work.


  Please visit Michael's website to see more of his photographic works!

 

I also wanted to point your attention to the fact that I will be organizing the only 2 workshops Michael will be leading this year. And, there are no plans for workshops in 2014, so if you've been thinking about learning from Michael, this is your chance.

We will be hosting 2 weekend Master Workshops, both in an intimate seeting of maximum 15 attendees. The first one will be held in Vancouver and second in Toronto.

Michael writes that what matters most to him in his workshops is the ability to provide all participants with a more detailed understanding of how they can take their work to the next level.

He find participants respond to the informal atmosphere of the workshop, and value the insights he's gained in building my career step by step.

While knowing the technical aspects of long-exposure photography are important, Michael's workshop addresses the larger goal of creating images that are compositionally impressive and personally expressive. The workshop also focuses on the business side of photography, drawing from his unique perspective of having built a successful business exhibiting, selling, licensing and publishing his photographs.

Michael's workshop provides ideas and inspiration that will help each participant achieve their unique goals.

I hope you take a moment to be inspired by Michael's new work.

Thank you for reading!

Marc

Friday
May102013

Crystal Pier - Black & White and Color!

Hello everyone,

I finally made it down to visit San Diego last week. I've been wanting to explore the California coast for a few years now. I made it down to San Francisco before, travelling along the Oregon coast, but going further south to Los Angeles and beyond remained on the bucket list until last week.

I was down in L.A. and was fortunete to visit Paris Photo before travelling to Palm Springs to check out the Palm Springs Photo Festival. The trip was more then worth it for these two events alone, but I was able to carve out 2 extra days to go shooting on my own as well.

I have seen many images from San Diego, and knew the area is famous for its great sea-scape shooting opportunities. So although I did not re-invent the wheel here and found 'new' locations, I still enjoyed myself tremendously visiting the famous Crystal Pier and the 'Children's Pool'.

Today I want to share 2 images I photographed at Crystal Pier:


Image details: Photographed with Hasselblad H4D-40 and 80mm Hasselblad Lens. Exposure is 256 seconds @ F5.6 ISO 100

I got to the beach adjacent to the famous pier when the tide was pretty high. In a perfect world, with more time to visit, I would have preferred to come with the tide being much lower, as this would have allowed the use of a wider angle lens. Due to the high water line, I couldn't walk out towards the end of the pier very far. Luckily I had an 80mm lens with me, a focal length I normally don't use very often. It's equivalent to about a 63mm in 35mm camera format, so it's slightly longer.

Those of you who know my work and have been reading this blog for a while know I prefer to work with wide-angle lenses of 24mm and wider, but the image above is an example that you can 'never have enough lenses in your camera bag'. Well, despite this image, my wife is still not buying this statement :-)

While out on the beach there, I also took a shot using my Cambo WDS camera fitted with a much more wide-angle lens. I decided to leave this image in color:

Image details: Cambo WDS camera with 35mm Schneider Digitar XL lens. Phase One P25+ Digital back. Exposure is 900 seconds @ F8 at ISO 50

You see the much wider view in the image above, coming from the use of a 35mm lens that is about 22mm equivalent to 35mm camera format. I shot this with my old Phase One P25+ digital back. The image is a result of 2 individual captures that have been stitched to create the final panorama (the black and white image above has been cropped to get the final panoramic aspect ratio).

I very much like the color coming from the Phase One back, so I decided to not convert to black and white. To get the final color 'treatment' I processed the image in Nik Color Efex 4 (using Photoshop CS6).

The longer exposure rendered reduced detail in the sky, and I particularly like the bottom of the frame where the waves came really close to my tripod legs. You can actually see a bit of beach sand where the waves did not reach.

I had to take a few shots, as people walking by continued to leave their footprints in the sand. Even though the long exposure made the people invisible, the foot prints remained. Yes I could have taken care of this in Photoshop, but in this case it was a lot easier to simply wait until the 'traffic' calmed down and some bigger waves washed the footprints away, leaving the beach pristine.

Before I go, here's a shot of behind-the-scenes, showing my camera setup. You can see how close the waves came to my tripod -:)

As always, your comments are appreciated and encouraged. More images from this trip will be posted soon!

Have a great weekend everyone,

Marc

Wednesday
May082013

10 Tips and Techniques to help you become a more successful Fine-Art Long Exposure Photographer!

1. Exercise your vision. Be inspired by, and don’t just merely copy, the masters of the medium.

I belief that looking at other photographers work can be a very positive, motivating and inspiring. Your photography may also be influenced by other visual artists, musicians, poetry or even history.

