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Put a stamp on it: The astrophotography of Matt Dieterich

The Astrophotography of Matt Dieterich

Star trails and aurora over Mount Rainier from Reflection Lakes. This photograph was selected by the United States Postal Service for a new ‘Forever Stamp’ celebrating the National Park Service 2016 centennial.

The year 2016 is the centennial anniversary of the U.S. National Park Service, which manages over 400 parks, monuments, and historical places across the United States. To observe this anniversary, the U.S. Postal Service recently issued a special series of stamps celebrating the National Parks, featuring images from 16 parks across the country.

One of those images was taken by astrophotographer Matt Dieterich of Morgantown, WV, whose image of star trails over Mt. Rainier was selected by the Postal Service for this historic series of stamps. The opportunity couldn’t have happened to a better person: not only is Matt an accomplished photographer, he’s an enthusiastic supporter of the National Parks, and even spent a summer working at Mt. Rainier National Park in Washington state. On the following pages, Matt gives us some insight into his photography, how his image ended up on a postage stamp, and why the National Parks are such an important resource.

If you would like to own a part of history, Matt is offering a limited-edition series of prints featuring the image of Mt. Rainier that appears on the stamp. Head over to his website for more information.

The Astrophotography of Matt Dieterich

This large Milky Way panorama was created from 14 individual images.

How did you discover astronomy, and at what point did your interest in astronomy translate into astrophotography?

“When I was about 10 years old my godparents gave me a telescope. Then, when I was about 16 I got another one for Christmas. It was just a little one, but it had a computer on it and you could tell it where to go. I could have it point to Jupiter, the Orion Nebula, or anything I wanted. It was really cool, but I wanted to show people what I was seeing, because being outside by the telescope all by yourself wasn’t as much fun. The only way I could do that was to connect a camera to the telescope.”

“I originally bought a film SLR, but the images turned out horrible. Later that year my parents helped me buy a DSLR, and from then on it was history because I could get instant results from the digital camera. That’s what I needed to learn quickly with astrophotography – it’s trial and error and experimentation. Going through high school it helped spur my interest in science; there’s an experimental thought process and you never give up on trying to figure out what’s wrong when you take a photo, and how to improve it.”

The Astrophotography of Matt Dieterich

The Milky Way, with light pollution from Portland, Oregon, captured from Mt. Rainier National Park.

Was your experience in astronomy, and astrophotography in particular, part of what inspired you to study sciences in college and graduate school?

“It was. The reason I went into geology and environmental science was because I love being outside. I like understanding why the earth looks the way it does. Why am I seeing what I’m seeing? To me, it’s motivation to learn more about what’s around us as humans. The night sky is something that we don’t all get to experience a lot. Everyone’s usually asleep, and many people don’t fully understand what’s above our heads because of the city lights.”

“My background and interest in photography definitely pushed me towards a career that would give me the time and opportunity to take photographs.”

The Astrophotography of Matt Dieterich

The Milky Way as seen from Zion National Park in Utah. Matt took this photo from his campground and remembers how much it inspired the other campers to look at his photos of the night sky.

Your portfolio has amazing images from lots of places, but something that really jumps out are all the photos of the night sky in National Parks. What’s special about the National Parks that makes them such a great place for your photography?

“The National Parks serve as islands – islands of protected resources. Just like the meadows and the trees and the animals, the parks serve to protect the night sky. That’s the purpose of National Parks in general. They’re regions that are to remain unchanged by man, and the night skies across National Parks are phenomenal, especially out west where the elevation is high and where climates are dry. Southern Utah, Death Valley, and other regions like that are pretty inhospitable to humans, and as a result you’re going to get some pretty amazing landscapes and night skies.”

The Astrophotography of Matt Dieterich

Matt decided to have a little fun with this image captured in Badlands National Park in South Dakota, and pointed his flashlight toward the galactic arm stretching across the sky.

Are you hoping to inspire other people to discover astronomy, or to go to the National Parks and have their own park experiences?

“Oh, without a doubt. The goal of my photography is to get everyone, but especially kids, involved in astronomy. All it took for me was a photograph, looking at an astronomy magazine, or a book about space, when I was a kid. It gets the hamster wheel in your head turning and your imagination going. It really gets you thinking. You never know what a kid will dream about just from a simple photograph of say, the Milky Way, or Earth from space. Also, I want to inspire people to get out and enjoy the National Parks that we have, because they belong to all of us. They’re amazing to experience in person and they can really humble you.”

The Astrophotography of Matt Dieterich

Matt Dieterich, appearing at an event to support Washington’s National Park Fund, posing with the photo that now appears on a special-issue postage stamp honoring the U.S. National Park Service.

