Vision Landscapes: Blog

Moeraki Boulders, New Zealand

Wed, 02 Jul 2008 18:53:25 GMT

New Zealand is often thought of as simply a land of high mountains and misty fiords, often forgotten is that it's also an island nation. Being an island nation, New Zealand has many miles of coastline, and beaches. Perhaps, the most fascinating beach is on the South Island, home to a geologic treasure known as Moeraki Boulders. Moeraki Boulders is located 40km (25 miles) south of the coastal fishing town of Oamaru, 300km south (180 miles) of Christchurch, on SH1.

According to an ancient Maori legend, the boulders are gourds washed from the great voyaging canoe Arai Te Uru when it was wrecked at nearby Shag Point (Matakaea) some 1000 years ago, while searching for the precious stone of Te Wai Pounamu.

The more mundane explanation is that the boulders are septarian concretions that formed about 65 million years ago, and were raised from the seabed 15 million years ago. Crystallization of calcium and carbonates around charged particles in muddy undersea sediments gradually formed the boulders in a process taking as long as four million years.

The boulders each weigh several tons, measuring up to 10 feet (3 meters) in diameter. The boulders have a hollow interior.

Photo Experience

Moeraki Boulder's location on the south-east facing shore of the South Island makes this an ideal location for morning photography, with the boulders and nearby landforms bathed in a warm side light; by late afternoon the area can be in deep shadows.

For the complete article see: Moeraki Boulders at TraditionalPhotographer.NET

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Beaches of Oahu - Lanikai Beach

Sat, 14 Jun 2008 00:43:28 GMT

I'd like to start a new series here, to share the beauty of the island where I live. I don't know how many parts there will be to this series. There are a great many beaches here on the island; too many to cover all of them. In the State of Hawaii, all land to the high water mark is public property, with the state requiring public access through many hotel and residential areas. I will be using a variety of cameras, and I won't be visiting beaches in any particular order - whatever happens to strike my fancy.

Lanikai Beach

Lanikai Beach is located near the bedroom community of Lanikai, on the Windward side of the island. Entrance to this beach is through the exclusive community of Lanikai, just a few miles from the community of Kailua, via public access paths. This area is less than 10 miles from my home, making it a perfect place from which to start this series.

Here we have the Nā Mokulua islands with the rising sun in the background. The islands are a State bird sanctuary and only accessible by small boat; access is restricted. However, you can easily rent a canoe from nearby Kailua Beach for the short paddle over.

This image was taken on a Toyo 45AII camera, with a Schneider Symmar-S 135mm f5.6 lens on Fuji Velvia 50 film. A one stop (.3) split neutral density filter was used to holdback the sky and to keep the foreground from sinking into the shadows.

Next stop, Kahana Bay....

del.icio.us Tags: Hawaii, Travel, Photography, Fine Art Photography

A New Standard in Field Cameras - Chamonix 45-N1

Fri, 06 Jun 2008 21:31:55 GMT

I recently found a need to replace the aging Toyo 45AII I've used for years. The Toyo is an excellent camera, however with the amount of travel I do by air, and the ever increasing limitations on carry-on luggage, I wanted something lighter, yet would still hold up to the rigors of long distance travel, and would be easy to setup and use. I considered the Toyo 45CF, a carbon fiber based camera, but rejected it because of its lack of movements on the rear plane; movements I feel are critical for landscape photography. I also considered the Ebony and Tachihara field cameras. However, once I saw a Chamonix 45-N1 on an Internet forum, I was captivated by its design and beauty.

The question in my mind was whether the camera would hold up for the long term. Chinese made products have a reputation for poor quality design and construction, which I find odd when you consider its long history and the exquisite artifacts created. Once I received the camera, I realized that this reputation is undeserved for this camera - a simple examination shows an attention to detail, in both construction and design, as well as several innovative and nice to have features. For example, the camera comes with a padded wrap, similar to a lens wrap, to protect the camera while in transit or storage; a nice to have feature, that the manufacturer could have easily omit. The camera comes across as having been produced by someone with a great love and appreciation for large format cameras.

