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Patrick J. Endres

Welcome to my photography blog. Alaska has been my home for nearly 30 years, and its epic landscape continues to lure me, both personally, and professionally as a freelance photographer. Let this be your virtual “Alaska”. I’ll be posting some visual goods and technical comments about my ventures. Facebook | Twitter | Newsletter

Over the next few weeks I'll share some of the amazing sights from my recent one month trip to Antarctica.

Stock Photo Site

AlaskaPhotoGraphics is my stock photography portal presenting publishers and photobuyers a vast selection of my work captured in Alaska's diverse and majestic landscape. From wildlife to northern living, images are easily searchable. Wall decor prints for home or office can be purchased in a variety of sizes. Stop by for views of Alaska.


Opposition to HB 267: Snow Machine Use, Dalton Highway Corridor

While politics for me is like chewing an aspirin, I guess its my turn to chew a little …

HB 267 is a House Bill sponsored by Rep. Mike Kelly and Rep. Mark Neuman and co-sponsored by Rep. Tammie Wilson. The bill will allow snowmachine (not other motorized vehicles) use on the Dalton highway corridor, north of the Yukon River from Oct. 1 to April 30. Use of motorized vehicles in this area is currently prohibited.

While I’m opposed to HB 267, I’m not against snowmachines and I’m not against hunting. I have and will continue to participate in both activities. It is also important to note that access to this public land is not currently prohibited. For years, centuries, and perhaps millennia, humans have traveled this landscape, hunting, foraging, hiking, and recreating. The driving of motorized vehicles on this land is currently prohibited. I have spent extensive time north of the Yukon River along the Dalton Highway corridor, hiking and photographing its beautiful landscape and wildlife. It is big country, with vast open regions and epic vistas. This is one of the few places that remains relatively unmarked (save for the Trans Alaska Pipeline–the reason for the roads existence) and unpopulated by the masses. There is no doubt that this in part, is what makes the place unique and special–to me and many others.

My opposition to HB 267 is not rooted in a legal framework, but rather from a contextual perspective of having traveled not only widely across the state of Alaska, but many parts of the world as well. From my travels around the globe I have seen man’s unfortunate impact and damage to many landscapes. It is unfortunately clear that we have proved ourselves effective at leaving unnecessary marks upon the earth, and that is being kind. In many cases, instead of being good stewards, we have disrespectfully trashed the land.

I see a huge value in having some parts of the landscape free from the motorized buzz of our transportation-frenzied society and its side effects. With motorized access comes increased impact: damage during low snow due to winds or minimal precipitation, seasonal transitions, increased violations, increased trash, etc., with the closest law enforcement officer dispatching from Fairbanks. Furthermore, the region in consideration is remote, with the most rudimentary services consisting of a few rest stops with trash bins. The road itself is used primarily by trucks that service the Prudhoe Bay Oil fields.

A few years ago in early October, I stopped at a rest stop along the Dalton Highway, and took the photos below. It baffles me that in remote Alaska’s arctic, people would drop a bag of waste next to a trash bin (a grizzly bear proof one at that) to be ripped open by ravens and blown across the tundra. It is not that increased traffic is intrinsically a bad thing, but when it results in activity like this, It is obviously a detriment, not a contribution. We have rights to access but not to destroy.

Bear proof, but not people proof trash containers at one of the few rest stops on the arctic north slope, Alaska.

Oddly, people can't make the necessary judgment when considering minimal services in Alaska's arctic.

Some years ago Ralph Seekins sponsored a bill that was passed into law, lifting the restriction for bow hunting within 1/4 mile of the Dalton Hwy. I personally don’t think that was a good idea either. In September of 2006, while watching a herd of bull caribou approach and cross the road, I captured this photo of a bow hunter laying in wait along the ditch in the road. I was not overly paranoid about getting shot with an arrow, but it was not beyond the realm of possibility, and well, it just does not really fit the picture of hunting to me.

Bow hunter lays in wait along the shoulder of the James Dalton Highway (Haul Road)

Bow hunter shoots a bull caribou crossing the Dalton highway in Alaska's arctic.