It’s often said that luck is what happens when preparation meets opportunity; it seems that this was true in your case. Can you share the story of how your photo of Mt. Rainier was selected for a postage stamp?

“It’s a fun story. A year ago I was working at Mt. Rainier. I had finished grad school and wanted to work as a night sky ranger. I’ve always dreamed about going on a road trip and just taking photos. I drove 3,500 miles form Pittsburg to Mt. Rainier and stopped at parks along the way. When I was working there I used every free chance to go outside at night, to roam the park and capture the night sky. By August, I had a handful of great photos taken in the park.”

“One day my boss emailed me and said that someone in Washington, DC, was looking for photos of people looking through a telescope. I sent them what I had, but they couldn’t use it because I didn’t have a model release. So I just sent them the rest of my gallery of Mt. Rainier, and within an hour or two they responded in all caps, just loving the photo of Mt. Rainier with the star trails and aurora. Within a day they got back to me and said ‘Hey, this is going to be a stamp. But you can’t say anything about it until it gets released.’”

“The person at the Postal Service told me they had been working on this for years, and all of a sudden – rush, rush, rush – they needed a photo of the night sky. It’s kind of amazing when I think about it, but I’m just very humbled by the fact that they liked my photograph so much.”

The Astrophotography of Matt Dieterich

The Milky Way with green airglow over Glacier National Park in Montana.

Having your image on a postage stamp is a rare, and likely once-in-a-lifetime, opportunity. What is it like knowing that one of your photos is part of this history? Does it have special meaning given your relationship with the National Parks?

“It’s very humbling. I’m kind of at a loss for words. It’s an honor to be able to represent the Park Service and also promote the night skies. As a person trying to get my name out there for my photography… I never expected it to happen in this manner. The irony is that when I started working at Mt. Rainier they went around the room of interpretive rangers asking what our goal was for the summer. I’ll never forget; I said that if I could take one good photograph, I would be happy. Looking back now, it hits me hard knowing that this is something people are going to enjoy for the rest of time. It’s pretty remarkable.”

The Astrophotography of Matt Dieterich

Matt captured this Milky Way photo over a muddy pond in Arches National Park, in Utah, after hiking up to Delicate Arch. He liked the mud in the foreground, and the standing water made for a great Milky Way reflection.

Does an image on a postage stamp have the power to connect people you’ve never met to the National Parks? Can it inspire them to visit one?

“Sure. I definitely think so. When I gave my thank-you speech in New York City [at the official unveiling of the stamp series] I had this gentleman come up to me afterward. He was crying, saying how much it was a remarkable photo. He had some emotional connection to it, because I don’t think I gave an amazing speech that would bring someone to tears. But there was something about this photo… He had some emotional experience with the mountain and that photo was really meaningful.”

“It’s not the experience I expected when I went out to take the photo, but if that photo gets people to go outside, to look up, then that’s all I wanted to do. I want them to experience it. To me, the night sky is very emotional. It’s a human connection that I want everyone to experience. Maybe some people won’t feel it, but for many people it could really be life changing. What I’ve seen through my work, shooting the night sky, is that people are blown away because it’s not what they’re able to see every day. It’s very powerful, and the fact that a photograph could do that is astonishing.”

The Astrophotography of Matt Dieterich

Matt shot this Milky Way panorama with northern lights from Mt. Rainier National Park in Washington.

What type of equipment do you use for your work?

“Oh, I just use a disposable camera. No – I’m kidding. I use a Nikon D750. It’s a great full frame, low-noise camera for night sky photography, and is great for capturing wide views of the sky. I also use a Rokinon 24mm F1.4 lens, an Induro tripod with a ball head, and a shutter release intervolameter cable.”

“The Rokinon is great, but it definitely has a lot of coma, because I shoot wide open. I shoot F1.4 because my goal is to collect as much light as I can. When I’m doing a time-lapse I need to take as many frames as I can, and it takes 30 images to make a one second time-lapse video. I also have the Nikon 14-24mm F2.8 which is amazing as well, and it has practically no coma wide open. It’s pretty amazing, but you get what you pay for at $ 2,000. I have a D800 as well. I’ll use the D750 for a time-lapse while roaming around taking other photos with my D800.”

The Astrophotography of Matt Dieterich

Milky Way over Haystack Rock on Cannon Beach in Oregon.

How much post-processing is involved in your work? Is it a matter of just exposing correctly, or are there techniques that are important?

