Month: December 2014

Yellowstone’s Winter Wildlife Seven Day Photo Safari

Start the New Year a new photographer

By Simon Weir – Professional X-Photographer

If you’re like most people, much of the time you live life on autopilot. Everyday tasks, like taking a shower and driving to work are managed by long-established habits. This leaves the mind free to think but rather than exploiting this freedom the mind, left unattended, fills its day with internal chatter about what happened yesterday or last week or what you have to do after lunch or this coming weekend. Sometimes it all gets a bit too much.

Untitled-1

What is “enlightened photography”?

Photography provides an opportunity to give our minds a holiday but unless we also clear the mind of its senseless chatter, photographs only ever reflect our cluttered existence. That is why, on a Magic Is Photo Safari, we teach more than just the technical aspects of photography. We also help you to be mindful to the photo opportunities around you – to recognize each moment for what it is and connect with the land and the wildlife in a way that will not only transform your photography but possibly your everyday life as well.

Take a load off and fire your imagination

Imagine, then, that it’s February and you are deep in Yellowstone National Park. The quiet is absolute. The waist-deep snow is talcum powder-soft and the park’s ancient trees loom against the vast blue sky to create a landscape plucked straight from your wildest imagination.

The clean, crisp air, sulfur springs and pine nut-aromas unite to provide the perfect accompaniment to the natural geothermal features that are an ice age in the making. It’s an ethereal, ever shifting landscape of cryptic light and shadow that plays home to wild wolves, coyotes, bobcats, eagles, bison, foxes and elk – the perfect location to immerse yourself in nature and take a load off your mind.

top

The highlights

  • See fantastic wildlife, including top predators and snow-covered bison and elk
  • Our specialised snow coaches give us brilliant winter access to the park
  • Immerse yourself in the solitude of this incredible landscape
  • Dawn ‘til dusk photography
  • Our flexible itinerary allows us to go where the action is
  • No single supplement
  • Learn from Simon Weir’s 10-years experience as a pro’ photographer
  • Hands-on tuition as you need it and optional evening seminars
  • Special extra lectures on Infrared, night and time-lapse photography
  • £300 discount for Fuji photographers

The experience

Let’s start off by saying that everything you’ve ever heard and seen about Yellowstone in winter is true. Every step you take can quickly become the best step you’ve ever taken. And through this land of ice and magic move the animals. Like apparitions, in the semi-corporeal mists they drift through the hinterland. Yellowstone may seem at slumber but in winter it’s awake and alive with wildlife.

Our photographic days begin at around 7:00AM, when we board our specialized snow coaches for a full day in the park. Initially, the road takes us east, following the course of the Madison River. This is an excellent area for sighting trumpeter swans, bald eagles, elk and bobcat. At Madison, there is a warming hut, which provides hot drinks and snacks and a warm fire, and is a favourite mid-morning stopping place with our guests.

The Madison Valley is a prime wildlife area and we can expect to see plentiful bison, coyote, fox and maybe the rare and elusive wolf and bobcat. From Madison we can take one of two routes: north-east following the course of the Gibbon River, towards the Norris Geyser Basin, taking in the famous Gibbon Falls; or south, initially following the course of the Firehole River towards Old Faithful, Yellowstone’s most famous geyser.

Each route offers a changing landscape, interspersed with ghost-like trees and the rising steam from distant geysers, and wildlife sightings of bison and elk and more. We spend the whole day in the park, returning as the sun disappears beyond the horizon, leaving behind its fire-red glow.

At day’s end, we head back to the warmth and comfort of our cozy lodge where, like old friends around the fire, we’ll share our stories from the day’s photography and visualize the next day’s adventure. Life – and photography – really doesn’t get much better than this.

The details

A 7-day photo safari from 8th – 14th February 2015 at just £2,255 per person with £300 “Fuji” discount (normal price £2,555). Price includes airport transfers, accommodation, lunches, Park entry fees and permits, snow coach transport and all tuition. Flights to and from Bozeman International Airport are excluded.