Whatever it might be, I do belief you’ve got to enjoy responsibly. Try to be specific about what you like in someone else’s work, use it to inform and inspire your own craft, but refrain from simply copying ideas and/or techniques as this seldom leads to work that will fulfill and satisfy you.

 
The image above was inspired by photographer Michael Kenna. Rather than trying to imitate, the image I had in mind while composing this was one of Michael’s images of a single tree in the snow. My aim was to use negative space to strengthen the subject, and using color represents a new direction in my vision that I am excite do explore further.

2. Be dedicated, slow down and be patient! It will make you a better photographer.

I love using tripods because they slow me down. And so does long exposure photography. But you have to be careful to take advantage of the process and not let yourself be distracted. Don’t answer emails and get lost on your smartphone. Use the precious time you have while the exposure is ‘forming’ to look around, consider alternate angles, develop an appreciation and concise awareness for your surroundings. I bet it will make you want to move your tripod in no time, and your photographs will improve in the process.

3. Expose to the right. Bracket your exposures. Take several images of the same scene and merge them into a panorama. That should keep the ‘geek in you’ plenty busy!

I freely admit that I enjoy the technical aspects of photography. Sometimes a bit too much. If you are technically minded, and want to get the highest quality long exposure photographs with whatever camera you use, make sure to ‘expose to the right’. Bracketing exposures and merging manually in Photoshop can solve high contrast problems, and panoramic photography can give you an angle of view of a lens you actually don’t own. And it’s surprisingly easy to do.

4. Research. Shoot. Review. Repeat. And think of your photographs as a series.

Whenever I go out to photograph I do my best to do so with a clear purpose and set goals. I belief it is critically important to spend time reviewing and looking at your own work in depth. Make notes on whether you accomplished your goals. Be honest, yet encouraging, with yourself. 

The above 2 images are from my series entitle ‘Canadian Prairies’. It was very important to me to keep the subject matter, but also the format, look and feel of all images very consistent across the series. This includes details like contrast, position of the horizon line, equipment used to photograph, exposure time, going out on cloudy days only etc.


5. Pick a single location and keep returning to shoot there until you are 100% satisfied with your photographs captured there.

This one is big. I belief that once you feel like you’ve accomplished all your goals for a given location you will feel much more empowered to do it again somewhere else. I’d suggest starting with sea-scapes, which tend to be easier to handle, and then ‘move on’ to urban environments.
 
6. Go out shooting on overcast and/ or clouds days, avoid sunny and contrasty light. Sunrise and sunsets are best.


A lot of frustrated students could be much happier with their images if they would refrain from shooting on clear and sunny days. Quality of light makes a huge difference, and early risers/ late bloomers will additionally be rewarded with the ‘golden hour’ which is the most beautiful light of the day. Sure it’s not always possible to wait for specific times to do your photography, especially when traveling, but seeking overcast and/or cloudy conditions will give you a very good opportunity to get high quality images nearly any time of day.

The above image was taken at sunset. I had been at the location for most of the day, and at the end of the day my patience paid off. I got rewarded with beautiful light!

7. Have two (2) ND filters instead of just one. Have only one lens instead of two.

Ok here is one more piece of technical advice. I use a minimum of 2 ND filters, one being a 10 stop and the other a 6 stop. I can combine and stack both filters and get exposures up to an hour (and even longer) no matter what time of day. Or, I can use just one for when I am out at sunrise and sunset. Having both gives me ultimate flexibility. I happily bring multiple filters but leave additional lenses at home. I find that what might seem ‘restrictive’ usually works for my benefit. I photographed all throughout my Iceland trip with a single focal length. Too much gear can paralyze you. I have seen it many times at workshops, and have experienced it myself as well.

8. Understand how exposure length has an influence that is both technical as well as compositionally important.

How long should your exposure be? Well it depends. What is the effect your are looking for? A longer exposure will simplify your composition by removing details such as waves, moving people/traffic, and detail in clouds. But it will do so at the expense of increasing noise, and depending on your location there may be restrictions as to how long you can photograph. The light maybe fading and the security guard had given you only a few more minutes before he promised to come back and ask you to leave. The majority of my images have been taken with exposure time ranging from 2 to 15 minutes.  The average is around 4 minutes. To learn more and see for yourself I’d suggest to try several exposure lengths while in the same location. It won’t take much time and eliminates you second guessing yourself after. 

