Creating ‘movement’ in a still image

Generally my ‘how to’ articles have concentrated on obtaining the sharpest images possible. That’s great, up-to-a-point, as the majority of my published images need to fit exactly that criteria. But, after you have captured all the usual images of your subject showing it in all it’s pin sharp glory, it’s time to look beyond the norm and start getting more creative.

In a follow-on from my previous blog where I started to look at the similarities between sports and wildlife photography, the techniques used for movement blurs in both subjects are identical.

Movement blur is simply allowing your camera shutter to remain open long enough to allow movement of your subject (or of the camera) to register on the sensor.

Track cycling
Milton International Challenge, Cisco PanAm Velodrome, Track Cycling International – Mens Omnium Points event

Nikon D3s, 16mm f2.8 fisheye lens hand held, 1/6oth @ f8 ISO 640 Note that by keeping the nearest cyclist centred in frame he remains quite sharp while all the other competitors are blurred

Let’s look at some of the methods to induce that sense of movement into your still images.

Creative blurs using long exposure with subject moving

There are effectively two methods you can use with a long exposure technique, keeping the camera still while the subject moves, or moving the camera (panning) whilst keeping the subject centred in the frame – or you can combine the two.

Pantaneiro cowboys working cattl
Pantaneiro cowboys working cattle, The Pantanal, Mato Grosso, Brazil

Nikon D3 with 80-200mm f 2.8 lens @ 80mm hand held, 1/30th sec @ f22 ISO 200 – Here I have used both a slow shutter speed and a panning action. The slow shutter produced the movement in the subject, the panning the movement in the background

This is perhaps the most common technique to induce deliberate blur where the photographer choses a shutter speed sufficient to render a recognizable subject but, at the same time, the shutter is open long enough for movement to register on the image. The trick is in choosing what stutter speed to use and for this you need first to assess how quickly your subject is moving. Obviously a formula one race car move quicker than a galloping horse which in turn is quicker than grass stems being blown in the wind.

 

Pronghorn Antelope
Pronghorn Antelope (Antilocapra americana), Sand Wash Basin, Colorado, USA

Nikon D3, 200-400mm f4 lens @ 360mm, 1/125th sec @ f16, ISO 200 In this image I have used a relatively fast shutter speed but the foreground blur imparts a great sense of movement. This was shot through a vehicle window whilst travelling at around 50 mph (80 kph)! The Pronghorn is renowned as the fastest land animal in the Americas.

If you are using a long shutter speed to capture movement, for example moving water, it is absolutely essential to lock the camera down on a solid tripod. The long exposure will exacerbate any camera movement. To ensure there is no camera shake it is best to either use a cable release or to lock the mirror up and use the camera’s self timer to trigger the shot.

Waterfall, Brazil
Waterfall, Chapada National Park, , Mato Grosso, Brazil

Nikon D3, 20-35mm f2.8 @ 35mm, 1/15 sec @ f22 ISO 100. Gitzo carbon fibre tripod, Arca Swiss ball head

What shutter speed?

So, what shutter speed do you need to create motion blur – the answer is ‘it depends’. If the speed is too short you still end up freezing the subject or it has minimal blur which just doesn’t work well. If too long then the subject itself becomes too blurry to be recognizable for what it is. Other factors will also come into play such as the angle your subject is moving. Is it toward you , diagonal, away etc. each of which causes a different apparent speed of motion. Are you, the photographer standing still or are you moving i.e. in a vehicle?

Note that, the further away you are from your subject, the easier it is to pan and follow, keeping the subject in the same location in the viewfinder.  The plain fact is you need to experiment a little for each subject you shoot – exactly what that little screen on the back of the camera is for!

However here are some starting points:

  • Birds in flight to create some wing blur – 1/125 sec
  • Panned action for cars, cyclists, and animals at full gallop – 1/30 sec
  • Sports action featuring people, basketball, athletes etc. 1/60 sec

Remember that these are just indicators, you will still need to experiment for yourself.

I am not including star trails etc as this is a whole other subject. Similarly I am not going into rear curtain flash – I will again write about this in a separate article.

Long exposure while moving the camera

The second common method of creating movement blur is when the subject is still (or relatively so) but you deliberately move the camera during the exposure.

Koi carp
Koi carp in pond, Nan Lian Garden, Kowloon, Hong Kong

Nikon D3, 105mm f2.8 Micro lens, 1/8sec @ f32, ISO 100. Here I have used a twisting motion to rotate the camera and lens whilst taking the photo. Note how the fish near the centre are rendered relatively still whilst the further you look to the outside of the frame there is increased blur.

There is a huge range of movement you can introduce, rotation, up and down , side-to-side each of which will introduce a different blur effect. Also experiment with the same movement and different shutter speeds to find which works best.