The Chamonix range of cameras, named for a French ski resort, are produced in Haining City, Zhejiang Province, China by the Chamonix View Camera company. Originally designed by Yu Xiang, a mountaineering photographer, the company produces a variety of hand made field cameras, ranging in size from 4x5 to 20x24. Each camera is hand made and produced in batches - my camera was one of the second batch of 4x5 cameras produced. It is a testament to the quality and durability of the construction that the chief designer used the camera on an expedition to climb Mt. Everest last year. He also used a Chamonix 12x20 on that trip.

Initial Impressions

When I received the package, directly from the factory in China via EMS, I thought it was empty; the camera is that light. The camera came with no instruction manual, and being of the Phillips style of field camera, I was unfamiliar with its operation and setup. Soon, though, I had the camera open and setup - with more experience I will probably be able to setup the camera quickly.

As I began to look over the camera, it became apparent that the build of the camera is just superb. All the moving parts worked precisely and smoothly, without any hint of binding or jamming. The wood joints are carefully aligned and even, the finish smooth and pleasing. Even the camera wrap is carefully sewn, with extra padding where the camera sits.

One thing that is hard to quantify is how the various parts integrate with one another. This camera, with parts made of wood, aluminum and carbon fiber just fits together seamlessly.

Design and Build

The Chamonix 45-N1 is a triple extension wood field camera, available in either Walnut or Canadian Maple of the RH Phillips design. The Walnut version may also be ordered painted black. Unlike other wood field cameras, which have a hardwood base, the Chamonix has a carbon fiber base plate and sliding rails. This helps the camera maintain its stability while also keeping its weight low.

The knobs on the camera are large and easy to use. Focusing is via worm gear fine focus knob located on the rear of the camera; this makes it easier for the the photographer to focus from under the dark cloth.

Setting up and Using the Camera

Setting up the camera is very straight forward - simply loosen the two rear standard knobs and swing the rear standard up and lock it into place. The front standard is then lifted up and screwed into one of five holes on the rail. At first, trying to determine which hole to use took a little guessing - different focal length lenses may use different holes. After some use this becomes second nature, however, in the short term attaching a small bit of tape indicating lens to the rail makes setting up fast and accurate. Align the front standard with the lines on the rail to set it perpendicular to the rail. Then raise the front standard until the two dots on the standard match with the dots on the standard holder.

Once standards are locked down, set the lens board into place, using the two wheels locks rotated down to lock it into place. This completes the basic setup.

In the following sections, I'll look at the major components of the camera.

Front Standard

The front standard consists of two parts; the standard itself and the lens board holder.

In this image we see the front standard with a mounted lens - in this case a Nikkor 120mm f5.6 HM. The camera takes Linhof sized boards, however, I've settled on the Bromwell boards (available at B&H); they are much cheaper and work just as well. I have not tried the camera with either a top hat or recessed board, but see no reason why they won't work as well.

The Lens Board is held into place, using the two wheel locks at the top of the holder; you simply drop in the lens board, rotate the wheels down; fast and easy. At the bottom of the lens board holder assembly, are two small slide locks (partially visible in the image) that are used to lock the board into a vertical position. To tilt the lens, you simply slide them inwards, rotate the knobs on each side of the board and tilt.

On the bottom of the front standard, are two small dots, one on each side of the rail. They are used to align the front standard, setting it parallel on the camera. I've found the dots and lines on rail to be difficult to see in low light levels, however, a small flashlight takes care of that easily.

Note the sprit level - this one is removable, and is one of five on the camera.

Rear Standard

The next image shows the rear standard of the camera. You will notice that there are four spirit levels (the one on the left in the image is hidden). The level at the top of the back is used whenever the back is rotated in the portrait mode (vertically). These allow the film plane to be easily set to level, regardless of the surface the camera is setup on. I find these levels much easier to use than those built into most tripods.

