Monochrome trees

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Evolution and improvement always originate in altered given conditions or challenges. As creative beings we need inspiration, but we also need to get out of our comfort-zones (cliché alarm!!) and try new things from time to time to avoid stagnation. I find great inspiration in studying other photographers and I have a fair share of people whose work I follow regularly, both on-line, in photography-competitions and on exhibitions. Many of these photographers have a style totally apart from my regular modus operandi, but I find it extremely stimulating to analyze their work, maybe just because it is so different from my regular style (A series about my favourite photographers is on its way here!)

I continuously scrutinize my own work and try to challenge myself to improve. I embark on different projects and set myself clear goals. Most often, I decide to try new things which involve a different approach to the subject matter, the photographic process and the postprocessing I have become accustomed to. This way, I force myself to see the world with new eyes. Although the results may be so-and-so, I always learn something about technical details, composition and my vision.

By the end of last year I decided to commit myself (for a period, at least) to work more with intimate landscapes, monochrome, forests and trees. This was partly due to inspiration from other photographers but mostly because I wanted to expand my vision, improve my compositional skills and learn to apply new methods in capturing and postprocessing. More about this process later, but for now I just wanted to share some of the results so far. Hope you like them. Have a splendid week!

Dag Ole

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Full Frame 35mm or Medium Format?

Yes, both, thank you very much!

Winter shores

An image from my first session with the Hasselblad H5D-50. Postprocessing to get the right colors and tonality in both water and sky was a dream!

First of all, for those of you not familiar with these terms: “full frame” refers to a camera sensor-size corresponding to the 35mm film back in the good old days (24 x 36mm). Medium format refers to the larger size film/sensor (6 x 4,5, 6×6 or 6×7 cm in the days of film now 33 x 44 mm and up sensors), wedging itself between 35mm and large format (8×10 inch etc., film only). Today, there is a number of high quality 35mm full-frame bodies both from Nikon, Canon and Sony. And Pentax is in the pipeline. I currently use full frame Nikon d800e bodies sporting 36 mpx.

However, as a photographer always striving for perfection and that little “extra” I have been struggling with the question in the headline for at least a couple of years now. Larger sensors have basically meant more resolution, bigger pixels and larger dynamic range. Furthermore, all medium format camera makers have amazing lenses, which is paramount for taking advantage of large high-resolution sensors. The depth-of-field is also more shallow on a larger sensor, making focus control somewhat different from standard DSLR’s. However, with todays amazing high-resolution CMOS 35mm full format sensors, the gap up to medium format is closing in with respect to technical quality. And when images are viewed on-screen or as small to medium-sized prints, there is basically no difference in technical quality.  Although I have been extremely happy with my Nikon d800e’s there has been a curiosity “could there be something even better out there”?

The drawbacks of Medium Format systems are obvious for anyone having looked into it. First of all there is the price. A complete medium format system with camera, digital back, viewfinder and a set of lenses will easily set you back more than a decent brand new car would. $ 40 000 will bring you a long way, but maybe not all the way…. Second, medium format systems are very much bigger and heavier than standard DSLR’s. They are (mostly) not as good weather sealed and are in many ways a little more complicated to use. The lenses also have to be bigger and heavier, not only to achieve optimal quality, but simply because they have to make a larger light-cone due to a larger receiver/sensor. And again, the lenses are ridiculously expensive too.

So, this is what I have been considering the last couple of years. A (very) slight, but definitely present increase in technical quality (at least in large prints) at a very high price and different workflow. At the end of last year I decided I had to give medium format a go and see if this was something for me. Would it be expensive? Yes. Would it alter my workflow? Yes. Would it be heavier to carry around? Yes. Would I make technically better images? Maybe. Would I take “better” pictures? Probably not.