“After doing this for many years I’ve gone through different periods, and I guess, as an artist, that’s the way you change. In the beginning, I would process things very heavily because you have do do that when shooting through a telescope. You stretch the data. You physically stretch the histogram, but you have to make sure that everything is in that window of available dynamic range to avoid blowing the highlights or clipping the blacks. Working through the telescope you have to take calibration frames. You have to take not just one photo of the Orion Nebula, you’re taking a hundred. The more photos, the better, because you’re going to stack them like a sandwich, and it reduces the long exposure noise that cameras produce.”

“Then I transitioned to night sky work with just a camera and tripod. You see a lot of artistic images now and it’s possible to change the way an image looks, but I try to keep it natural. However, by stretching the data you’re already taking it beyond anything you’re physically going to see with the naked eye.”

“It’s tough to replicate exactly what you’re seeing, but I try to be natural and be gentle with the images. It’s what I want to do more of now. For example, in my Cannon Beach shot, I’m standing there on the beach with the Milky Way. I tried to process that very gingerly, bringing up the Milky Way just a little bit, and darkening the sides of the sky to make the Milky Way stand out just a little bit more. Folks fell in love with that. That’s my most liked Instagram photo and I think it’s because it looks real.”

The Astrophotography of Matt Dieterich

The Milky Way and Perseid meteor shower over Mt. Rainier.

A lot of photographers use apps that help see what’s in the night sky, or to plan their shoot. Are there any particular apps that you recommend?

“I know a lot of photographers, including night sky photographers, who swear by some of these apps on their phone. But when I was living at Mt. Rainier I was under the night sky every night, so I learned where things were going to be and how to frame and set things up. My general rule of thumb was ‘Okay, the sun rises in the East and sets in the West,’ and knowing the constellations as well. If folks just get a star map or star chart to learn the constellations, that’s important during meteor showers to know where the meteors are coming from.”

“Once you can point out a few objects in the night sky then you know them. You’ll know them for the rest of your life. No matter where you go – as long as you stay in the same hemisphere – the sky is going to be the same. It might change a little as you move from Mt. Rainier to Big Bend in Texas, where you get closer to the southern horizon, but other than that it’s a matter of learning some basics and getting out there. I haven’t used any apps for planning shoots, but I know a lot of people swear by them, and maybe one day I’ll try to find a benefit for using them.”

The Astrophotography of Matt Dieterich

The Milky Way appearing to erupt out of the summit of Mt. Rainier, a dormant volcano.

What other National Parks are high on your list of places to shoot?

“Oh, goodness… Let’s see… I was only at Yellowstone for one night and I didn’t get to pull out my camera because the clouds came in. So I think Yellowstone, because the night skies are amazing there. Big Bend National Park is on my list too because they have some of the darkest skies in the U.S., and I haven’t been there yet. I’d go back to one of the parks in Utah again, probably Bryce Canyon. I haven’t been to the Grand Canyon, either, but I’ve seen photos from there and the skies are remarkable. So there’s a lot. There’s a long list, but those are a few that I’d try to go to.”

The Astrophotography of Matt Dieterich

Matt created this panorama from 16 frames and shows the Milky Way right before dawn in Glacier National Park in Montana. He was able to use the soft light of dawn to illuminate the foreground stream.

What are your long term goals as a photographer? What do you hope to accomplish?

“I want to use my images to keep advocating, to use those images to inspire people, as well as doing public speaking and writing. People can relate to an image. It grabs them, and it’s another way we can connect them to protecting natural resources like the night sky. It’s something we can reclaim, but it’s something we’ve lost touch with, especially from city lights.”

“We’re at a point in time that we can really have an impact and can improve the night sky, but it’s only going to come through educating people and bringing them out into the night sky, bringing them to the resource. Photography does that. You can bring it right to their desk, but my goal is to get them outside because that way we can get them emotionally connected to it.”

“If we don’t get people emotionally connected to a resource, what’s the likelihood they will want to protect it? Whether it’s bison in Yellowstone, or elk in Rocky Mountain National Park, it’s the emotional connection that drives people wanting to do something, and that’s the real goal of my photography.”

For more information on Matt’s photography, or to purchase a print of the photo that appears on the postage stamp, you can visit his website. You can also follow him on Instagram.

Articles: Digital Photography Review (dpreview.com)

July 10, 2016
Review of The MIOPS Smart Trigger
The MIOPS Smart Trigger is many things you’d want in a photography accessory; small, rugged, and multipurpose. It may not be the perfect answer to any solution, but its range of modes and really cool connectivity options, make it a very useful and intriguing tool nonetheless.