Exposure

As creative blurs require longer exposures than normal you need to take care with not to overexpose your photos. In general keep the ISO settings as low as possible and use small aperture to allow for longer shutter speeds without over-exposing. On bright sunny days even then you may not be able to set a long enough shutter speed to achieve the desired effect. This is where the use of a neutral density filter comes into it’s own. Neutral density filters cut the amount of light coming through the lens without altering the colours. These are available in a range of density settings but I recommend owning having one of the darkest, perhaps a -6 stop. This way you can always open the aperture or raise the ISO if you need a slightly faster shutter speed. If you don’t have a dark enough ND filter you have fewer options to slow the shutter down.

Long-track speed skating
World Single Distance Speed Skating Championships, Richmond Olympic Oval BC, Canada, Mens 10,000m, Hiroki Hirako (JAP)

Nikon D3s, 20-35mm f2.8 lens @20mm hand held, 1/30 sec @ f4, ISO 200. Here due to the light levels it was not necessary to use a small aperture to achieve the desired slow shutter speed.

Sensor dust

Here, a word of warning. Your sensor must be scrupulously clean when taking long exposures. Almost invariably you will be using small apertures which have the effect of sharply focussing every tiny scrap of dust on the sensor. If I know I am going to be taking long exposure shots I will always clean ny camera sensors before going out.

To see more creative blurs search the online archive by entering keywords in the search box below.




Turkey vulture

Photographing birds in flight

Several times I have been asked how it is that my long-time career as a sports photographer gels with the wildlife and nature work I now mostly shoot. The fact is that there are a great many similarities. 

First let’s look at the equipment…  Pretty much identical, rapid-focus cameras using large telephoto lenses.

Second… similar techniques, long periods of waiting around with not much happening while trying to maintain a high level of concentration so you don’t miss the decisive moment!

Birds in flight - Great Blue Heron
Great Blue Heron Ardea herodias bringing a stick to nesting mate Arthur R Marshall National Wildlife Reserve Loxahatchee Florida

Nikon D2x, 600mm f4 lens, mounted on a Gitzo tripod with Wimberley head, 1/3200th sec ISO 200 @ f5.6. You can certainly shoot low slowly flying birds from a tripod but it’s much harder to acquire focus and stay locked on than with hand holding. Here, as I was still shooting with a D2 series camera  that does not handle high ISO settings as well as more modern cameras, I have opted for a larger aperture than I would choose today.

One area of wildlife photography where all the above is particularly true is in capturing images of birds in flight. Often fast moving, unpredictable, with difficult lighting, much the same as with so many sports events.

My preferred lens for in-flight photography is the Nikon 500mm f4, either with or without the TC-14 1.4x converter, and occasionally the 200-400 f4, more often than not hand held with image stabilization turned on, depending on the size of bird I am working with and the distances involved. I never use the converter on the 200-400, which slows down autofocus to an unacceptable level. This technique results in more ‘keepers’ than using the 600mm f4 on a tripod with a gimbal head. The 600mm is just way too heavy to hand hold, at least for me, not being a muscle-bound body builder!

Camera settings

Just like photographing high-speed sport it’s essential to set your camera effectively to freeze the action (unless of course you are going for intentional blur, but that’s a whole other subject – coming soon!) I never let my shutter speed drop below 1/2000th sec, adjusting my ISO settings to ensure that I stay at this speed or above. Remember, birds can be very high-speed subjects, often cruising at 30 mph, and can reach enormous speeds of 60 mph or more when diving or hunting. I will generally stop my lens down to around f8 to give a good depth of field and also because this is the ‘sweet spot’ on my 500mm producing the sharpest corner to corner images. Unlike sport and ground-based wildlife subjects – where I will often use my telephotos wide open (largest aperture) to limit depth of field and isolate my subject from the background – this is rarely necessary with in-flight photography as, in the majority of cases, your subject is against the sky or is already distanced from any discernible background.

Birds in flight - Great Egret
Great Egret (Ardea alba) in flight over Lake Chapala, Jocotopec, Jalisco, Mexico

Nikon D3s, 500mm f4 lens hand held, 1/2500th @ f8, ISO 800. Look for the unusual bit of action such as when this bird dips his toes into the lake.. 

With my Nikon bodies I use continuous autofocus, AF/C (AI Servo on Canon) and select 9-point autofocus when photographing single birds, or 51-point 3D-tracking when shooting more than a single bird. I always use the highest frame-per-second rate possible and, like capturing sporting action, will often shoot in short bursts.