The images above illustrate how exposure time influences how a viewer ‘reads’ your images. The first image is 60 seconds and the second a 32 minute exposure. The longer exposure blurs the clouds, so the viewer can focus more on the subject which is the lighthouse. The dramatic clouds in the shorter exposure, on the other hand, provide a great visual counterpoint to the lighthouse.

9. Learn post production techniques. Understand how the camera sees versus how you see.

When I switched from film to digital capture to do most of my long exposure photography I noticed my post production work increase dramatically. With film, I was only having to make very minor adjustments. Despite the steep learning curve I now fully embrace the ‘digital revolution’. Rather than considering my digital camera as a replacement for what I used to capture with film, I have learned to appreciate it as its own creative and distinct creative process. I enjoy being able to do things I could only dream about 10 years ago. Post production, in my opinion, is an essential part of the digital photography process, especially with long exposure photography. While photo journalists might be able to ‘get it in camera’, my photography is based on taking the time needed to come away with an image that best illustrates my creative and artistic vision of a given location. The camera usually can only get me part way there. In the end, all that matters to me is the finished photograph. How I got there, and whether I achieved it in-camera or on the computer is of virtually no importance.


RAW file. Underexposed to preserve highlight details.



The above final image looks rather different compared to the RAW file above. I cropped, converted to black and white, and did a lot of local tonal and contrast adjustments using software such as Silver Efex Pro 2 and Photoshop CS6.

10. Make prints! It is one of the most rewarding activities any photographer can practice.

Call me old fashioned but I belief the time I’ve spent making prints in the darkroom gave me a much deeper appreciation and excitement for photography. When I got into photography it was a visual as well as a tactile experience. Images do look good on computer monitors, but there is absolutely no comparison to holding a fine-art print in your hands.

I frequently make a print and then go back to fine-tune the image, I think of it as ‘reverse editing’. Computer screens can be too forgiving and too detailed at the same time, and despite calibration on your own personal machine you can never ensure that your image will look consistent across other computers. I like to hold and touch my photographs. As Ansel Adams once said “...the negative is the score, the print is the performance.”

Tuesday
Apr232013

1 Hour Exposure with the Phase One IQ 260:

Hello everyone,

I am really excited to share the following images with you all!

I had the privilege to be among the first to test the new Phase One IQ260 medium format digital back for some really long exposures. The good folks of Digital Transitions put on one of the first IQ series launch events in New York City in March of this year. At this event, Phase One's Hardware Engineering Manager, Jacob Sune Sørensen, showed off three prototype IQ260 units. Not only did I get to see an IQ260, I actually got to photograph a series of images including a full one hour exposure of the New York City skyline (shot from Brooklyn Bridge Park).

3600 seconds exposure @F8. Phase One DF+ Camera with IQ 260 Digital Back. 45mm Lens. ISO 140. Long exposure mode.

I have to extend my sincere thanks to the incredible team at Digital Transitions, who put on an world-class event. In particular, I'd like to thank Doug Peterson and Michelle Matthews (but all of he team I met was great to deal with). Not only was I able to see, touch and use the equipment, I got all my questions answered and connected with like-minded photographers. I felt completely taken care of, even enjoyed some gourmet sandwiches and cold drinks -:). If you're thinking of going Phase One, I'd highly recommend contacting the team of Digital Transitions.

The day after the launch event, Phase One's Jacob Sune Sørensen took me out for a private shooting session. That's when we created the image above, as well as the 2 images posted below:

480 seconds exposure @F11. Phase One DF+ Camera with IQ 260 Digital Back. 45mm Lens. ISO 140. Long exposure mode.


900 seconds exposure @F11. Phase One DF+ Camera with IQ 260 Digital Back. 45mm Lens. ISO 140. Long exposure mode.

In the first image above, you can see the increased detail in the clouds as the exposure time was 'only' 8 minutes compared to the full 1 hour exposure I posted above. Apart from that, both images look very similar though, as the water is blurred after about 2 minutes exposure time (so extending the exposure has no added visual effects).

The second image is a 15 minute exposure of the skyline taken from a nearby location. I am blown away by how much tonality and detail is captured in the clouds, as well as the buildings.