At the time of this writing, the MIOPS Smart Trigger is available for $ 199.99 at Amazon (for the standard versions), which makes it a bit pricey for its size, but a great value when you consider the depth of its functionality. The trigger features seven different modes of operation, all available with various sensitivity settings, they include:
1. Lightning mode
2. Sound trigger mode
3. Time lapse mode
4. Laser mode
5. HDR mode
6. DIY mode (experts only)
7. Scenario or custom mode
The exterior of the unit is very rugged and appears it would be extremely durable. You definitely get a feeling of solidness when holding it. A 128×128 pixel, full color display, is mounted just above the large buttons, used for operation and selecting menu options on the front of the trigger.

The device is powered by a 3.7 volt/1020 mAh lithium ion battery, which is rechargeable via the provided USB cable. It is also possible to provide power through the USB connection, with no battery in place.

This new trigger kit from MIOPS is an evolution (and apparent replacement) to the Nero Trigger previously available from the company. The newer version was reworked, inside and out, to be a more rugged and competent accessory. Versions of the kit are available for Canon, Nikon, and Sony camera systems, as well as other brands including Olympus, and certain smartphones.

The various camera connection cables mean that one unit can operate with many different camera makes and models, and extends the usefulness of the accessory.

The trigger unit itself is connected in one of two ways, either to an external flash unit, or to the camera itself. Cables for each are included with each unit. This allows the trigger to sync and fire, either the flash system, or the camera shutter itself. Flash units are connected via the PC sync jack, and cameras are connected through the remote shutter release jack, meaning any camera or flash unit with these common connectors can be potentially be paired with the MIOPS trigger.

The MIOPS trigger can either mount on your DSLR’s hotshoe connector, or on your tripod or light stand, via a standard screw-in connection.

The unit can be connected for charging via a micro-USB cable, which basically means most smartphone charging cables, which are readily available. The trigger housing is rugged plastic, with raised, easy to press controls and features a large color screen for displaying information, a microphone, and a light sensor that is used for the Lightning and Laser modes. Lastly, an additional port is available for connecting various external sensors in DIY Mode.

The trigger slides on a standard camera hot shoe, but also has a screw mount for placement on a separate tripod or light stand.

The trigger will accept a standard screw-in type connection for mounting on a tripod.

To me, one of the best features of the unit is its available remote connectivity via the MIOPS smartphone app. The app is free (available for Apple and Android phones), and allows you to access and control all modes offered by the trigger. After downloading the app, I found it connected to the unit without issue, and I was able to access all modes and modify the settings quickly, without having to even look at the unit mounted on top of my camera.

The accompanying MIOPS smartphone app is a highlight of the system, and allows you to control everything remotely.

1 – Lightning Mode

Lightning mode is intended to allow you to capture flashes of lightning with your camera, without having to run series of long exposures or using bulb mode. You can set the sensitivity from 1 to 99, and start the sensor to capture the event. This mode is also sensitive to other types of light, such as fireworks, sparks, as well as artificial light, widening the gamut of possibilities. I didn’t get an opportunity to test the unit in a lightning storm, but I did attempt to trigger the MIOPS with a burst from a flashlight, and found that it picked up the light immediately and accurately.

As with several modes on the product, you’ll need to have your camera’s lens in manual focus in order for it to work.

2 – Sound Mode

Although this is the mode you’d expect to be the most useful, (and the biggest draw to the device) I found this one less intriguing due to the way it works. Without using the device, I’d expect it to allow me to trigger the shutter (cables are included to hook the MIOPS unit up to either your camera shutter, or an external flash unit), and capture the image, such as a balloon being popped, for example. This isn’t possible however, due to a slight lag, and the ridiculous shutter speeds necessary.

Each mode features several customizable parameters, each adjustable on the unit itself as well as the smartphone app.

Instead, you have to perform any captures of this type in total darkness, a pretty big drawback in my book. The idea is to leave your camera shutter open (which is why darkness is needed), and use the MIOPS unit to trigger a separate flash and capture the action.

As a natural light landscape photographer, I don’t have external speedlites available to me. The one I was finally able to get ahold of ended up not being a TTL enabled flash, and didn’t have the connection port I needed to use it.

In the end, I became frustrated and gave up. But of course, this isn’t the trigger’s only feature, and there were plenty of other modes to keep me busy and satisfied.

Editor’s note: I actually had a chance to try out the Miops trigger as well and was playing with sound mode. My friend and I had the same issues – we realized we had to fire the flash with it, in total darkness and somehow pop the balloon. We tried it on a balloon and smashing a light bulb. This is all we managed to get:

Not exactly frozen or what we were hoping for. We learned later that by turning down the power on the flash the duration is shorter and more freezing occurs. Would have been good for more helpful instructions to come with the unit. We struggled to make this work.

