Fall Colors in Greeley, Colorado, November 1, 2008

Fall colors against a building Greeley, Colorado, November 2008. (Photo by Daniel Binkard)

Scenes with contrasting organic and geometric shapes are certainly fun to explore. This building, since demolished, provided a good backdrop for the leaves. An additional element, the shadows, provides a third layer. Colors are a bit muted in this treatment, but I think it's fitting. Inside the windows we find some blue for additional contrast with the warm tones. Generally speaking, I like the arrangement of shapes within the frame, except for the shadow in the middle right that cuts across the window. And the lonely branch on the bottom left. Now that I mention it, that bottom left originally had a dark shadow crossing it. Jay Maisel, of the "Light, Color, Gesture" school, teaches that those corner issues are weaknesses, so I selective lightened it. Even so, that corner isn't quite finished, but I'll come back to it, and probably get rid of the thin branch while I'm at it.

Nikon color goodness in Camera Raw

An update to an earlier post about getting Nikon colors in raw converters other than Capture:

It turns out that in July Adobe released camera profiles that give Camera Raw colors very similar to those from Nikon Capture (and by extension Nikon cameras in general). The results aren't exactly the same as what Capture outputs, but by my subject quality factor testing they are pleasing and are now part of my normal workflow.

Nikon-specific profiles in UFRaw

UFRaw by default produces rather different output than Nikon's in-camera rendering. Looking through my files after a shoot, I found myself disappointed that the color from UFRaw lacked the contrast and saturation of the preview JPEGs.

After some fiddling with UFRaw's settings, I found references to Nikon's own color profiles being useful. If you have a copy of Nikon Capture (even the demo will work), you can retrieve the temporary profiles it produces from an NEF. Use that profile as your input and presto — rendering just like Nikon's.

The problem is that Adobe Camera Raw uses yet another approach, and I can't specify an input profile like in UFRaw. So I must tweak my Camera Raw defaults until I get something approaching the Nikon rendering. And so far it's proven a bit tedious…

Evening Leaves, Chadron, Nebraska, July 9, 2008

Evening sun backlights leaves in Chadron, Nebraska, July 2008. (Photo by Daniel Binkard)

I was drawn to these leaves that were glowing in the evening light. With a long lens to frame them, this scene is all about the shapes of the leaves and outlines of the stems. I like the texture on the middle left leaf, which shows some of the detail in the intricate veins.

Custer County Aerial, June 20, 2008

Aerial view over Custer County, South Dakota, June 2008. (Photo by Daniel Binkard)

I was excited to have an opportunity to photograph from a helicopter, and took a few interesting photos in spite of the high angle of the sun, which reduces shadows on the ground that might reveal the texture and character of the terrain more effectively. In this light, you have to look for more elements with more obvious contrast. I like the combination of straight lines and curves created by the Cheyenne River, and repeated in a less organic way by the cleanly divided field.

Sunset over Cherry County, July 3, 2008

Sunset over Highway 20 in Cherry County, Nebraska, July 2008. (Photo by Daniel Binkard)

While driving on Highway 20, I was taken by an irresistible impulse to photograph the sunset. There was enough haze in the air to dim the sun at its low angle. I adjusted the tones to open up the shadows. This is a single-point perspective arrangement, and I always like being able to throw in some power lines marching into the distance. The water tower and radio tower on the right create the balancing elements. I like the yellow-orange gradient across the sun.

Remote Triggers

Part of the fun of working with off-camera lights is figuring out how to trigger them. I started, like everybody else, by messing about with sync cables, even going so far as setting up a Y-connection with a bunch of BNC connectors. It worked without a hitch; the real problem was the trip hazard that much cable created.

So the next step is radio triggers! I am currently using the now-discontinued AlienBees RFT1 system, which is great for the price, but one of the receivers has been unreliable lately. This is apparently not uncommon, because AlienBees now sells a "new and improved" CyberSync system, which also costs a bit more. They do well, though, because you can get back the full cost of you RFT1 system, making the transition more bearable.

Whatever the pluses and minuses may be of this system's reliability, its real weakness is compatibility with other flashes. See, the receivers are AC-only, so only useful with AlienBees lights or similar.

My next step, then, is to take the plunge and start buying Pocket Wizards. Sure, they cost several times as much as the Bees system, but they're portable and, in my experience, ultra-reliable. I will start with the Plus II model and go from there.

The other remote trigger I use is the Phottix Cleon, which I bought from a Hong Kong company off eBay. This is a combination wired and remote release, and it works like a charm -- except that the radio release interferes with my RFT1 triggers, another reason to go for the Wizards. My primary use of this is as a wired release for long exposures, so whatever works or doesn't work with the radio release is less important.