Wildlife viewing, sightseeing, and photography are also considerable venues of merit to Alaska, and they don’t really mix that well this closely to hunting activity. Incidentally, the bow hunter gut shot this caribou and it ran off with its entrails hanging out. Whether the hunter eventually got the animal, I don’t know. I think restricting hunting at least some distance from the road is a good idea for hunters and other users of the corridor, although it may not need to be 1/4 mile off the highway.

I say lets continue to enjoy, hunt, explore, hike snowshoe, ski, etc., along the Dalton Highway corridor, but lets be responsible stewards of a great landscape, one of the few not already trashed on this planet. And in this case, I believe its fine to leave the snowmachines at home.

I’d encourage anyone to make comments – express your thoughts – even if it is a simple I don’t agree with HB 267. You can contact Derek Miller, Legislative Aide, with your comments.  derek_miller@legis.state.ak.us, 907 465-6879

If you are local in Fairbanks, the bill, HB 267, is being heard by the Transportation Committee Thursday, March 11, at 1 pm.  You can participate in the hearing and testify through the local Legislative Information Office (on Sadler Way, upstairs in the big Alaska USA building next to Home Depot.)

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Eli Mitchell - I definitely agree with you on what you said about being good stewards of the earth. I unfortunately have not been up the Dalton, but I've seen (your) photos of the amazing landscapes up there. From the damage I've seen snowmachines give other places, I can't imagine what the North Slope would look like if this Bill was passed. I, too, enjoy snowmachining, but I think it would be best to leave the North untainted by them, and continue to use snowmachines elsewhere. Those photos are somewhat humorous, yet sad to see that people don't think twice when they do stuff like this.

Patrick - Eli, There is an "unbelievable" aspect to the pictures, especially the trash one. It's hard to believe grown adults would do that.

Adelie penguins, Paulet Island, Antarctica

Adelie penguins, Paulet Island, Antarctica. Canon 1Ds Mark III, 100-400mm L IS, (100mm) 1/500 sec @ f/5.6, ISO 400

Paulet Island, just off the tip of the Antarctic Peninsula hosts a giant colony of adelie penguins. The count varies year to year, but approximately 200,000 birds make for a notable population. They are constantly coming and going from the nesting sights to the sea, bringing food back to feed the growing chicks, often two per nest.

Adelie penguin on a floating iceberg, Paulet Island, Antarctica. Canon 1Ds Mark III, 100-400mm L IS, (275mm) 1/640 sec @ f/8, ISO 200

The adelie, of all the penguins, to me looks the most comical. This is perhaps due to the white circle surrounding its eye which gives it a slightly cartoon-like appearance and a look of constant alertness.

The combination of good weather and some free time in the afternoon to photograph, leaves me with fond memories of this wonderful region. Cruising in the zodiacs near Paulet Island is a popular activity, as penguins haul out on the floating icebergs, making great observational and photographic fun.

Zodiac cruising and photographing adelie penguins on floating icebergs, Paulet Island, Antarctica

There is an art to driving a zodiac, since the wind, water current, angle of light, background objects, not to mention finding subjects, all factor into getting good images. I drove a zodiac for the morning session and had some free time in the afternoon to visit the colony on shore, as well as do some zodiac cruising as a passenger.

Adelie penguins on a floating iceberg, Paulet Island, Antarctica. Canon 1Ds Mark III, 24-105mm f/4L IS, (24mm) 1/d800 sec @ f/13, ISO 200

From a photographic perspective, having the versatility of lens focal length is critical. I carried two bodies, the 24-105 on one, and the 100-400 on another. I really like the flexibility of zoom lenses, since distance and positioning is often unpredictable in a zodiac, and the zoom gives compositional freedom not as easily acquired in fixed focal lengths.

Over the years, I find myself gravitating more towards the contextualization of a subject in its surroundings, and therefore often end up shooting wider, as opposed to more telephoto. There is certainly desire for both, but seeing the environment really depicts a sense of place, something often missing with an excessive obsession on close up shots of wildlife. There can be a “tunnel vision” that results with always looking through a long lens, and upon reviewing photos, you end up saying “why did I not shoot wider, I’m missing a sense of place in my images”.

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Tad - More wonderful photos as usual Patrick. I hope one day I will be able to make it to Antarctica.