What eventually made me go for medium format was not the technical considerations. It was the curiosity for the workflow. To get the little extra out of medium format, I had to be even more meticulous with exposure, focus etc on location, and it would be more demanding in post-processing (especially noise-reduction). I could probably snap away with a medium format system and take the same pictures as I did with my full-frame bodies and achieve the same results. However, if you put some extra work into the capturing and post-processing, there is a potential to lift the quality somewhat and make images sing even louder. E.g there are very few zooms available and working with primes is the norm. I don’t say that is necessary to produce fine images, but it alters the workflow. For me, probably in a positive, slower way. Of course I could have done all this also with my full frame systems, but modern DSLRs are so easy to use…. 🙂

Anyway, I decided to invest in a medium format system. Basically there are 4-5 systems available. There is Phase One, Mamiya Leaf (owned by Phase), Pentax 645, Hasselblad H-system and the Leica S. The Pentax is the outsider here. It comes at a price less than half of the other systems, is very well weather sealed and sports a 33x44mm 50mpx CMOS sensor. The same (Sony-made) sensor can also be found in other systems, but at a higher price. However, CCD-sensors have a particular charm to them and are larger in physical size. Something to consider when judging the assortment of lenses you need (larger sensor means that e.g. a 28 mm is somewhat wider compared to on a smaller sensor). Although less capable in low-light situations, images from CCD-sensors do have a certain quality to them that is hard to define. And I very seldom use ISO above 100… Well, long story short – I decided to go for Hasselblad H5D-50. Due to several reasons, sentimentality being only one. One of the most important considerations was a very serious dealer/service department (Interfoto in Oslo) and short way to Hasselblad’s main facilities (for service etc.) in Gothenburg, Sweden. Also, I felt very much at home with the Hasselblad body. Although having been criticised for lacking some functions (Woha- there is no video!!) I felt that this system had exactly the controls and functions that I wanted and needed, and it was to a large degree customizable to my needs. This is no bells-and whistles camera, it only carries the functions serious professionals need to do their job. Also, it is has a 16-bit color output which sets Hasselblad apart from all other currently available systems. And the lenses are amazing.

The last few weeks I have learned my new Hasselblad system and invested in a few lenses and other accessories. My accountant may disagree, but my personal experience so far is very, very positive. The more laborious way of working has brought me so much joy the last days. Will I keep my Nikons? Definitely. For low light work and long hikes.

If you have any questions or comments regarding DSLR’s vs. medium format, feel free to ask or comment! Have a splendid week!

Dag Ole

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A more than 100% crop of a dark portion of the scene showed in the image on top of the page. After lots of work in postprocessing, a totally crisp and noiseless image is slowly revealed, even when viewed on a very large screen (well, at least in 16 bit TIFF, maybe not the low-res .jpg here :).

Exposure blending

Christmas crescent

Christmas crescent

 

 

This image was captured on last christmas eve while visiting friends and family in North Norway. Long story short: On our way to christmas dinner, the light was wonderful, the moon emerged and the icy cold temperatures froze the shores and gave a dense fog over the sea. I couldn’t help myself. I changed outfit and ran down to the shore and worked there all the way into pitch darkness and well into christmas dinner. My very kind and understanding wife actually approved this stunt, but I got a suspicion that not everybody else was very happy… But at least I got a few nice images! 🙂