To create all of these images, I used several ND filters ranging from 16 to 20 stops in total. Keep in mind that the IQ260 'uses' an ISO of 140 so to pull off such long exposures so in broad day-light very strong filtration is necessary. My Phase One P45+ back operated at ISO 50, so I typically used 13 - 16 stops of ND filtration.

While shooting, we also had an opportunity to test the wireless capability of this new back. Using an Ipad, we were able to evaluate the image and check for sharpness and exposure. We also were able to fire the camera remotely from the iPad, thereby eliminating any chance of accidental camera shake while doing the long exposures. I wasn't anticipating to find the wireless capability very applicable for my particular workflow, but it turned to be a very valuable feature.

The images above have all been processed in Capture One 7, Photoshop CS6 and Silver Efex Pro 2. For those who know my work, you might recognize the grain I very much like to add. The image below is a screen-shot of the original color RAW files, comparing sharpness and noise. The image on the left is a 'regular' shot taken at 1/200 second and ISO 50 (which is native to the IQ 260). The image on the right is a full 1 hour exposure, also shot at F8, but the ISO has been adjusted to 140 as required by the long exposure mode.


As you can see, the quality of this new IQ260 digital back is simply outstanding. Despite the fact that my P45+ was 'rated' to do long exposures up to 1 hour as well, I usually stayed away from such long times. Evaluating the performance of the IQ260, however, makes me want to explore even longer exposures. Even at a full hour, I can hardly see any noise, and sharpness is retained very effectively. I could see a (very) slight loss in dynamic range, likely resulting from shifting ISO from 50 to 140 (required by the long exposure mode), but for most scenes this will be negligible. Without hesitation, this new digital back delivers the highest quality long exposure image quality of any digital camera system I have ever tested. By a huge margin!

keep in mind that I was using a prototype for these images, so finally image quality of production IQ260's can be expected to be even higher.

The Verdict:

So should you get an IQ260? Well, I'd expect the price to be the biggest hurdle to potential ownership (it certainly is for me -:). But for those who can afford one, rest assured you will be working with the highest quality digital camera out there. Yes there is the IQ280 with its increased resolution of 80 megapixels, but for anyone looking to do long exposures, the IQ260 is the clear choice.

In summary, here are my thoughts on the strength's of this new medium format digital back:

  • Very high resolution of 60 Megapixel

When I stepped up to a Phase P45+ from my Canon 5D Mark II I really appreciated the increased resolution of 39 megapixels. It gives you the ability to make larger prints, but tonal gradation and transitions are also improved (something that isn't mentioned very often). You can crop your images with ease. But it's not just the amount of pixels, to me the quality is of even greater importance. I certainly see a difference between my D800e files and my P45+, despite the fact that the Phase One 'only' has 3 more megapixels. The new IQ260 with its 60 megapixel resolution will enable me to make even bigger, sharper and more detailed fine-art prints.

  • Highest quality long exposures of up to 1 hour virtually noise-free

In my testing, I was very impressed with the quality of long exposures in particular (as mentioned above). Something else that surprised me, was the ability to do long exposures up to 8 minutes in 'normal' mode and ISO 50. Compared to the IQ160, the previous generation 60 megapixel back, noise levels really increased as soon as you exceeded 1 minute exposure time. Having the flexibility to shoot at ISO 50 for long exposures of up to 8 minutes is a great asset.

  • Very high dynamic range that is rated at 13 f-stops

This feature may not sound impressive, especially compared to the 12.5 f-stop range of the previous IQ160 back. In practice, however, I found this to be a remarkable improvement. Compared to my P45+, this is a big improvement. You can expose for the highlights and pull details out of the shadows, all with virtually no increase in noise. And bracketing is no longer necessary, except in very rare cases...

  • High quality, large image review screen

Compared to my P45+, the IQ260 has a much more usable, high quality touch screen. It makes reviewing images much easier, you can tap to zoom to 100% (actual pixels) and the added virtual horizon makes it easy to level your camera.

  • Wireless capability and connectivity to an iPad and/or iPhone, even your laptop.

As mentioned above, I did not see myself finding use for this feature until I actually got to try it. The ability to see and review your images on a larger screen can be very valuable, especially if that screen is an iPad. In studio, I would be shooting tethered to a full scale computer, but in the field it's nice to have the freedom of a portable solution. Using your ipad or iPhone as a remote shutter release is an added benefit.