Patrick - Tad, Antarctica was not first on my travel list, but having been there, I'd easily return. The big wild country touches the core of any Alaskan fond of that sense of wilderness. I hope you make it there some time.

Arctic Audubon March Program

On Monday, March 8, at 7:00 PM, I’ll be giving a presentation in Fairbanks for the Arctic Audubon Society’s March program along with colleagues Hugh Rose and David Shaw. I went to Antarctica with both Hugh and David, great traveling companions, photographers and extremely knowledgeable natural history guides. Our presentation will focus on stories and photo tips from the journey.

Arctic Audubon Society’s March program…
Antarctic Stories & Photography Tips
presentation by photographers
Patrick Endres, Hugh Rose, David Shaw
Monday, March 8, 7:00 PM
Noel Wien Library Auditorium

During January of 2010, three Fairbanks photographers
Patrick Endres, Hugh Rose, and David Shaw
spent a month aboard an icebreaker in the Southern Ocean.
On March 8th they will share images, stories, and photo tips from Tierra del Fuego,
the Falkland Islands, South Georgia Island and the Antarctic Peninsula.

King Penguins, South Georgia Island

Gentoo Penguins, South Georgia Island

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Phil - Would love to see, am sure it will be a fantastic set of images.

Patrick - Phil, wish you were here to contribute your images as well, it would be all the better.

Things to Avoid in Antarctica

Bow of the Polar Star in snow conditions. Antarctica. Canon 5D Mark II, 24-105mm f/4L (24mm), 1/100 sec @ f/5.6, ISO 800

I’ll be making a few more entries about my recent trip to Antarctica, along with some photos and notable stories. While there is much to see and many experiences to embrace in Antarctica, there is certainly one that should be avoided at all costs. We traveled in very reliable 260+ foot icebreaker, but that can be a little dot when compared with some of the icebergs that float around those waters. The bridge of the ship was open to passengers, and it was a great place to view the surroundings, as well as observe the techy instrumentation that made the vessel navigate with success. However, one realizes that a lot of trust is placed in the hands of the captain and crew when you look out the window while passing giant icebergs, barely visible in heavy fog and snow conditions. That little radar monitor becomes a great big friend. The first image of a giant tabular iceberg, miles in length, is pretty easy to see and avoid, but smaller ones, either in dark or foggy conditions, require more critical navigation maneuvers.

Bow of the Polar Star in snow conditions. Antarctica. Canon 5D Mark II, 24-105mm f/4L (24mm), 1/100 sec @ f/5.6, ISO 800

Bow of the Polar Star in snow conditions. Antarctica. Canon 5D Mark II, 24-105mm f/4L (24mm), 1/100 sec @ f/5.6, ISO 800

Floating iceberg. Canon 5D Mark II, 24-105mm f/4L (50mm), 1/800 sec @ f/4, ISO 800

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David Shaw - We sure did have some snotty weather didn't we? I wonder what the top and bottom photos would look like in black and white?

Patrick - Dave, after reviewing the Africa gallery by Brandt, Black and White comes to life! Are you ready for Monday?

David Shaw - Those Africa images were pretty darn amazing weren't they? Think they were large format? As for Monday...sure, just have to pick out what pictures I'm going to show, then decide what I'm going to say about them. So no, not really ready actually.

Gallery Presentation

Alaska House Gallery

I’ve been invited to be the featured artist for the month of March at the Alaska House Gallery in Fairbanks, Alaska. The Alaska House is a fine example of Interior Alaska’s log cabin artistry, designed and hand-built in 1939. There are oak floors, high ceilings and leaded windows in the three white-washed gallery rooms, hand hewn timbers overhead, and a river stone fireplace that brightens the gallery through the winter months. The gallery, owned by Yolande Fejes and Ron Veliz, is dedicated to preserving and promoting the art of Alaska. My photographs will be hanging there throughout the month but the “First Friday” artist reception will be this Friday, March 5th, from 5-8pm., please stop by for a visit if you are local to the area. If you are unable to attend, I’ve included my artist statement here below.