When I started to photograph, it was rather dark but the disappearing aurora of the sun lit up the scene in a wonderful red-pinkish hue. As it got darker and darker, the aurora weakened and stars started to appear. At the same time, the foreground was becoming very very dark (I could hardly see my hands..), and the moon very bright compared to the landscape. I knew that even the very high dynamic range sensor in my d800 would not be able to capture both landscape, moon, stars and the color of the disappearing sun in one single exposure. So, I composed this image with the camera on my tripod and took numerous exposures at different iso’s and exposure times to capture all the elements in the scene as I saw it. The next day, I sat down and inspected all the different files. The aurora and the moon matched perfectly in  some of the exposures, and to my surprise, earthshine lit up the shadowed part of the moon perfectly. The foreground however, was too dark on these exposures and the sky too bright to show any stars. My original plan was to follow my regular HDR workflow and blend the exposures in HDR efex pro but the result was far from satisfying. It lacked the contrast and crispness I wanted. I tried to increase clarity and contrast but by then things started to look really weird. Since I had three exposures from three different regions of the scene I decided to blend them manually. I used the image where the moon and the sunglow was perfect as my base. I then took one exposure of the starry sky and blended it into the top of the first image using the masking bug in the layers module of the wonderful OnOne Perfect Photo Suite 9. In exactly the same manner, I blended a lighter foreground exposure into the lower part of the image. The resulting image was then imported back into Lightroom and after slight adjustment of temperature, color, clarity and sharpness, the image came out very close to how I experienced the scene. The masking bug has a gradient which give soft and natural transitions and I found it amazing how naturally the different exposures blended with a broad gradient.

Hope you like my image, have a splendid weekend!

Dag Ole

 

River aurora

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I haven’t been able to post as much here as I hoped or planned for this month. My apologies. I have been out travelling (and still am, kind of..) for 4 of the last 5 weeks. And as always, travelling makes some logistics more difficult, e.g. access to image archives (which are locked down in my safe when I’m not home) internet access, editing images on laptop screens etc. Well, enough excuses. Here is my first christmas-posting this year.

I’m currently in the northern parts of Norway, visiting friends and family. Where I am right now, the sun is below the horizon these days, but will be seen again in early january. Furthermore, the skies have been clear and the moon mostly invisible. This means that nights are long and very, very dark. Couple that with a latitude that often sports aurora borealis, and it is given what I have been up to every night this so far this christmas.

Shooting the aurora is not very challenging, technically. I basically use the same settings as I do for starry-sky photography, maybe a little lower iso, as the aurora lights up the land somewhat. Iso 1600-3200, f 2.8-4 and an exposure-time of 10-20 sec mostly give nice results. I prefer to use a very wide-angle lens to capture as much as possible of the skies. The challenging part is to find an interesting foreground and wait for the aurora to appear and match the foreground. Although I am born and raised in this area and more or less know it like my own pocket, it is still extremely challenging when it is so very, very dark. Also, handling the cold may be a problem. Using live-view for hours when temperatures are below -10 deg c may be a problem. And good, warm shoes and clothes are a must!

Anyway, I got a few images, both of aurora and deep starry skies. This particular image was captured at around 5 am in Valnesfjord, Norway, dec 22nd. I used one of my d800 bodies and the nikkor 14-24 @ 14 mm. Exposure setting were iso 2500, f 4.5 and 10 sec. Hope you like it, more will come!

I wish you all a wonderful Christmas and hope for peace and prosperity for all of you!

Dag Ole

How it was made…

Dawn, Frosta

Dawn, Frosta. Norway, november 2014.

 

 

Ok, so this may seem a little basic to some of you, but I’ll take my chances and post it anyway. I just wanted to share this image and how it was made.

Images of coastal landscapes are very popular. Just have a look at 500px, google+ or any other photography-site and you are likely to find hundreds of captivating, wonderful seascapes. Furthermore, it is something about the moon that adds an element of mystery or tranquility to a scene and I think the combination of long exposure seascapes with the moon often work out very well.  If you are planning to create such an image, be sure to find a good location well in time before the capture. In my opinion, important elements are a low horizon or a horizon with an interesting focal point (e.g. a mountain peak). The foreground is equally important. Be sure to include som nice rocks, a beach with sand-patterns or anything with lines leading the eye towards the sea. When you have found an interesting location, use “the photographer’s ephemeris” (iPhone app) or other programs that describe the moon’s location and phase at different dates. Find the ideal date when the moon is in the right phase and at the right place. This image features an almost full moon, which in my opinion, is not ideal. I think that either a 100% full moon or a thin crescent works best. Also, notice when sunrise or sunset is. As in any landscape-capture, the most important element of the image is the light. You want to be working at dusk or dawn when the sun is just under the horizon. At that time, the exposure differential between the landscape and the moon is not very big, and you avoid getting a pitch black landscape and a burnt out moon. At the same time the skies are still somewhat dark so that the moon stands out. These times also open the possibility for longer exposures without filters, so you can work with different exposure times to capture the movement in the water. When you have found a nice location and the ideal date and time of day to photograph, you want check the weather-forecast. If skies are totally overcast, plan for a different shot. For an image like this, ideal skies are partly cloudy, so that the emerging sun has something to enlighten. Strong winds are also ideal as it produces wonderful waves that adds to the foreground.