The best bulb smash we got after many attempts. Be careful if you try this at home! – Darlene

3 – Time Lapse Mode

Another extremely useful mode is the time lapse feature. With this mode you’re able to set a few parameters, to produce a set of images showing changes to a scene over a period of time. With this feature, you must set your camera to bulb mode so that the trigger can override your camera’s settings.

After switching to time lapse mode on the unit, you can set the interval (how often the camera takes a shot), the exposure (this is why your camera must be in bulb mode), as well as the total number of images that will be shot before the process completes.

In my testing, I found it very easy to set these parameters, and after a couple of trials, was pleased to find all of the functionality of this mode worked perfectly, without any issues.

4 – Laser Mode

This is another mode that I was unable to try out, but based on the accuracy of the sensor, I believe it would perform well. This mode requires a constant laser beam to be fed into the front sensor, and will trigger the camera when this beam is broken.

The laser doesn’t have to be a particular type or color, meaning a $ 10 pen laser pointer from an electronics store will do just fine. The hardest part of the operation will probably be mounting the laser on a stable surface and preventing the beam from being broken prematurely. After you’ve setup the laser, you can adjust the delay on the unit up to 999 milliseconds. A final setting allows you to designate a set number of frames to capture in this mode before the trigger stops.

This mode could be used to capture animals moving into the frame (could be tricky to setup) or something falling or moving like pouring shots or freezing water droplets.

Image by dPS author Ivo Guimaraes

5 – HDR Mode

HDR is a familiar term for most photographers; it is a technique where two or more images of varying levels of exposure are combined in post-production to capture a higher dynamic range, more equivalent to what the human eye sees. The MIOPS trigger allows you to set these parameters on the unit itself, including the center value (the middle value in the range of exposure levels to be captured), the difference in exposure value from one frame to the next (such as 1 stop between, or 1 1/2 stops between), and the total number of frames to expose, up to 7.

A 3 shot HDR composite from the MIOPS trigger.

While this feature definitely extends the functionality and usefulness of the device, it must be said that it doesn’t really offer anything that most DSLR’s can’t do already, and I would almost always prefer to just set this up in-camera.

6 – DIY Mode

DIY mode is one of the modes that really makes the MIOPS unit shine, as it adds functionality not standard on most cameras. The trigger has a 3.5mm stereo jack on the side of the housing, and this allows you to connect a multitude of external sensors, adjust the threshold (percentage of change from the sensor), the delay of the trigger event in milliseconds, and mode, which lets you set what type of event detected from the external (add-on) sensor will trigger the unit, such as change, increase, or decrease.

This mode is advanced, and requires multiple connections in most cases, but the possibilities are almost endless. Sensors that measure changes in temperature, pressure, humidity, or motion can all be used to trigger the camera’s shutter.

7 – Scenario Mode

Scenario mode basically allows the user to program the unit by stringing together a series of functions, and having them execute based on a unique situation. Up to 5 steps can be saved for each custom scenario, and a total of 3 scenarios can be stored on the trigger. This entire function can then be executed via the Miops unit itself, or remotely via the smartphone app.

For example, let’s say a thunderstorm is approaching and you want to capture different types of shots during the event. You could program Lightning Mode as the first step, capturing a set number of stills of the lightning, and then immediately activating Time Lapse Mode in the second step, capturing photos at 5 second intervals to assemble later.

For each step, all of the usual parameters for each mode are available.

I didn’t get the chance to try this scenario out during an actual thunderstorm, but I did attempt to string together a couple of functions and execute them, and the results were excellent. Once the first step was completed (a 5 shot HDR photo), the trigger immediately went into Sound Mode, and stopped after it detected a loud sound (the clap of my hands from a few feet away).

I’d definitely chalk this mode up as one of the most useful features of this unit.

Remote Release

To me, this is one of the most useful features of the MIOPS trigger. I can connect the unit via bluetooth, fire up the accompanying app, and control my shutter from several feet away, wirelessly.

I tried this in a normal scenario I often find myself in, which is my tripod lowered to a short height, legs planted into the surf of a local beach, taking low angle, long exposure shots.

I was able to snap off many perfectly-timed images, without ever having to worry about holding on to my usual corded cable release, keep the camera as still as possible, while avoiding the high winds blowing the cord around and smacking my camera.

I will use this, all the time!