Shooting birds in flight I almost always use manual exposure, unlike sport where my preferred method is aperture priority. Primarily, in sport, I generally aim to keep my subject isolated from the backgrounds which, most of the time, are fairly constantly lit. With in-flight photography, backgrounds can constantly change as you continue to shoot; i.e. the birds move from blue sky to white cloud, or from a dark vegetation background to a more open area, and it’s really important that the exposure is based on the bird and not on the background. To set my exposure I get in position and shoot a few test shots ensuring my minimum 1/2000th sec is achieved, checking my histogram, and adjusting my shutter speed and ISO to move the histogram to the right without it actually touching the right-hand edge and blowing out highlights. It is essential to keep detail in the brightest, often white, part of your subjects.

For white balance I invariably just leave the setting at auto. As I shoot 100% in RAW format, I can always change the white balance in post production, if I need to – which is rarely. I find it all too easy when manually setting a white balance to forget I’ve done so and end up with extra work on a whole bunch of photos.

Technique for birds in flight

Even though my Nikon lenses autofocus extremely rapidly, you often have little time to acquire sharp focus as a subject might suddenly appear. To ensure the most rapid focus I will, if at all possible, find a subject that is at approximately the same distance as I predict my subjects might appear and pre-focus on that. This means that when a bird appears in the right zone my lenses have little work to do in locking on to the bird and I find I am shooting sharp images way earlier. I always use the rear focus button on the camera and not the half-depressed shutter button, as I like to decide when the cameras actually focus on the subject… Another throwback to how I shoot sport.

If you can, keep your selected autofocus points on the eye of the bird, which is easier with large birds than with rapidly moving, smaller subjects. When photographing more than one in-flight bird, ensure that your focus points are on the leading bird, because if the leader is ‘soft’ and the following bird(s) is sharp, it produces a very strange look.

Birds in flight - American White Pelican
American White Pelican (Pelecanus erythrorhynchos) flying above of Lake Chapala, Jocotopec, Jalisco, Mexico

Nikon D3s, 500mm f4 lens handheld, 1/2000th @f8, ISO 320. When shooting more than one bird ensure you focus on the leading subject. Also remember that many birds have large areas of white colour so it is essential that you don’t blow out your highlights.

Just like shooting sports, with birds in flight it is essential to develop good panning technique. You MUST keep the lens moving, locking your subject in the same position in the viewfinder as far as you can, and keep shooting. A common error is to shoot every image with the bird dead centre in the frame. I often shift my focus selection points slightly to one side of the frame or the other depending on the flight direction, to allow space for the bird to move into. This generally gives a much more pleasing composition. The best bird images, particularly with larger species, tend to be when the wing is at the highest or lowest position during the flapping motion, aim to hit this spot consistently.

Birds in flight - Turkey vulture
Turkey Vulture (Cathartes aura), in flight, Ajijic, Jalisco, Mexico

Nikon D3s, 500mm f4 lens with 1.4 teleconverter (effective focal length of 700mm) hand held, 1/2000th sec @ f8, ISO 1200. Try and time your shots so the wings are either fully elevated or fully down, relatively easy with soaring birds like this vulture

Perhaps more-so than with other forms of wildlife photography, it is practically essential to shoot with the sun at your back with a useable arc of around 30°. Backlit and sidelit subjects rarely work well as you will invariably end up with very harsh shadows. The angle of the sun is also a huge factor. Photographers talk about the golden hours, around two-and-a-half hours after sunrise and two hours before sunset, when the light has a soft even feel and has a golden glow that lends itself well to all wildlife subjects. A further advantage of a low sun angle is that it will often result in a great catchlight in a subject’s eye. In general, high sun angles during the middle part of the day are not workable if the sun is out, but you can extend the shooting day with more overcast conditions.

Birds in flight - Caspian tern
Caspian tern (Hydropogne casoia) flying above Lake Chapala, Jalisco, Mexico

Nikon D3s, 500mm f4 lens with 1.4 teleconverter (effective focal length of 700mm) hand held, 1/2500th sec @ f8, ISO 800. Give a little more space on the side of the image that your subject is facing to allow room for it to ‘move into’

Another weather condition to keep in mind is wind direction. Birds, like aircraft, will tend to take-off and land into the wind. Absolutely the best conditions for in-flight bird photography is when both the sun and the wind are at your back.

Birds in flight - Great Egret
Great Egret (Ardea alba) landing on edge of Lake Chapala, Ajijic, Jalisco, Mexico

Nikon D3s, 500mm f4 lens with 1.4 teleconverter (effective focal length of 700mm) hand held, 1/1600th sec @ f8, ISO 800. Birds take-off and land into the wind, try and have both sun and wind at your back

Remember, like all photography, the foregoing suggestions are guidelines and not set-in-stone rules! I still experiment with different shutter speeds, camera movement, lighting angles etc. but, my experience has been, that using the above guidelines will generally produce the most pleasing images.