Artist Statement: Patrick J. Endres

I grew up in a small Midwest town, surrounded by the rolling hills of green farmland and hardwood forests. Adolescent curiosities and dreams of the future turned my vision north, and at age eighteen I ventured to Alaska—that seemingly mythical realm of adventure and land of extremes. I am not unlike many northern sojourners, lured to Alaska for reasons of intrigue and fascination, and compelled to remain by its giant space and rugged wilderness. Adventure is the seed of discovery, and Alaska is a place fertile and rich with opportunities for both.

An affinity for the visual arts has had a home inside me since childhood, and it leaked out repeatedly until I finally realized that in some fashion, it would become my way. This process of finding took a little time, but the fact that there is now a thin line between my photographic work and play, leads me to believe that I’m living near my passion. For me, the latter is critical because it is the context for creativity, which is the source underlying the words and pictures before you today.

Alaska’s natural world serves as a gateway into ubiquitous photographic material, from which I have sampled abundantly, but it is the layers and depth of its landscapes that now lure me most. While style is often found in the rear view mirror, I know that my long-time fascination with color and light, two fundamental aspects of painting and photography, weave their way into what may be descriptive of my work. I’m constantly intrigued by the influence of one upon the other.

My professional career is best summarized by nearly 30,000 images that span the last 17 years. They represent isolated moments in a fluid journey across Alaska’s vibrant landscape. Some are the result of serendipity, some of extensive planning and scouting, but all tell a small part of larger story. The process of their creation has been a voiceless, but not silent teacher, and I as the student am perpetually exhorted that the gift of seeing requires more than the eyes that see.

“Once in a while you find a place on earth that becomes your very own. A place undefined. Waiting for you to bring your color, your self. A place untouched, unspoiled, undeveloped. Raw, honest, and haunting. No one, nothing is telling you how to feel or who to be.” ~ Sundance

Notes About Digital Photography:

I make my living from a broad range of photography which includes stock photography for brochures and advertisements, editorial assignments for magazines, commercial photography for special projects, fine art print imagery, and to date, no wedding photography. They are all uniquely different in approach and style and are marketed largely through my website: www.alaskaphotographics.com.

I began the migration from film to digital in 2002 and by 2004 was shooting exclusively digital files. I retain no hint of nostalgic fondness for film photography since I find in the digital capture a greater dynamic range, superior overall quality, and an easier means of organization.

The work I present as fine art nature prints receive basic tonal enhancements and adjustments which include contrast, color temperature, brightness, sky control, etc., but the subject remains as it was observed. Disclosure when alterations are made for commercial or other aesthetic reasons is a value I consider important to the viewer, and thereby make note of it when performed. The prints themselves are made with Epson professional, archival quality inks and paper that when properly cared for, will outlast the healthiest viewer.

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Eli Mitchell - What are the details on the reception? Is it only going to be a presentation by you, or a meal and a presentation, etc.?

Patrick - Eli, The reception is a standard first Friday gig, with some mingling around wine, cheese, crackers, etc., No formal presentation by me, just informal conversation with visitors and some of my work hung on the gallery walls.

Milo Burcham - Hi Patrick, Bad timing for us. Wish we could have seen your show when Paula and I came through Fairbanks weekend before last. I tried to send a message through your web site before we came up. We had a good time at Chena and enjoyed your great thaw! Good luck with the show and maybe I'll see you this spring? Milo

Patrick - Milo, Sorry I missed your visit to town. So did the email through the website not work? I never did receive it and would have enjoyed a quick visit while you were here. Not sure about Cordova this year, although that is such a great experience, I'd love another try at it.

Milo Burcham - Yes, it appears that the e-mail through the web site did not work. I figured either that or that you didn't get back to me in time, which I thought was not likely:) Could also have been operator error although it seemed to work correctly. For a test, I'll look for that link and send you a message now.

Stock Photography

Store front window display by ChadMichael Morrisette, utilizing my panorama image as a background.

Every once in a while I get a little feedback from a photo buyer and let me place an emphasis on “once in a while”. Yesterday, I received an e-mail from a designer (ChadMicahel Morrisette) who purchased a photo for use in a store front window display. The photo–a snow covered boreal forest of  birch trees– is of particular interest to me because it was taken from the deck of my house, it was winter, and the subject of trees have always intrigued me. I’ve often thought that if Thomas Pakenham did not already publish his very cool book: “Remarkable Trees of the World“, I’d make that my next personal photo assignment.