Ok, so you have found your location, the exact date and time of day to capture the scene, and forecasts are promising. Lucky you! Be sure to arrive at the location at least half an hour before ideal conditions and plan the details of your shot. Scrutinize the foreground elements and find the best possible composition. A wide-angle lens is ideal to emphasize the foreground, but this is a trade-off as the moon gets very small at the widest angles. Use a focal length that balances this. I have found that 24-50 mm (on full format) often work well. You definitely need a sturdy tripod and a cable release. Many use the self-timer set to 2 sec delay instead, but for capturing waves at the exact right time, that technique is not ideal. Set you tripod fairly low close to the surf to underline the foreground and the waves and use a small aperture  such as f16 or f22 to get enough depth of field. Focus on the hyperfocal point or about 1/3 into the depth of the image. Play around with different ISO’s to vary the shutter-speed as this captures different moods in the waves. This image was taken at a shutter speed of 5 sec because I wanted to blur the waves totally to add to the tranquil feeling of the scene. A shorter shutter-speed would have frozen the movement of the waves to a larger degree, and would have given a more energetic feeling to the image. If you use shutter-speeds longer than ca. 10 seconds, be aware that the moon moves and may become blurred. To get a five second exposure in this image, I used a 2 step neutral density filter. In addition, I used a 2 step graded neutral density filter to minimize exposure differential between the foreground and the sky and moon.

If you are totally unfamiliar with these techniques, be sure to practice before the ideal date and time!

Also, there are numerous digital techniques to help you in creating images like this. Most obvious is of course adding a moon to a nice landscape in Photoshop by merging two files. Many (including me) find that such images may look very unnatural, so be aware. I have used this technique from time to time, but always pasted a moon from another image taken at the same time and location on top of the moon that was there in the original file! This may be to minimize exposure differential or to enlarge the moon slightly. But as mentioned, be aware that this may look very un-natural and awkward if not done very carefully and subtle. Also, techniques of focus-stacking to get infinite depth-of-field or HDR techniques to minimize exposure differential may be employed. However, if you choose to use digital techniques like this, remember that this does not compensate for bad originals. I think it is always best to get the original as good as possible even though this may involve some compromises e.g. size of the moon etc. This image is made from one single raw-file and only minimally adjusted. I hope you like it, and feel free to comment and follow me if you like my work. Have a super weekend!

Dag Ole

Landscapephotography with the “nifty-fifty”

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Evening light, Riessersee. An example of my “straight” style. Shot from eye-level at a “normal-range” focal length.

As I described in my last posting, I tend to compose most of my images “straight” without a deep dominant foreground or other striking perspectives. When I am at a location, I like to use long time to study the subject and investigate different angles and views, as well as light and other elements, but I most often find myself composing the image straight forward without any awkward perspective. Furthermore, I have turned more and more towards shooting in the “normal range” of focal lengths, from 35-ish to about 70mm.