To see more flight photography go to the wildlife and nature galleries and  choose Birds in flight or enter the keyword ‘flight’ in the Search box. 

 

 

 

 

 

 

 

 

 

 

 

 

 

The rains are coming

I moved into my new house in San Juan Cosalá on the shore of Lake Chapala back in February of this year and, until a few days ago, we had not seen a single drop of rain. However, we do have the harbingers of the rainy season, the so called ‘rainbirds’ which traditionally begin singing six weeks before the first rains fall. 

The Rainbirds

Not birds at all the Rainbirds are in fact a species of cicada, or chicharra, living underground for the majority of the year only emerging to begin their song. Actually only the males produce the noise and not, as is popularly believed, by rubbing their legs or wings together! They actually have a special organ, called the tymbal, that produces the noise. The noise level, actually a mating call,  is incredible, recorded at up to 120decibels, and if one were to have one of these insects up against the ear canal would be quite capable of damaging the ear drum.

Once the rains start the insects mate, lay their eggs in the soil and the adults die and that’s it for another year.

Cicada or Rainbird
Cicada or Chicharra – also known in the region as the rainbird – not the prettiest bug.

Nikon D3s, Nikon 24-70mm lens at 70mm, 1/250th @ f18, ISO 800, one flash at 45° on each side and a third flash lighting the background

The above specimen was ‘singing’ out on my deck so took the opportunity to transfer it to my light tent for a quick portrait shot. The light tent is great for this sort of subject producing nice even light and isolating the subject.

And, over the last two days the rains have started to fall – right on time with forecasts of rain pretty much every night and thunderstorms over the next weeks. Yes, it really does, in general, only rain in this region at night!

 

 

 

New Workflow with Capture One

As many of you that have followed my admittedly intermittent blog postings will know, I was extremely disappointed when Apple dropped development of their professional imaging program back in 2014, forcing a move to Adobe Lightroom. At the time there really was, in my humble opinion, no viable alternative. Te next blow was Adobe’ decision to move their products to a subscription based model, which I was somewhat opposed to having always owned my own software.

Now, Lightroom is a great program with a host of features but I never really liked three aspects:

  1. The RAW conversions from my Nikon cameras were never quite up my expectations
  2. I just did not like the interface, having to constantly switch modules depending on what I was wanting to do
  3. I had to keep all my images in one huge library as, to switch libraries, meant quitting and restarting

Over the past few years I have tried various options to try and help solve some of these issues, including

  • Using Nikon’s own Capture NX2 software for RAW conversions – nice results mostly but way too slow when handling large volumes of images
  • Investigating various databasing options but none really fit with my workflow, mainly because I didn’t want to add yet another layer to my workflow
  • Trying just about every independent RAW converter on the market to see if there was one that met my requirements

There was one program that I kept coming back to each time a new iteration was announced, PhaseOne’s Capture One Pro.

Capture One Pro 8 – Great RAW conversions, but the catalog was soooo slow to open.
Capture One Pro 9 – Great RAW conversions, catalog marginally quicker but still not fast enough.
Capture one Pro 10 – Even better RAW conversions , and the catalog was now much quicker. I came within a whicker of taking the plunge and making the purchase, even building a complete catalog for my wildlife and nature images but the darned thing kept crashing. It just wasn’t stable enough.

Capture One 11 (Yes the Pro designation has gone from the name but what a Pro program this has turned out to be.) The best RAW conversions with the minimum of post processing work, rapid catalog opening with quick image searches and so many new features including the ability to add layer adjustments for just about every adjustment type available. Painting a layer adjustment mask, and refining the edges has become incredibly straightforward with the added advantage that all masks (you can add up to xx) can additionally have the opacity adjusted, a boon for fine control of each masks effect

In fact, Capture One 11 is worth the price (and yes, you can either buy it $x and own the software or opt for a monthly fee of $x) just for the amazing power of the layers.

Working in Capture One now provides me with a workflow that fits perfectly with the way I like to deal with my images.

  1. Download from the card into Photomechanic. Sort, delete outtakes, caption and keyword. (More on the way I do this in a future blog). After all images are ready they are moved onto the main images hard drive and at the same time renumbered to reflect my numbering system. Images are automatically backed up daily onto second and third mirrored drives.
  2. Images are imported into Capture One 11 ensuring that the check box for Exclude Duplicates is on and that files are left in their current location – i.e. the Main Images Hard Drive

    Import dialogue
  3. As images are already sorted and captioned I immediately start working on each image preparing it for it’s intended use – i.e. For publication, upload to my representing agencies prepared for the website etc – (more on outputting the images for final use later)
  4. All the preparation and outputting of images in Capture One 11 takes place within  a single screen – just like Apple Aperture! No switching into different modules to perform each task

Although I state a single screen this is not strictly speaking true as I do have a dual screen setup and have saved a workspace in Capture One where I have all the thumbnails on one screen and the enlarged image where adjustments are made on the second.