  • Inexpensive battery power

After spending 38K on the IQ260 digital back, you'll be pleased to know that extra batteries are actually rather affordable -:) And that's a good thing because you will need plenty, especially when using the wireless features. I'd recommend a minimum of 4 batteries if you're out on a full day shoot, even more if you plan on doing very long exposure of 20 minutes and beyond.

  • Technical cameras

This is probably the most important feature, right after long exposure capabilities (of course). For me, the ability to use a digital back on a technical camera such as the Cambo WDS and RS, is reason enough to leave my D800e at home. I applaud Phase One for continuing to built digital backs with an open platform. Unlike Hasselblad, this opens countless opportunities for the serious photographer who needs and appreciates the ability to use camera movements such as tilts, swings and shifts.

I am going to leave you with one last image here. This is taken while we were shooting the 1 hour exposure. I guess we looked like serious photographers -:)

As always, you can leave your comments and questions below. Thank you for reading...

Marc teaches several workshops and online courses about Fine-Art Long Exposure Photography each year.

Please visit his workshop company, Vancouver Photo Workshops, for more details.

Monday
Mar042013

New Phase One IQ260 Digital Back for Long Exposures!

Hello everyone,

Well, I don't often mention new products here on the blog, but want to make an exception today.

As you may know, I have been shooting with Phase One Digital backs, recently with a P45+, to do a lot of my long exposure work. Up until yesterday, the P45+ was the 'best' and virtually the only digital back that could offer 'true' long exposure capability. 

I have taken images up to a full one hour exposure with it, and have been very satisfied with how little noise was apparent.

To give an example, here's an image I took in Iceland last year. It is a 1500 second (25 minute) exposure taken with the P45+.

It's not the there is *no* noise in this image...but it's very low and since I usually add grain in my post production, it's certainly not a big deal for me.

I have used the IQ series backs, namely the IQ140 and IQ160, and both have severely limited long exposure capabilities. During my shooting, as soon as I exceeded 2 minutes exposure noise levels rose dramatically, and with 4 minutes or longer exposures noise was so strong that the image became practically unusable.

I am glad that Phase realized that long exposures are important to photographers, and the new IQ260 digital back is big news! Only downside: I need to take out another mortgage to afford the 40K price tag -:)

The P45+ I was using was introduced back in 2007, so when I took the plunge and purchased one last year, I was able to score a great deal for a very slightly used model. It'll be a while until the IQ260 backs will come down in price...

While I was looking at the specs of the new backs today, I came across a promotional video featuring photographer Joe Cornish, using the new IQ260 in Iceland for, you guessed it, some long exposure photography.

Even if you're not interested in these backs, I think the video is very worth watching, for its fantastic scenery and showcasing of photographic opportunities in Iceland:

I nod my head to Joe: he certainly scored a dream job here! How would you like to get a call from Phase One, asking you to test their new back in Iceland!

While watching the video, I was impressed how well it showcased the photographic opportunities that exists in Iceland! This incredible country really is a photographers heaven! If you've been thinking about photographing there, I will leading a Fine-Art Long Exposure Workshop in Iceland this coming July 14th - 20th, 2013.

This workshop is organized through the well established Focus on Nature team, and I cannot wait to go. Yes this workshop is expensive, but it is one of those offerings that is a once-in-a-lifetime experience and it will have you being taken care from the minute you arrive until you'll get dropped back at the airport.

Focus on Nature has been offering very distinct workshop opportunities featuring some of the world's best photographers and instructors. I am honored and thrilled to be among their instructors.

Take a look at what they're doing. Here's a screenshot of their website. Link is here: http://www.focusonnature.is/

Saturday
Feb232013

Portland Head Lighthouse - In Black & White!

Hello everyone!

I have been working on the black and white version of this image for a while now, and I think it's finally ready to share:

It took a long time reflecting and reviewing several versions until I settled on the final look. When editing, it's hard to not be influenced by an earlier version of an image, particularly if you liked it a lot.

I tried to let go of my affection I felt for the color version of this image...aiming to start with fresh eyes.

I remember what it was like only a few years ago. Back then, I wouldn't consider, even look, at any of my images in color. Even if the color was instantly appealing. As soon as the RAW file hit my computer, I proceeded with my black and white conversion. I remember my students frequently asking why I had not kept the color in several of my photographs at the time. My answer, always, was simply: ...but I see in black and white." My photography was to be in black and white exclusively. If my digital camera would have had a black and white only mode, I would have used it so as to avoid the distraction I thought color to be.