Upon reflection, I never imagined while taking the photo, that it would be used as a window display. This is not surprising, but it is a good reminder that when photographing “stock imagery”, it’s a good idea to think broadly about your subject, and photograph it in different ways. In this case I made a panorama image by stitching five frames horizontally. I also photographed it as a single still image as well. The longer format of the two suited the store front wrap.

Snowy birch trees in Fairbanks, Alaska. Panorama stitch from 4 files.

Early in my career I modeled my photographic style and subject material largely from the motif of the Sierra Club calendars and other respectable nature beauty images. This is the style of fine art prints, those pictures that are self sustainable through strong composition and dramatic light and color. They still are my favorite type of image to capture, but stock photography requires a different set of parameters. Generally speaking open space is essential in stock photography, and a more mild or muted color palette is often preferable. This is so because the image itself should compliment and not compete with the copy or add material that is used in conjunction with it. If you look at successful stock photography, specifically background imagery, the image alone is often not striking in and of itself. But it works well with the layout and copy. Pick up your favorite magazine and look at the advertisements within the magazine that use background imagery and you will see what I mean. You will notice very few dramatic, strongly colored images. So when photographing stock it’s something essential to keep in mind.

There is a lot going on in the process of acquiring a photograph but it does one well to think broadly and photograph the scene in a variety of ways, which produces an image more versatile for today’s challenging photography marketplace.

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Blog via Dictation: Dragon Iphone Application

Dragon voice to text software

Dragon voice to text software

I guess this is a perfect time to make mention of another IPhone application called Dragon Dictation. The reason it’s a good time to make note of this little application is because I’m using it right now to make this blog post. Due to some recent surgery, I’m currently left somewhat of a one-armed-man and typing is a little slow so I’ve been using this handy voice to text recognition software on my iPhone to respond to e-mail and in this case, its a great opportunity to use it to make a blog entry. If you are interested other apps see my previous post on Iphone Apps that I find useful for photography.

It’s a little odd learning to speak as one writes since the styles are considerably different but nevertheless, this works quite well. Punctuation is added by saying out the actual punctuated mark. For example when I say the word (period) . this little program adds the mark. This little free program is not perfect in its translation of voice to text, but it is amazingly accurate. And I know there are more  sophisticated versions of this available if one wants to pay. I cleaned up a few mistakes here on the keyboard, but very few.

Once you have recorded the sound you can send it as a text message, and email, or copy it to your clipboard and paste into some other application. I’m often reading things that are worthy of remembering and this app will make it handy to translate those into text and email myself.

So what does it have to do with photography? Well nothing specifically, but I can see myself making some dictation notes about a particular image or subject location and then emailing them for review later. I’ve tried the voice memo application on the Iphone, as well as the voice memo on the Canon 1D sereis cameras, but the text works a little more universally better in my current office work-flow. Below is a sample video that I found on YouTube of how this software works, and I’m not the one doing the demo.

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Backup up, software and process

Plain and simple, backing up digital files is essential. Its a safety measure that should not be overlooked, both in the field and in the office. Below is my current proceedure for data backup.

Image data backup in the field:

When downloading media cards in the field, redundancy is a standard policy for me, at least when I have electric power available. To get this redundancy, I download a media card to two different sources/destinations simultaneously through Lightroom’s import panel. Other programs offer a two-location backup feature. I currently use two very small and portable Apricorn 500GB USB hard drives (just over $100 each). They both get plugged into my laptop and the photos are transferred to one as the primary and one as the secondary. In addition to their small size, it’s an easy process to plug them into my office workstation and transfer the files upon my return.

Image date backup in the office:

Backing up large amounts of data has been troublesome over the years, but we are pretty settled in now at my office with a reliable back up program and procedure. We used “Retrospect” for a long time, a free program that came with our external USB hard drives, but it did not work with Windows 7. I hunted around and tried a few free programs, but ran into problems with windows 7 security settings and external drives, which I find terribly annoying. I settled down with a reasonably priced software called “Acronis True Image Home” priced at about $50, which works excellently.