You can create as many different workspaces as you wish so, for example, I have created spaces for working onsite on my laptop, as well as my dual monitor setup for the office.

Capture One Process

My process for working on images tends to follow pretty much the same pattern although of course refinements are made depending on the requirements of each image.

  1. I correct any overall colour casts or white balance anomalies using the colour balance and white balance tools
  2. I perform overall exposure adjustments first setting input and output levels then using the Exposure, Contrast, Brightness and Saturation sliders
  3. I open up or hold back shadows and highlights using the appropriate sliders
  4. I now start adding layer masks if necessary to make defined and targeted local adjustments. Remember I can add layer masks for any of the adjustment tools other than vignetting and the black and white conversion tool. Using layers in Capture One has been a revelation, and is perhaps, the main reason that few images go into Photoshop. Layer masks are incredibly easy and accurate to paint onto the image
  5. I clean up the image using the Spot Removal tool and Clone and Heal layers depending on needs
  6. I crop the image
  7. I apply sharpening as necessary sometimes to the whole image and sometimes to selected portions using another layer mask.

And so far my image has not, and probably won’t, ever be opened in Photoshop. However, note that it is entirely possible to ’round trip’ an image into Photoshop or other imaging programs such as the Nik collection and Capture One will automatically create a new version for the adjustments applied and re-import the resulant version back into the Capture One 11 catalog when yu save it.

Outputting Images

Output recipes – here I am simultaneously preparing images for my Instagram account and My website galleries

Finally the point of all this work is to prepare images for final use. In Lightroom I had to set up a series of output presets and re-process each image multiple times if it was to be used for several uses, i.e. web site, Instagram, and publication ready.

Thanks to Capture One’s ‘Process Recipes” I can set up the various parameters for each use, save those settings as a recipe, and select multiple recipes at the output stage and Capture One will within a few seconds process the same image multiple times for each use – a great timesaver.

Other features

There are many features of Capture One that I don’t use but that would still be of great value to other photographers. The two most notable are tethered shooting, for which, I, at the moment have little use and annotations which allow a photographer to add notes directly onto an image when sending it to another person, perhaps for further retouching etc.

What do I still use Photoshop for?

Well, actually very little!

Occasionally if I find that I have a lot of clean-up to do on an image due to excessive sensor dust I might take the image into PS as it is quicker and better at that .

If I am compositing images, using focus stacking techniques etc. then PS would be the tool for this, but, for straightforward, preparing images for publication than Capture One now does it all.

What do I miss from Lightroom?

Of course no program is perfect and there are a number of features I do miss from Lightroom.

Perhaps the biggest is that Capture One does not accept the use of any plugins. I have used plugins available for Lightroom to automatically send images to the agencies that handle my work and Lightroom records which images have been sent and even, with Alamy, records sales statistics for each image. I now have to output my agency images to a folder and upload using an FTP program rather than directly from the database.

To ensure I don’t send duplicates I now use the colour tags to record which images have been sent to each, not to mush of an onerous task.

DOWNLOAD A 30 DAY TRIAL OF CAPTURE ONE AND GIVE IT A TRY YOURSELF

 

 

 

New Images for 2018

I am now beginning to find my way around some of the wildlife hotspots close to my new home in Ajijic, Mexico. see the latest images gallery for a small selection of photos done since January 1st. New images are being added every few days. Also see the daily Instagram post at https://www.instagram.com/peterllewellynphoto/ 

Group of American white pelicans (Pelecanus erythrorhynchos) feeding on fish, Lake Chapala, Jalisco, Mexico

Full details of The Pantanal tour, November 2018, and bookings will be available by January 15th – watch for updated information.

Pantanal 2018

I have just posted advance information for the 2017 Pantanal Photo Tour.

The Pantanal, a UNESCO World Heritage site is one of my favourite places in the world for wildlife and nature photography. It is an immense tropical wetland, the world’s largest, spanning three countries, Bolivia, Paraguay and the largest section, Brazil. It is the home of hundreds of species of birds along with capybara, caiman, tapir, and jaguar to name but a few. This is one of the best places in the world to view wildlife, the wide open marshes allow much easier observation and photography than the dense tree coverage of the Amazonian regions.

Click here to view details

Ashgabat 5th Asian Indoor and Martial Arts Games

I returned a couple of weeks ago from the 5th Asian Indoor and Martial Arts Games in Ashgabat, Turkmenistan where I worked as Photo Manager for the Equestrian Events and as part of the Official Photographer team for other sports. An ‘interesting’ experience for sure as I got to photograph a few sports that I had never seen before, even after 35 years+ as a sports photographer. In fact, when I found out I was going to the Games I actually had to look up several of the martial arts as I had never actually heard of them.