Booking

For further information and to book on this safari, simply click here.

bottom

 

Film Simulation test by Dave Jackson

By Dave Jackson

My wedding workflow for the past few years whilst shooting with Nikon DSLR’s has consisted purely of shooting RAW and processing the files initially in Lightroom and with some additional tweaks in Photoshop with Nik and OnOne software plugins. The aim is to produce a set of colour and exposure corrected JPEGS for supply to our clients. Since switching to Fuji for most of our wedding work I wanted to compare the film simulations in ‘real life’ shooting situations. Just to clarify, this is not about shooting JPEG only which I know some photographers do but this is part of a bigger picture in exploring the possibilities of producing ‘in camera’ JPEGS from the RAW files for supply direct to the client with little or no external processing after the wedding.

The original RAW files were transferred back to a memory card and then processed in camera. All other settings eg colour. shadow,etc. were 0. The images are in the same order from top to bottom L-R as the film simulation selections in the camera’s menu, starting with the unprocessed RAW file then Provia, Velvia, Astia, Pro Neg Hi, Pro Neg Standard, BW, BW Yellow, BW Red, BW Green, Sepia.

Bridal portraits

bridal portraits 1
X-T1 / 18 -55 F2.8-4 F4 @ 1/250 1250 ISO +0.33 Exp comp. Auto WB

The first set of images (above) are some Bridal portraits taken in the reception room as we were rained off for outside shooting.

There was a large expanse of windows with natural, overcast daylight behind me.

Of the colour versions I don’t think it will come as any great surprise that Velvia is just a bit too saturated for this type of image and personally I find Pro Neg Standard to ‘flat’. That leaves Provia, Astia and Pro Neg Hi. Of these Astia has produced the warmest image, closely followed by Provia and then Pro Neg Hi. Astia will be my first choice for similar lighting / subject in the future.

So far as the black and white versions, my choice here for skin tone would be the Red filter but the overall contrast has reduced with Green producing the darkest lips. I think I might be wary in using the green filter as a ‘redder’ skin tone could cause the skin to darken more than I would wish.

X-T1 / 18-55 F2.8-4 F4 @ 1/150 3200 ISO +0.33 Exp comp Auto WB
X-T1 / 18-55 F2.8-4
F4 @ 1/150 3200 ISO +0.33 Exp comp Auto WB

This was at Bride’s home before the wedding (above). There was a window to camera right but it was quite dull outside and it provided very little light so we set up our Lupolux LED650 with a showercap diffuser to camera right.

Once again the winner for me is ‘Astia’, however they are all acceptable, even ‘Velvia’ hasn’t gone too far with a nice boost to the flowers. Of the black and whites, ‘Red’ has given the lightest skin tones and ‘Green’ the greatest contrast. Yes, you guessed – still a thumbs down for ‘Sepia’.

Wedding Couple

wedding couple
X-T1 / 18-55 F2.8-4 F4 @ 1/640 400 ISO Auto WB

 

The lighting was gorgeous here, with the sun low and diffused slightly through clouds to camera left. (Above) 

Would be quite happy to use ‘Velvia’ here. It hasn’t affected skin tones too much – and wow! – those Fuji greens! I was a bit surprised at the very little difference with the black and white filters. Understandably the ‘green’ filter has produced the lightest image with ‘red’ providing the most contrast – just. Still wouldn’t use ‘sepia’

Classic Chrome

Whilst putting this test together it became possible via an update to apply ‘Classic Chrome’ to existing X-T1 RAW files using Lightroom (5.7). Below are the 3 files with this mode.

classic chrome

For me ‘classic chrome’ is just a little on the ‘grungy’ side and I’m not quite sure yet where it might fit in with our current style of wedding shooting / editing. However, I can’t wait to use this in lots of other genres, especially ‘street’ and some ‘urban portraits’.

Conclusions

As mentioned at the beginning of the post, the aim here was to find out how usable the film simulations are straight out of camera in ‘real life’ wedding shooting. I am working on switching film simulation modes during the wedding to suit particular lighting and subject matter and then using the resultant JPEGS as part of our workflow to supply direct to our clients with no further post processing. DR settings are also going to play a big part in this, especially when shooting high contrast scenes. We will continue to shoot both RAW and fine JPEG and will of course use the RAW files as needed for post processing if the need arises.

To be honest I’m knocked out by the quality of JPEGS produced in camera, the noise reduction is also truly amazing. I would prefer a stronger filter effect with the black and whites as there isn’t a great deal of difference between them all.

For me the Sepia simulation is very limited for our particular requirements and I don’t envisage using it at all.

For full resolution image examples, please click here. 

David Jackson’s Twitter & Blog