Then, about 14 months, something changed. I started to explore color, actually still am. I feel that it's a part of my evolvement and development as an artist, stretching my vision as a photographer.

If you compare the above black and white version with the color image posted before, It's obvious to notice just how different they feel and make you feel. When speaking with other photographers, especially those who would consider themselves as fine-art photographers, black and white caries a strong reputation. It is a clear abstraction from reality, and due to that fact alone it often generates bigger visual appeal. Me personally, I was always drawn to the simplicity of lines, shapes and texture present in black and white images. Color can be a very distracting element. The great Jay Maisel told me that "..unless color is a vital element that makes your image work, avoid it..." I thought long and hard about this statement, and I am working on improving my understanding of what exactly can make color a vital part for an image' impact. This journey will, no doubt, take me many many more years. I am enjoying it so far, and forcing myself to do the best I can and produce images in both color and black and white at the same time, helps me define what I am drawn to in my photography. I hope it will help me define my style as well.

Please let me know your thoughts on the subject. Why are you drawn to or prefer color and/or black and white? Any comments and feedback are much appreciated!

Wednesday
Feb132013

Making BIG Prints....and learning tons along the way!

Hello everyone,

I had a very exciting week working on making what are now the largest prints of my photography to date.

In preparation for an upcoming exhibition, while working on my images, I thought about how large I could possibly print them. As photographers, I think we can all agree that when it comes to prints, bigger usually is better. Well, some people say this is true for cameras and lenses as well :-)

In my case, I usually enjoy making smaller prints, 10" x 10" and smaller, as I feel they give an opportunity for very comfortable and intimate viewing and enjoyment, without needing an entire wall dedicated to 'just' a single piece of art. Despite this, the challenge of making prints as large as 60 inches undeniably was appealing, and so I set out on exploring that opportunity.

In the image below you can see the finished images, with the finished dimensions of 60" x 80" inches. For scale, I couldn't resist sitting next to them in the frame:

The images will be on display at the upcoming 'EROS' Exhibition hosted by Photo Haus Gallery here in Vancouver!

You'll notice right away that these are *not* long exposure photographs, but fine-art nudes that I photographed last summer near the small town of Rossland, B.C.

'EROS' traditionally is the busiest exhibition of the year hosted by Photo Haus Gallery. As a photographer, I think it is really important to share your work, be it online or in print. I love the opportunity to share my work in a gallery setting, especially when I know that hundreds of people will see it on Opening Night alone.

Both image displayed above are shot using a Phase One DF Camera body with an 80mm lens. I used a Phase One IQ 160 digital back that features 60 megapixel resolution. To get to the print size needed for the images displayed above, the native, un-cropped, 60 megapixel files had to be upsampled to just over 150 megapixels. This resulted in a print resolution of 180 DPI, a resolution that is actually well above average given the enormous size of he print and the fact that the intended viewing distance is at least 10 feet away.

I worked on the images very carefully, and made several test prints (at scale) on my Epson 7900 printer, which can print up to 24 inches wide. Once I was confident on my adjustments, I took the finished image over to my friend Michael Levin who not only helped me print them large on his Epson 11880 printer, but also helped me out tremendously by looking over my images before he 'hit' the print button.

Michael is a very experienced large format printer making his own images, and I was really impressed how quickly he spotted and corrected some serious problems that would have caused some expensive waste of ink and paper. I learned that spotting, even at 100% view, can still have you miss artifacts and marks such as sensor dust. I needed to zoom to 200% (at least) to make sure everything was 'clean'.

I also learned that sharpening, which is essential for every print you make, needs to be applied very carefully when making big prints. Again, it was virtually impossible to notice any artifacts unless I spent the time and zoomed to 100% and more.

It took several test prints on my Epson 7900 (strips at final scale) to fine-tune the grain in both images. Despite the fact that these images were shot digitally, I very much like to add grain as it give the images some texture and depth. For small to medium prints, I have some experience and knowledge just how much grain to add. With prints as large as these, what looks like small grain even at 100% view on your computer can literally 'blow-up' and look rough and blurry in the final print. I learned that upsampling the image *before* adding grain lead to dramatically better results than upsampling with grain already applied.

Finally, to mention a more artistic rather than technical challenge here, I spend a considerable amount of time trying to pre-visualize if the extensive out-of-focus areas of both print would simply be too distracting at the large size. In my smaller test prints, the viewers eye had no trouble finding the area of focus (the model in both images), but once printed at 80 inches width, you really need to step back and take in the entire image so as not to be distracted and focus on what is sharp in the image.