After an incredibly long  journey of almost 40 hours I arrived in Ashgabat – pity my baggage did not also arrive! (It would be three days before it was found at JFK and another day before it arrived in Ashgabat). Fortunately my essential photo equipment was all carried as hand baggage.  The first thing one notices on arrival, apart from the heat, is the incredible whiteness of the city. Ashgabat was entirely destroyed in an earthquake in 1948, one of the most powerful ever recorded,  with reports varying between 110,000 and 176,000 deaths. This resulted in a rebuilding programme that has seen every single building clad in white marble. More marble here than any other city on earth. What is remarkable is that this tragic event was not reported to the world until after Turkmenistan gained independence from the USSR in 1991.

Typical marble clad buildings, Ashgabat – Nikon 1 V3, 1/4000th at f5.6, ISO 400

The sports facilities constructed in the centre of Ashgabat are truly remarkable – worthy of any world class event, and again completely clad in white marble. Spent the first few days getting to know my way around before the Games actually started. 

Opening ceremonies were of the highest order featuring a wide range of Turkmen culture and ending in a spectacular firework display.

5th Asian Indoor & Martial Arts Opening Ceremonies – Nikon D3s, 200-400 f4 lens at 340mm, 1/125th @f4, IOS 3200

Unfortunately the following day I came down with a bad bout of ‘Turkman Tummy’, a condition shared at some point with just about every person working at the games, and which, unfortunately lasted to some degree throughout the two weeks of competitions and even after I got home.

However, I continued to be able to work and covered a range of interesting competitions, including weightlifting, belt wrestling, kick boxing, sambo and even snooker.

Beltwrestling -Mens +100Kg division – Nikon D3s, 70-200mm f2.8 lens at 116mm, 1/1250th @ f3.5
Kickboxing – Mens LK 51Kg division – Nikon D3s, 200-400mm f4 lens at 380mm, 1/1250th @ f4, ISO 4000
Weightlifting mens 105kg – Nikon D3s, 200-400mm f4 lens at 270mm, 1/1250th @f4, ISO 3200
Mens snooker final – Nikon D3s, 200-400mm f4 lens at 270mm, 1/160th @f4, ISO 2500

A few sample images are seen here, but a wider selection are available by visiting the Latest Images gallery and the Martial Arts Gallery.

The final day allowed myself and a colleague to venture out with the aid of a local taxi driver (read Government minder) to see some of the local colour and architecture. One must be extremely careful photographing in this country, no images with police or military personnel, and great care when photographing certain monuments – if in doubt ask and if told no accept this without question. 

Ashgabat – Ruhy Mosque – Nikon 1V3 10-30mm lens, 1/1600 @ f8 ISO 400

A little background

Turkmenistan is bordered by Kazakhstan, Uzbekistan, Afghanistan and Iran, very much a desert country mostly dominated by the Karakum Desert. It is certainly subject to an authoritarian regime, ruled closely by current president Gurbanguly Berdimuhamedow (a self avowed sports fanatic), who’s photo appears in just about every room of every building, bus, taxi, and sports facility. I’s an Islamic state, although fairly moderate, and was once an important stop on the silk road. It declared itself a state of permanent neutrality in 1995, a state recognized by the UN.

Ashgabat 2017 – Old Nisa – Dynastic sanctuary of the Parthian Kings from late III century BC to early III century AD – Nikon 1V3, 10-30mm lens, 1/200th @f10, ISO 200

 

Nature Conservancy Top 100

The 2017 Nature Conservancy Council photography competition attracted over 33,000 entries from 141 countries.

I am honoured to announce that my entry below has been awarded a place in the top 100 entries to go forward for final judging. This includes a peoples’ choice award which you can vote for online. Please visit The Nature Conservancy Council Photo Contest to see the top 100 entries and vote for your favourite images.

Pronghorn Antelope (Antilocapra americana) running at speed, Sand Wash Basin, Colorado, USA

This image was taken with a Nikon D3s, Nikon 200-400 f4 lens (set to 380mm), 1/1250th @ f4.5, ISO 200 

Pronghorns can run at speeds up to 53mph (85 kph) leaving potential predators far behind making them the second fastest land animal in the world after the African cheetah and by far the fastest animal in N. America. Not only sprinters but long distance runners they raise the white hairs on their rumps when startled which can be  seen for miles.

 

Lady in red

Several people have asked how I produced the ‘Lady in Red’ photos recently posted to my Instagram account.

Here are the steps I use in Photoshop.