Conclusion

The MIOPS Camera Trigger is a sturdy, rugged little unit that was easy to set up and use (note: this device is more aimed at intermediate to advanced photographers and could easily be confusing for beginners). It has a couple of features that almost make it worth the price of admission in my book, but a few issues linger that keep it from being the perfect tool, including a highly-touted Sound Mode. It promises high-speed photography but requires total darkness and a flash setup to accomplish, as well as a couple of modes that feel a bit tacked on, and not anything you couldn’t do already with existing camera settings (HDR and time lapse).

Still, the MIOPS is a fun tool to use, the Remote Release mode, DIY mode, and smartphone connectivity are extremely useful, and if you’ve got $ 200 bucks burning a hole in your pocket for a new gadget, this might be one to pick up.

Have you had any experience with the MIOPS Camera Trigger, or triggers in general? Sound off below and let us know what you think, and show us some of the work you’ve accomplished!

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The post Review of The MIOPS Smart Trigger by Tim Gilbreath appeared first on Digital Photography School.

Digital Photography School
July 10, 2016
DEAL: Learn How to Take Beautiful Black and White Photos for just $6

Today is deal 4 of our mid year sale and you’re sure to love this one…

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The post DEAL: Learn How to Take Beautiful Black and White Photos for just $ 6 by Darren Rowse appeared first on Digital Photography School.

Digital Photography School

July 10, 2016
Deal 3: Save $401 on The Complete Landscape Photography Pack

It’s Day 3 of our Summer Sale and if you’re interested in the art of landscape photography – this offer is for you!

InFocus Deals are offering dPS subscribers their Complete Landscape Photography Pack with a massive 89% discount!

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Take a look at what’s in this amazing Landscape Photography pack:

Get full details of the bundle over at the InFocus Deals Page

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Digital Photography School

July 10, 2016
4 Tips for Better Child Photography by a Mom

Elena Shumilova and her family moved to the country and she started photographing her two sons. Then she put her images online and something magical happened – the world loved them! She has over 50 million views of her images and counting.

In the first video below you can see how she captures the natural moments of her children’s lives in such a way as to captivate the world. Then watch the second to get four tips you can use to do the same and do better child photography of your own kids, grandkids or neighbors.

Mom Captures Childhood of Her Sons

4 Expert Tips for Child Photography

You can see more of Elena’s images of childhood here.

Are you inspired? Go take some photos of the children in your life and share them below!

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The post 4 Tips for Better Child Photography by a Mom by Darlene Hildebrandt appeared first on Digital Photography School.

Digital Photography School

July 10, 2016
Anti-Gravity Boots: London Shoe Artwork Defies Laws & Physics

[ By WebUrbanist in Art & Street Art & Graffiti. ]

There are many theories, but no one is quite sure where the practice of throwing shoes over raised urban infrastructure started. Some suggest bullies take shoes from other kids and toss them over power and telephone lines; other think it could be a way of marking gang or drug-dealing territories. Or perhaps people just make and lose bad bets, paying the price with sore feet.

Whatever the reason, London street artist Pejac (images by Gary Van Handley) has taken the shoe-on-a-wire concept to the next level, with individual and paired shoes seeming to hang upside-down, pulled inexplicably toward the sky. Presumably to minimize annoyance to the city (and possible damage to critical lines), the artist in this case opted to use poles rather than wires for support.

Titled Downside Up, this series of shoe art installations across East London are in part a series of street artworks but also a viral marketing campaign for an upcoming solo exhibit. Pejac is well known for both silly and thought-provoking interventions, often manipulating built environments in subtle ways by pealing paint or through small installations easily missed by less observant passersby.

10 Vintage London Paintings Superimposed on Street View Images …
Escher + Inception: Tour a Digital World that Defies Physics …
Anti-Gravity Hotel: Sleep Suspended in Levitating Space Suit …

[ By WebUrbanist in Art & Street Art & Graffiti. ]

[ WebUrbanist | Archives | Galleries | Privacy | TOS ]

WebUrbanist

July 9, 2016
How to Edit Corporate Headshots in Lightroom
Although even lighting, and perfect exposure are your biggest allies when it comes to making people look their best in headshots, there are many small adjustments you can make in the editing process, that will make your shots (and your clients) look that much more professional.

To begin, a lot of things on the day of the shoot will be out of your control. Take a booking I had recently, for example, it was scheduled on a Friday afternoon after a full week of the Annual Meeting. All the head honchos were dead tired and this was the last thing on their to-do list. After a week of deciding the future of their company, a lot of them looked a little, let’s say, less than fresh. Dehydration, bags under the eyes, and coffee-stained teeth began to rear their ugly heads. Because we’re human, and that’s what happens. Although soft light helps, our wonderfully designed cameras tend to be rather unforgiving of the under-slept.