The lens I use most for my landscape-work is the Nikkor 24-70 f.2.8. Big and heavy, yes, but very solid. It is also very sharp compared to most other normal-zooms. However, when I sometimes have photographed the same subject with one of my other favorite lenses, either the Nikkor 14-24 or the Nikkor 70-200, I just can’t help myself in thinking that these two latter lenses give an image that is just a tad crisper. At least when pixel-peeping. Now – for most pictures this is not a problem, but since 80 % of my work is done with the 24-70, I started to look for an alternative that was even sharper. I used to have some primes that were nice and crisp, but as the hikes got longer and longer, I  switched to zooms some time ago to minimize the gear. Primes does however almost always have an advantage over zooms when it comes to resolution, so I decided to investigate some primes further. For my shooting style a 50mm would be ideal. There are lots of primes in the marked in this range, mostly lightweight and good, but most have a flaw in some feature. When the first rumors about the Zeiss Otus 55mm 1.4 started about a year ago, I thought that I had found my holy grail. I was about to pull the trigger on the Otus this spring when I first heard about the new Sigma 50mm 1.4 Art. As the reviews of the Sigma 35mm Art had been fantastic, especially for resolution, I decided to wait and see what the reviews said about the 50mm Art. It turned out that most reviews were extremely positive, and of course at less than one-third of the price of the Otus ($950 vs $3000), this was a lens to seriously consider. After all, one can have a lot of fun for the $2000 difference…. Also, the Sigma has autofocus, the Otus doesn’t. Maybe not very important for landscape-work, but nice to have.

I bought the Sigma 50mm 1.4 Art a couple of months ago and have used it a lot. The first thing that struck me was how solid it is built. It gives a real heavy-duty impression and is on par with my professional-grade nikkors. However, it is not weather-sealed, a definite disadvantage for me. Furthermore, it is very big and heavy, at least for a 50 mm prime, but it is a little smaller than the Zeiss Otus.  But the sharpness….wow. A photography buddy of mine stated that the images were so crisp that it almost hurt his eyes! And I will not argue. Even wide open, the sharpness, both centre and corner, is extremely good. From f4 it is amazing. I think this is the first lens I have had that really takes out the full potential of the 36mp sensor in my d800’s. Bokeh is smooth and nice for landscape work, vignetting and distortion negligible. Fringing is less of a problem than with my zooms, and is easily removed in postprocessing. I have not tried the Otus, but I doubt that I will look any further for a go-to normal prime. For landscape-work (at least in dry conditions, and if you like to shoot “straight”) this lens comes highly recommended from me! By the way, I have no affiliation with Sigma.

Thanks for visiting and reading, have a nice week!

Dag Ole

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At 8.5 x 10 cm and 815g the SIgma 50mm 1.4 Art is a real chunk of gear. But it gives amazingly crisp images!

Perspectives….

Receding storm and sunrise

Receding storm and sunrise. Trondheim, november 2014.

To many, landscape-photography is synonymous with a wide-angle, low perspective, a dominant dramatic foreground and an interesting backdrop. If you look at photography-sites like 1x.com, 500px and photo-forums on google+ you will probably find that a huge share of landscape-photos are made after this recipe. And in many cases the result is astonishing! But not always. Unfortunately, I believe that the concept to some extent has been subject to inflation. My own portfolios are no longer dominated by such images. It may be my 40 years old knees talking, but I find that as the years has gone by, I shoot more and more from normal, upright eye-level. And my mostly used focal lengths are in the range of 35-70mm. I even use my 70-200 a lot for landscape-work! This yields more “formal” or “straight” landscape-images, and I tend to like that more and more. If you look at the wonderful portfolios of amazing photographers like Charles Cramer, Guy Tal and G. Dan Mitchell, you will see what I mean. So – what am I trying to say? Well, I believe that the image should first and foremost be about the subject matter and how it affects the artist, not about the photographers position or choice of focal length. If I don’t get any connection or emotional response from the landscape, the image seldom gets any better if I lie down on my belly. In my opinion, choice of lens and perspective are merely integral parts of the composition and should not alone be the dominant feature of the image. The perspective alone doesn’t make a bad image good. However, if the foreground is an important part of what I am trying to convey, I have no problem with mounting my 14-24 and lie down on my belly. Like this morning, when the image above was captured. According to the forecast, sunrise was to coincide with a receding storm and a high tide. Wonderful, energetic waves, crashing against the rocky beach dominated the scene when I arrived this morning, and of course I had to enhance that! Hope you like it! Did I get wet? You bet…! And my knees still hurt…