  1. Choose a photo that will convert well to black and white but which has a small area of a vibrant colour that you can bring back. Bright warm colours generally work best i.e. reds and oranges. Good subjects that work well are a bright red vehicle, red rose, red dress etc.

    El Santuario de Nuestra Señora de la Solidad (The Sanctuary of Our Lady of Solitude), Tlaquepaque, Mexico
  2. Open the image in Photoshop and create a black and white adjustment layer
  3. With the new adjustment layer active you will now see a black and white version of your image
  4.  Select the Eraser tool (This may be hidden behind other eraser tools)

    Select the eraser tool
  5. Use a suitable sized brush with a fairly hard edge and carefully paint away the top layer revealing the colour underneath. It helps to zoom in on the area you are working on. If you have a pressure sensitive tablet it makes this much easier than using the mouse

    Paint away to reveal the layer beneath
  6. Now flatten the image into a single layer )Layer-Flatten image

And that’s all there is to it!

Lady in red

Shoot your dog

Yep – many is the time I have uttered the phrase “I’m gonna shoot that Bl#*!%%& dog”, especially on returning to the kitchen to find that once again my darling little Springer Spaniel had managed to get food off the counter top. The last time eating more than a dozen freshly cooked chocolate brownies which resulted in a dash to the emergency veterinary clinic as chocolate is extremely toxic to dogs. Love her really!

My springers – the chocaholic is on the right!

However this isn’t about taking your dog outside with your shotgun, more abut about going outside with your camera to capture the amazing range of personalities dogs exhibit.

  • For dramatic photos get down to eye level with your pet. So many make the basic mistake of standing over your dog (or any other pet including children!) and shooting down. This results in an odd perspective in your photos. (Although it can still be a great shot f you get over your dog and getting him looking up at you) In fact I give the same advice for any animal photography including wildlife, try, wherever possible, to get to the eye level of your subject. (Although it can still be a great shot f you get over your dog and getting him looking up at you)
Golden Retriever Puppy, four weeks old
  • Use a long lens, preferably 100mm or more, again this gives a more pleasing perspective than getting close to your animal with a wide angle, resulting in a huge nose and tiny ears
  • Timing – not only your timing in capturing the moment but also the best time to take your photos. Take your action images before your big walk so your dog is still full of energy, your portraits afterwards so your dog is a little calmer
Golden Retriever fetches duck
  • Take your time to get the best shot – all animals can be very curious as to what is going on at first and even a little afraid if you are setting up flashed images
  • If using flash it needs to be off-camera to avoid the dreaded red-eye effect
English Springer Spaniel studio shot – flash at 45degrees each side
  • Take lots of pictures – it simply increases your odds of getting  great shot
  • Enlist the help of a friend to handle the attention getting toys – but put them away if your dog is getting really wound up and distracted.
Dog poking head between fence

Image stabilization or fast shutter speed?

Recently while covering the World Junior Taekwondo Championships I was approached by someone asking what my ‘camera settings’ were. I quickly rattled off what I was using “1/1250sec, f2.8. at 4000ISO set manually”. The gentleman replied I must be using old lenses as he did not need to set his ISO nearly this high as all his lenses had ‘stabilization’ so he could shoot at much lower settings and get higher quality pictures, 2-3 stops lower and still handhold “no problem at all” so he was only using 640 ISO.

Now, I am always happy to engage in discussions about photo technique and equipment, just not in the middle of an important competition where I am working, so told this person I needed to concentrate on what I was doing but would be happy to chat if I had the time after competition had finished. Unfortunately I never saw him again so was unable to point out the errors in his thinking.

First would have been – why was I choosing to use 4000 ISO. Of course, had I thought it prudent I would have loved to use a lower setting. The choice of 4000 ISO was to give me a shutter speed high enough to freeze the action when the athletes engaged in their fast kicking movements. This required a minimum shutter speed of 1/1000sec. If I had lowered my ISO to the same 640 that this person was using and assuming I still wanted to make a correct exposure at f2.8 (the maximum aperture of the lens I was using) my shutter speed would have dropped to around 1/250th sec – not nearly fast enough to freeze the action. 

Burnaby, Canada. 16 November, 2016. WTF World Taekwondo Junior Championships, Alan Arcal Alcazar (ESP) in blue and Ilyas Hussain (GBR) in red compete in 48kg class. ALAMY LIVE NEWS/PETER LLEWELLYN
Burnaby, Canada. 16 November, 2016. WTF World Taekwondo Junior Championships, Alan Arcal Alcazar (ESP) in blue and Ilyas Hussain (GBR) in red compete in 48kg class. 