Although most of my corporate headshot clients know that post-production doesn’t mean they’ll end up as Heidi Klum, they do appreciate just a smidge of help once the photos are loaded up.

Corporate touch-ups are about making the subject look as fresh as can be. I like to keep my post-processing efficient, effective, and easy, so I can get the photos off my desk and onto theirs as quickly as possible. Here’s how I tackle it.

My Lightroom Workflow

Let’s start with the shot straight out of camera.

This particular company wanted to feature their employees in their native work environment, so the office became the background, which eliminated the need to bring a backdrop. I lit the subject with window light, an octabox, and a reflector. You’ll notice I shot these with 50mm lens as well. Normally, I’d grab my 85mm for corporate work, but we were out of town and didn’t have our full complement of gear with us. The 50mm did the job just fine.

My first step is to adjust the Cropping, Exposure, and White Balance. I need to crop the reflector out of the frame for starters, apply a lens correction to get the side wall to line up. I’m happy with the way the White Balance is on this, but I’d like to take the exposure up slightly and take the overall highlights down slightly.

We end up with this:

Local Adjustments

The local (in one area of the image only) adjustments I use are subtle. The best way to get some of these adjustments is to have the client get a great night’s rest and stay hydrated, but those are mostly out of our control. These adjustments aren’t meant to turn anyone into an airbrushed masterpiece, just to give them a little nudge.

Before we dive in, let’s review some Local Adjustment Quick Keys to help you in the process.

Adjustment Brush Quick Keys
- Press H to hide or show the pin you’re using. This is helpful when the pin is in the way and you want it to disappear.
- Press O to hide or show a mask overlay of the Adjustment Brush tool effect, or use the Show Selected Mask Overlay option in the toolbar. This is helpful so you can see exactly what areas you’re affecting. It also makes editing at a coffeeshop or plane pretty funny because whoever peeks over your shoulder thinks you’re turning all your subjects into the Incredible Hulk. (Shift+O will tile through the overlay colors: white, black, red, green).
- Press Ctrl+Z (Windows) or Command+Z (Mac OS) to undo your adjustment history.
- Hold Alt to take away any mask you’ve put in (holding Alt while you use the paintbrush turns it into an eraser to paint away). This is helpful just to clean up any minor mistakes you made while adding adjustments.
Okay, here are the adjustments I make (in this order too):

#1 Soften Skin

This helps just to clear up pores and generally be forgiving of any blemishes.
- Clarity -50
- Sharpness -10
- Contrast +5
- Highlights +15 (to counteract the highlights being muddied by lowering clarity)
I take my brush over the entire face except for the eyes, eyebrows, and lips, so the face is fully Hulkified.

Note that you can change the color of the Mask Overlay (Shift+O), but I just stick with green as it’s nice and easy to see. If you make a mistake and go over any of the areas you want unaffected, just use the Alt key to turn the brush into an eraser and paint them away.

#2 Diminish Lines

I put this in to give an overall softening of shadows created with any kind of wrinkle or smile line.
- Contrast -30
- Shadows +15
- Clarity -50
- Sharpness -10
So let’s look at the before and after of what we have so far. You’ll see that the the skin is more even throughout, and the deep shadows of the lines are reduced and softened, but not removed completely. The goal is to freshen, not make them look like a plastic doll.

Next up, let’s get those eyes popping a little more. This is easy to overdo, so be judicious with this step.

#3 Brigthen Eyes

Get the whole eye in this first adjustment:
- Exposure +0.2
- Contrast +10
- Clarity +10
#4 Enhance the Iris

Now we’ll focus on just the colorful part of the eye, the iris. We’ll add a little more exposure and a touch of saturation:
- Exposure +0.40
- Contrast +20
- Highlights +35
- Clarity +5
- Saturation +20
Let’s check back in with a before and after comparison:

It’s subtle, but there’s just enough pop around the eyes, without it being overdone.

#5 Whiten the Teeth

Let’s make their dentist proud:
- Temp -25 (adding blue takes out any yellow in the teeth)
- Exposure +0.25
- Saturation -20
#6 Hair and Eyelashes

For this final touch, it’s nice to give a little definition to the hair and eyelashes.
- Contrast +10
- Highlights +20
- Shadows -10
- Clarity +30
- Saturation +10
- Sharpness +30
Cute wig, right?

Let’s look at the final before and after now:

And here’s the photo that was delivered to the client:

All of these changes are delicate. Done right, and they’re almost imperceptible. Retouching your corporate headshots doesn’t need to be an hours-long endeavor. Your clients don’t need to be on the cover of Vogue– they need a no-fuss photo that’s Linkedin ready, and shows them at their best.