You may consider this post about perspective, focal lengths and “formal eye-level shooting” as an introduction to my next post. I will discuss this a little more and as part of that discussion I will give some details about one of my new lenses, the Sigma 50mm f.1.4 Art. Thanks for reading and stay tuned!

PS: this image will soon be released in my gallery at nordhaugphotography.com

Dag Ole

Approaching storm, Ammersee

Approaching storm, Ammersee

Bad weather is very often good photography-weather. My favorite time is the transitions, when good weather turns bad or the other way around. At such times, light can be really awesome with dramatic, dark clouds and divine sunbeams. This particular day started out grey and dull, and after a while the rain was pouring down from a low, heavy steal-grey sky. I drove to Ammersee in hope to catch the lake in this moody weather. After a while by the lake, the skies started to clear and I hoped for a dramatic transition. The wind was reduced to a slight breeze and the lake was colored in a beautiful emerald hue by the emerging sun. However, before the sun really managed to break through, a new system of clouds rolled in from the west and brought winds and new precipitation. I found this pier just in time before the storm approached. There were no dramatic transitions that day, but I noticed the contrasts between the tranquil sun-lit waters and the incoming clouds and tried to capture that. I always try to pre-visualize the finished product when I am in the field. This is one of techniques I use to help my vision to speak to me (hm, that came out much more new-age than I meant it to, but you get my point…) And then I try to use different techniques to make my image according to how I want the finished product to be. E.g. I used a 2 step ND grad to bring out the contrasts in the clouds, and have further accentuated this in postprocessing. Also, a low shooting-angle and wide-angle lens (18mm) underlined the length of the pier so that it seemingly stretched for the clouds. I used a small aperture of f. 20 to assure that the image was pin-sharp from near to far.  I hope the image conveys the feeling of an incoming storm by a moody lake. Hope you like it too!

This is a new release in my gallery: nordhaugphotography.com

Dag Ole

Behind the scenes – Bavaria

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I had planned an autumn-trip to Bavaria and the German Alps since early summer. Besides the magnificent mountains in the area, I also wanted to capture some archetypical countryside and cultural landscapes. I could probably just as well have gone to Austria, Switzerland or the Italian Alps, but Munich turned out to be easiest to access for me by air. As I always do before I embark on a photographic adventure, I carefully studied maps and guides for the area. Garmisch-Partenkirchen, only about one hour drive from Munich, stood out as a perfect starting-point. Near Garmisch is Germany’s highest peak, Zugsptize, numerous beautiful lakes, small picturesque towns and lots of typical alpine countryside. A car is essential and was rented at the airport in Munich. I stayed in Garmisch the whole week, and can highly recommend Hotel Obermuhle! (no affiliation!).

Geroldsee is one of the photographic hotspots in the area. Only about 15 minutes drive from Garmisch, I had the opportunity to visit several times during my stay. After my first three visits, I was somewhat disappointed. The place was nice enough, a beautiful small lake, a wonderful field with numerous old barns and the spectacular Karwendel-Alps as a backdrop. However, the light and the weather did not cooperate and I did not feel that my images did justice to the place. I decided to give it one more chance on my last day. My plane didn’t leave Munich before 17:30, so I basically had the whole day for shooting. I got up at 5 a.m. to catch the best light. The receptionist at the hotel gave me the usual “are you raving mad” eye when I left in pitch dark at this early hour. When I parked by the road near Geroldsee minutes later, a weak red glow was barely visible in the eastern sky, behind the Karwendel Alps. This was promising! And from what I had seen on the way up from Garmisch, I had hopes that there could be some fog over the lake too! After a short walk from the parking I arrived at Geroldsee to find the place still dark and shrouded in a dense fog. As daylight slowly emerged, I walked up the fields to get above the fog and have the barns in the foreground. The morning glow of the emerging sun slowly appeared behind the Karwendel mountains. After having studied the landscape and considered the composition, I rigged up my gear and did the usual metering. Because of exposure differential I decided to use a ND grad to avoid that the skies were blown out or the valley was pitch black. The image below is one of my favourites from this morning and was captured at 06:57, only minutes before the sun appeared over the mountains. I returned to my hotel for breakfast a few minutes later, happy with finally having gotten what I wanted from Geroldsee. Hope you like it too!