Nikon D4s, AF-S 70-200 f2.8G ED VRII lens, 1/1000 @f2.8 6400ISO – This was on an outer mat where the light was even worse than the main mat hence 6400ISO

Now comes the misconception that I have heard many times since Nikon and Canon brought out their stabilized lenses – I can shoot at much lower shutter speeds and still freeze the image. NOT SO!! What VR (Nikon’s Vibration Reduction) and IS (Canon’s Image Stabilization) actually allow you to do is to avoid camera shake at slow shutter speeds – this has nothing to do with freezing the action.

If you need 1/1000th sec shutter speed to freeze the action and have no movement blur you need 1/1000 sec, period. No amount of vibration reduction or image stabilization will affect this in any way.

Burnaby, Canada. 16 November, 2016. WTF World Taekwondo Junior Championships, Maria Calderon (CRC) blue and Thi Kim Ngan Ho (VIE) red, compete in female 44kg class gold medal match. Ho took the gold medal
Burnaby, Canada. 16 November, 2016. WTF World Taekwondo Junior Championships, Maria Calderon (CRC) blue and Thi Kim Ngan Ho (VIE) red, compete in female 44kg class gold medal match. Ho took the gold medal

Nikon D4s, AF-S 70-200 f2.8G ED VRII lens, 1/1250 @f2.8 4000ISO

Finally I would have pointed out that using 4000ISO ( and higher) is well within the capabilities of my cameras and can produce image files that can be used easily up to a full poster output. 

Shooting raw files and a bit of prudent noise reduction in Photoshop produces remarkably clean images, even in deep shadow areas.

Burnaby, Canada. 20 November, 2016. WTF World Taekwondo Junior Championships Georgii Tandelov (RUS) blue, and Aleksandr Keselj (GER) red compete in the male +78kg. final won by Tandelov.
Burnaby, Canada. 20 November, 2016. WTF World Taekwondo Junior Championships Georgii Tandelov (RUS) blue, and Aleksandr Keselj (GER) red compete in the male +78kg. final won by Tandelov.

Nikon D4s, AF-S 70-200 f2.8G ED VRII lens, 1/1250 @f2.8 4000ISO

By the way – pretty much every lens I own has VR, including the Nikon AF-S 70-200 f2.8G ED VRII lens I was using that day. And the VR was turned OFF. I find my images are actually sharper with it turned off when using fast shutter speeds. I only ever turn VR on if hand holding at slow shutter speeds (who said better to get a decent tripod?) or if I am working from a moving platform such as a boat, helicopter or vehicle.

Burnaby, Canada. 17 November, 2016. WTF World Taekwondo Junior Championships, Chan-Ho Jung (KOR) blue and Houssam El Amrani (MAR) red, compete in the semi-final of male 55kg won by Jung  Photo: Peter Llewellyn
Burnaby, Canada. 17 November, 2016. WTF World Taekwondo Junior Championships, Chan-Ho Jung (KOR) blue and Houssam El Amrani (MAR) red, compete in the semi-final of male 55kg won by Jung 

Nikon D4s, AF-S 70-200 f2.8G ED VRII lens, 1/1250 @f2.8 4000ISO

 

Great sports photographs

As the 2016 Olympics in Rio draws to a close I have been following with great interest images made by my colleagues- Facebook, Instagram, web sites and the press are full of great shots. This is the first Olympics since 1992 when I have not been in attendance, either as a photographer or a member of the photo  management team.

With the huge advances in technology over this time period it has become in many ways easier to get amazing photos. I was therefore very interested to see an article on today’s BBC website about a new book by photo historian Gail Buckland titled Who Shot Sports: A Photographic History, 1843 to the Present. The book is accompanied by an exhibition now on at the Brooklyn Museum in New York.

It makes you realise that great sports shots do not necessarily rely on the latest technology. Getting in the right position, the exposure right, and anticipating the decisive moment are still the same talents honed by taking countless thousands of photos that photographers have used right back to the early days of photography.

Take a look at the two images below, one from the Olympics of 1924 and one from Olympics 2012.
p.s. I didn’t take the one from 1924!

Olympic Games Paris 1924 Alphonse Gemuseus (SUI) riding Lucette, the gold medallist
Olympic Games Paris 1924 Alphonse Gemuseus (SUI) riding Lucette, the gold medallist – Photo Col. Poudret
Olympic Games 2008, Hong Kong (Beijing Games) August 2008, Ludger Beerbaum (GER) riding All Inclusive, Individual jumping final
Olympic Games 2008, (Beijing Games), Ludger Beerbaum (GER) riding All Inclusive, Individual jumping final –  Photo: Peter Llewellyn

Looking at the 1924 image I am in awe of the photographer who managed to capture the height of the action and an incredible degree of sharpness in his image. I had a much easier time at the 2008 Games with high speed camera, autofocus and the ability  to instantly see my image on the LCD on the back of the camera.