When transferring files from my field-dedicated USB hard drives to my workstation, they are copied over to the appropriate folder and then get backed up during the evenings scheduled incremental backup. As a third “safety net” I also copy files to what I call a temporary image tank (a location on an external USB hard rive). They just sit there in case I accidentally delete a file in the main folder on my workstation or make some other mistake where I might need to retrieve an original. After a few months, when this folder starts filling up, I just delete the older stuff to make more room.

My workstation computer has two, 2 TB drives that contain my digital files (total of 4TB). Each night on a scheduled basis, Acronis backs up each drive to its respective external  USB 2 TB hard drive. So, every day, my workstation is backed up completely. The very first backup performed is called a FULL backup (which takes quite a while), and then I’ve selected all successive backups to be INCREMENTAL. This means that the next incremental backup will only backup the files that have changed since the previous backup–which is critical when dealing with large amounts of data. The length of time it takes for the incremental backup will be relative to the amount of files changed or added since the last backup, and generally it goes pretty quick. Additionally, there is an easily navigable folder structure with all the backups accessible through the Acronis software.

As another layer of redundancy, every two weeks, my workstation is backed up to two different, 2 TB USB external hard drives, (same incremental basis) and these are stored off-site at a different location. With this set up, if my workstation goes up in smoke and I loose all data, at most, I’ll lose a day’s worth of work. And, if the house burns down or some other catastrophe takes out both the workstation and the daily backup drives, at most, I’ll loose only 2 weeks worth of work. I could live with that.

There are many ways to execute a backup system, we used to have a raid array hard drive on a network, but had issues with that. I’ve just found this to be the simplest, and its working fine for now. The point is, you really need something set up for a backup system. If you don’t currently, then start looking into it today, it could save you a  really, really bad headache some day.

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Jeff Green - Amen on the backups! I go with three copies in two physically separate locations. Bulk storage on non-bootable drives so they can be read from any computer. I have had a number of close calls with inadequate systems (optical storage, poor hardware, etc.), and lost a little data once. I was able to recover almost all of it, but it ruined my day. Nowadays I have a removable hard drive bay in my computer and just shuffle drives around. One lives at work, the others at home. It breaks my heart to think of all of the irreplaceable pictures (babies/kids, family events, unique shots, etc.) that are lost every day because people don't back things up. Great post! Backing up data is immensely important. :)

Marissa Tabbada - Thanks for this...you're quite generous with sharing info! Do you recommend backing up remotely through file transfer protocol? How about platforms like Flickr where you can do unlimited uploads for USD25/year? Aside from the brands you mentioned, any thoughts/experience on LaCie, Seagate, or Buffalo brand external drives?

Patrick - Marissa, Remote backups are an ok option with smaller amonts of data but become rather difficult with multiple Gigs. I think for most, that a local backup, supplemented with an occassional offsite backup is probably both the easiest and the cheapest. As far as specific brands, I can't comment save for the few people I know that have had a problem free go with Seagate and Lacie. The user review interface at a place like Newegg.com should give some helpful comments on product reliability. Before trying anything new, i always look for a pretty good dose of positive comments in the review or feedback section.

Patrick - Jeff, it certainly takes just one time to make an ardent proponent to a regular backup system. It still seems that there is room for greater simplicity in user interface, but like much of software development, things are moving forward in that direction.

Marissa Tabbada - Thanks for the tips, Patrick. I just noticed the entry below about the book you're writing. Having talent for photos and writing...quite a potent combination! What is the geographic span of your book in terms of subject matter?

Patrick - Marissa, the span of the book will likely include images from all of my travels, which includes 6 continents. But it is not yet complete. The writing will be short vignettes about each individual photo that relates to "a place in time".

Making Photo Books

Cover of my recent book of my trip to Antarctica. 100 pages, hardcover, and big photos.