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The post How to Edit Corporate Headshots in Lightroom by Tim Sullivan appeared first on Digital Photography School.

Digital Photography School
July 9, 2016
Dodging, burning… microwaving? A look inside Ansel Adams’ darkroom

In a recent interview with Marc Silber of Advancing Your Photography, Ansel Adams’ son Michael gives a tour of his father’s darkroom.

The basics are all there, but by and large, they were designed by Adams for the space he was in. Sure, the dodge-and-burn stick is literally a stick with some cardboard taped to it, but the enlarger and wall mount are both on a custom-built track, and can be moved independently toward or away from each other depending on Adams’ needs. The light source in the enlarger is actually 30 individual light sources, each with its own switch for the utmost control over a negative’s illumination.

My favorite part? When Michael details how his father tested exposures with a new image. It’s pretty standard up until the end, when he says that Adams would routinely microwave the test print – it would dry faster that way, and the best way to ascertain the correct exposure is with a dry print. The more you know!

It’s a fascinating look back into the world of film and physical prints, and a reminder that creativity and control don’t necessarily require the fanciest equipment money can buy.

Articles: Digital Photography Review (dpreview.com)

July 9, 2016
Living Street Art: Contorted Human Bodies in Urban Spaces

[ By SA Rogers in Art & Street Art & Graffiti. ]

If you were to pass a bunch of colorfully-dressed human figures crammed into a crawlspace beneath a public staircase, you might think they’re mannequins at first, with their splayed limbs and claustrophobic positioning. The bodies are bent every which way, some hanging upside down, all of their faces obscured by hoodies, their positioning absurd. As you walk down the street, you spot more and more of them – folded beneath park benches, dangling from staircase railings, squeezed between utility boxes or piled on top of one another. But then a hand moves, or a muscle twitches, and you realize they’re alive.

The brilliance of choreographer Cie. Willi Dorner’s ‘Bodies in Urban Spaces’ lies as much in the chosen setting as it does in the extraordinary flexibility of his performers. Dressed in vivid track suits, the performers quickly assemble themselves into position, hold their poses for an uncomfortably long duration, and then disassemble themselves to run ahead to the next spot and repeat the process. The temporary urban interventions leave no trace when the performance is over, and aim to encourage residents to experience their cities in a different way.

‘Bodies in Urban Spaces’ has been traveling the world since 2007, showing up all over the UK and Europe as well as Texas, New York, Istanbul, Russia and Japan. The performers lead an audience through each city, highlighting various architectural and urban features and how we interact with them as human bodies.

“‘Bodies in Urban Spaces’ is a temporary intervention in diversified urban architectonical environment,” says Dorner. “The intention of ‘Bodies in Urban Spaces’ is to point out the urban functional structure and to uncover the restricted movement possibilities and behavior as well as rules and limitations. By placing the bodies in selected spots the interventions provoke a thinking process and produce irritation. Passers by, residents and audience are motivated and prompted to reflect their urban surrounding and their own movement behavior and habits.”

Crazy Contortionist Street Art: Bodies in Urban Spaces …
Urban Geodes: Crystal Street Art Hidden in Broken Spaces …
Living Light: Human Figures Dance Inside 3D-Printed Zoetrope …

[ By SA Rogers in Art & Street Art & Graffiti. ]

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WebUrbanist

July 9, 2016
21 Fun Images of People Laughing

Laughter is contagious. One person starts doing it and soon others around them follow.

By Overduebook

Capturing real human emotions with a camera can be challenging. Some people are guarded with their emotions, and getting a real smile, let alone a laugh can be difficult.

If you’re a portrait photographer it’s your job to make your clients feel at ease enough to relax and let their real emotions show. If you do candid or street photography it’s about paying attention and capturing just the right moment. Here are some images of people laughing to get you inspire or maybe to put a smile on your face too.

Notice they aren’t all technically perfect, but can you feel the emotion and hear the laughter? Then the image is successful. Yes, animals count too!

By naomii.tumblr.com

By Marc Kjerland

By Rosino

By *Robert*

By al-jubey

By Via Tsuji

By Gregory Gill

By David K

By Rachael

By Philippe Put

By MichelleNMS

By Devon D’Ewart

By Filippey

By Peter Kelly

By Alon

By Davina

By Tommy Wong

By taminator

By su-lin

By François Reiniche

By Sadiq Alam

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The post 21 Fun Images of People Laughing by Darlene Hildebrandt appeared first on Digital Photography School.

Digital Photography School

July 9, 2016