Tech stuff: Nikon d800E, nikkor 24-70, f 13, 1 sec exposure. 2 step ND grad. Processed in Lightroom only.

Bavarian dawn

About vision, technique and gear…

What camera do you use? Is this photoshopped?

That is by far the two most common questions I get when people see my images. I guess any of you other photographers out there know everything about this. You make good images, ergo you must have a great camera and/or be very good at photoshopping. I can understand why people are interested in these things, but frankly, does it really matter? Well, to many it obviously does. When I visited Grand Canyon this summer I got several questions and comments regarding my gear. At one time (sunset at Mather Point, a very crowded experience!) a lady looking over my shoulder pointed me out to her husband and stated “ohh, if you only had purchased a camera like this guy has, I’m sure you could take some wonderful pictures!” Her husband, carrying a very good point-and-shoot, seemed to agree. I turned around and smiled at them and said “well, a camera have never made a picture by itself”. I don’t thing they understood that they actually insulted me, because they just stared somewhat offended back at me, turned around and left.

As G Dan Mitchell says: photography is about photographs, not about cameras and lenses. And to paraphrase one of Cole Thompsons favorite quotes: You should complement the chef for his/hers stove as much as you should complement the photographer for his equipment. Every single camera sold today has a great potential to capture fantastic images. But it doesn’t do it by itself. The photographer makes the image, not the camera.

When it comes to postprocessing (“photoshopping”), there seem to be an opinion in the public that this also makes good images all by itself. Often, “photoshopped” is said with a negative tone, as almost frowned upon. Painters start with a white canvas and make an image from scratch, and most people don’t have a problem with that. However, there seem to be a misconception that photography should equal documentation. Unaltered reality. What if a photographer should just alter an image? How can we document the world then?? What if a photographer could just change “reality” with software? What are we left with then???? …..well, art? A RAW-file needs processing. The eye is an amazing instrument with phenomenal dynamic range, resolution, angle of view and sharpness. No camera is even close to replicate human vision. Psychology is also a very important part of what one sees and how one see it. A personal experience can never be captured by any sensor. Regular straight out of the camera-files are often .jpg, and these files are already “photoshopped” in the camera software with increased saturation, sharpening etc. Straight out of the camera .jpgs are no more real than a “photoshopped” raw-file. The only difference is that when processing a raw-file, the photographer is behind the wheel, not a software programmer. So what can a photographer do? Well, we have to use postprocessing to make the image to look the way we want it to. According to our vision.

Oh, and there is that word. Vision. What is that? Well, in my mind, vision is how I interpret a scene. How I see the world. And that is of course very much influenced by me. The sum of all my memories, all my experiences, my mood and my feelings, always filters and influence how I understand a scene. And that is my vision. How I see the world. And then I have to use all my experience and technical knowledge to try to make an image of the scene according to my vision. Both when capturing at location and in postprocessing where I do the finishing touches.

Techniques and equipment are only tools a photographer use to express his or hers vision.

And therefore, techniques and equipment may be somewhat important, and I will discuss this thoroughly in future blog-posts. But it is far from being the most important factor in the creation of an image. Vision, on the other hand, is.

Have a nice weekend!

Dag Ole