The access and viability today for personal, desktop publishing is none other than remarkable. Back when I was saving my pennies to come to Alaska at age 17, I worked in a print shop, operating an ink press. Typesetting was still done with copy paper and wax, blue pencils, and believe it or not, rulers. But now, my how the times have changed…

I’ve published a hand full of photo books, largely through www.mypublisher.com. If you have not embarked on this fun and creative journey, then I would recommend stepping your toe in the water. There are many different companies that offer this book publishing feature, and I have not tried them all, so this is not a review of the many that exist. I do however like the easy software that mypublisher uses, which can be downloaded and used off line until ready to publish the book.

I just finished a book on my trip to Antarctica, 11.5in x 15in wide, hardcover, with a jacket, at about 100 pages. It’s not cheap, somewhere around $225 for one copy, but it looks pretty much like you picked it off the shelf at your local book store. Excellent photographic reproductions. Since deadlines force production, I used a recent two for one sale deadline to force the books conclusion. It was rather hastily done, but soon other demands on my time shall clamor loudly so I pushed it through. It’s not something done for resale really, just a trip summarized for posterity and available on the house book shelf for those curious in browsing.

In addition to that, I’ve had another personal book idea on the charts for some time, and am partway into it. Its a much broader topic, which will include some writing, so its progress will be much slower. Along the way though, I’m enjoying going back into the photographs and reliving my journeys. The title is: A Place in Time: Photographic Reflections. And here is the cover.

Cover for my book of photographic reflections.

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Lightroom Local Adjustments

Some hate sitting at a computer working on images, which is a dislike I can understand in the context of time, and the value of time. However, it is this very aspect that completes the circle for me, and affords an additional layer of artistic expression to any given image. Do you think Ansel Adams would give his negative to someone and say here, go make a print for me? It is the creative element of photography that lures me and excites me. I enjoy the natural world and being thoroughly immersed in it, but it is the desire for creativity that keeps me inspired. The universal art of my youth keeps leaking out.

The fast, localized image adjustments, in a simple format made me a convert to Lightroom. While similar artistic effects could be applied in Photoshop, the process was far more complex, time consuming and data intensive. This image of a rearticulated whale skeleton was made on an overcast and very moody day, lending to the somber reality of what happened to the Blue whale during the commercial whaling era. (For an interesting read on the subject of whaling, I’d recommend Ahab’s Trade: The Saga of South Seas Whaling.)

The earth’s largest mammal, at a population of nearly 300,000 animals in pre-whaling days was reduced to 1,000-2,000 prior to controls placed on the whaling industry in the 1960’s. Wow! That is hard to believe.  In my “grading” process to this image (See my previous post for some RAW work flow terminology) I tried to convey a sense of retrospective peril, through shadow and contrast.

Below are examples of the original capture and my brush painting local adjustments in Lightroom (that would be similar to the dodging and burning in the darkroom days). Other “global” adjustments (as noted at the bottom), are applied along the way but the brush strokes are easily seen by the red mask. The brushed areas can include any of the following adjustments: exposure, brightness, contrast, saturation, clarity, sharpness or color. Of course, you won’t know the individual combinations but you at least get the idea.

So, below is the original capture as a RAW file without any adjustments. Rearticulated whale skeleton, Port Lockroy, Wiencke Island, Antarctica. Canon 5D Mark II, 16-35mm f/2.8L, 1/80 sec., @ f/13, ISO 200

Original capture, no Lightroom adjustments, exposed to the right and looks a little washed out.

Add a little sky control by decreasing brightness

Accents existing light areas

Further darkening of the clouds

Darkening of existing shadowed areas

Overall darkening of the skeleton

Specific toning down of the brights areas of the skeleton

List of additional “Global” adjustments in Lightroom:

Temperature: warmed from 5450 to 6208
Brightness: +59 (default 50)
Contrast: +54 (default 25)
Vibrance: +17 (default 0)
Saturation: +18 (default 0)
Red Chromatic Abberation: -12
Graduated filters: 2 (local adjustments)
Brushes: 6 (local adjustments)

The final version and I added the other one right below for easier comparison.

After Lightroom adjustments.

Before Lightroom

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Mike Criss - Wow, what a difference. I love Lightroom. Remember when we had to do all this in Photoshop? My latest blog post

Troy - What?!? No Burn and Dodge?! Ansel must be rolling in his grave. Great explanation. I want Lightroom now.