We all know that photographers like to get real close, and I know people will literally stick there noses up to the print, obviosuly way to close to view. I am happy to report that due to the incredible quality of the Phase One Camera and Digital back, the resolution and detail holds up beautifully even when viewing only inches away, but the full impact can really only be had when stepping back at least 10 feet.

For those of you in Vancouver, please join us for the Opening of "EROS" on Friday, February 15th. Doors open at 7pm.

Hope to see you there...

M.

Thursday
Jan312013

The Plus One Collection 2012 - Only a few hours to show your support!

Hello everyone,

I am very excited to be one of the photographers featured in the Plus One Collection II Book.

When I first heard about this project, I was eager to get involved. It's an honour to participate and do some good with my photography.

For those of you who do not know about this project, here's a brief video that explains it all:

More information about the Plus One Collection 2012 can also be found on the Indiegogo page that is the hub for raising money for this project.

You have only a few hours left to contribute to this campaign! Please visit the Indiegogo page to make a contribution.

I will report back once I receive my copy of the book!

More tk...

Sunday
Jan132013

Portland Head Lighthouse - In Color!

Hello everyone,

this will be my first post for 2013, and I would like to share another photograph from my still emerging Lighthouse Series.

This is the Portland head Lighthouse, photographed in September 2012:

Image Details: Exposure Time: 60 seconds @F5.6 Photographed using my Cambo Wide DS using a Phase One P25+. Image is stitched from 2 individual exposures.

Checking one of my favorite resources on Lighthouse, www.LighthouseFriends.com reveals the following information about this magnificent lighthouse;

Portland Head Lighthouse, at the entrance to Portland Harbor in Maine, has a history that reads like a Who’s Who from the early years of the nation. It was the first lighthouse completed by the United States government, and is the most visited, painted, and photographed lighthouse in New England. One keeper took financial advantage of the area’s draw, another enjoyed visits with a famous poet, while yet another thought it the most desirable place he could serve. And some believe at least one former resident has never left.

I remember getting to this lighthouse only about an hour before sunset. I usually like to get setup at least 2, even 3, hours earlier so I felt like I had to rush things a bit. Despite the timing, however, I was blessed with some incredible light. I couldn't belief my luck, as this was the only time I would be able to visit this location during that particular trip - I had to start driving back to Montreal the next day to catch my flight back to Vancouver. The slight rush and rapidly fading light were part of my decision to limit my exposure time to 60 seconds - just enough to blur the water and pickup some movement in the fast moving clouds that night.

I continued shooting until after sunset, and was among the last to leave the park. Yes, I even ignored the warden's call for everyone to vacate the premises as long as I could -:)

Looking at my 'contact sheet' from that shoot, I was only able to capture 4 photographs (2 of which I used to stitch the image above). Despite this low quantity I was confident that I had a 'winner'. I cannot wait to visit again to explore more angles and compositions. This has certainly been one of the most memorable Lighthouse locations I ever photographed at. With light like that, it made my 'job' pretty easy...

In addition to this color photograph, I am also working on a black and white version. I'll be sharing this coming up later this week so please stay tuned...

More tk...

Sunday
Dec232012

Kálfshamars Lighthouse View Number 2!

Hello everyone,

as the year 2012 draws to a close, here's one more image I would like to share with all of you.

I've written about this location and lighthouse before, just scroll down a few posts and you'll see the first image I posted that was photographed here.

This is another view of Kálfshamars Lighthouse:

This image was photographed with my Nikon D800 and 17-35mm lens. Exposure time was relatively short, at only 30 seconds. This allowed me to keep some detail in the fast moving clouds. With the lighthouse so small in the frame, I really wanted to preserve some texture in the clouds. What drew me in to make this composition were the strong tire marks in the foreground. They made for a natural leading line.

The image was processed in NIK Color Efex 4. The color in the grass is actually pretty true to original, but I used the software to introduce a similar coloration into the clouds and sky.

I also want to use this opportunity to THANK EVERYONE for your support this year. It really makes a difference to hear your thoughts and feedback so please keep those comments and emails coming! I have big plans for 2013, so if you like this blog already I hope to inspire you even more with additional content and other goodies.

Wishing everyone all the very best for a safe and happy holiday season.

See you in 2013!

Marc