In order to rotate the back, from landscape to portrait mode (horizontal to vertical), the two small tabs at the top right and left are pushed up. The back then lifts up slightly from its base, is rotated then put back into the back, with the two tabs pushed down. In the field, I've found this easier than using the rotating back that my Toyo has (rotating backs also add a lot of weight to the camera).

Notice the wheel at the top left (and right) hand side of the camera body. These are used to release the bellows, allowing it to be changed; for example, when switching to/from a bag bellows.

One question that keeps popping up on various Internet groups is whether the camera will take a roll film back. As you can see, in the following image, it does so quite easily. I've not found any issues while using it in the field in this manner.

For this image, I've attached a Horseman 6x12 back, naturally loaded with my favorite Fuji Velvia in 120 size. Note the ground glass next to the camera - quite simple and light weight in construction.

Ground Glass

Here we have a close-up of the ground glass. Notice the format markings on the ground glass. It is clearly marked for 6x4.5, 6x6, 6x7, 6x9 and 6x12 formats - all the major roll film formats. The ground glass is bright, and includes a fresnel.

There are four posts at each corner of the ground glass (only the top two are shown in this image). These posts hold the ground glass protector - constructed of carbon fiber - in place, in order to protect the glass. Some people have complained that the protector is hard to remove, but I've found if you slightly lift back the rear, as if you were inserting a film holder, the protector becomes quite easy to remove.

Focusing and Camera Bed

Unlike most field camera where the camera is focusing knobs are on the side rails of the body, the Chamonix uses a worm drive knob instead. This unique feature allows the user to focus the camera much more easily from under the dark cloth.

In the following image, I've shown how the camera back looks when using the swing mechanism. To swing the back, simply loosen the two swing knobs and set the back in the desired position. Again, we see how easy the major movements are to achieve with this camera.

The free sliding rails for swings, as well as for extending the bellows, is different than many field cameras, and may take some getting used to.

Technical Specifications

The technical specifications for the camera are as follows:

Weight	3 lbs (1380 grams)
Size (LxWxH)	7.75 x 7.25 x 3.25
Minimum Bellows Draw	45mm (only minimal movements)
Maximum Bellows Draw	395mm
Useable Focal Lengths	45mm to 360mm (or 400mm Telephoto)
Front Rise/Fall	45mm / 30mm
Front Shift	40mm left/right
Rear Swing	20mm left/right
Rear Base Tilt	Bellows limited
Lens Board	Linhof sized boards
Back	Graflock

Likes

Lightweight - under 4lbs.
Ground Glass protector - made of carbon fiber, the ground glass protector is ingenuous in design.
Ground Glass markings - the ground glass has markings for 6x4.5, 6x6, 6x7 and 6x12 roll film backs, and is bright and easy to focus with.
Switching from landscape to portrait mode is quick and simple.
Knobs on the camera are large and easily adjustable.
There are 5 separate spirit levels on various spots on the camera, making a level setup quick and easy.

Dislikes

Lack of accessories, such as a bag bellows, or matching film holders (see following section).
Ground Glass protector is hard to remove - This feature was redesigned to be easier to remove, and will appear on the next batch of cameras (July 2008).
The marks on the front standard that indicate when the lens place is centered is difficult to see when light levels are low. *
The markings on the camera rail, used to center the front standard, as well as to measure bellows draw are difficult to see when light levels are low. *

* Note: I've since heard that upcoming models have been changed to fix these drawbacks.

Camera Accessories

A number of accessories are being introduced this year (2008), starting with a bag bellows in August, and Canadian Maple film holders, with carbon fiber darkslides around the end of the year (hopefully, Walnut holders as well).

Price and Availability

At the time of this writing, June 2008, the camera costs around US $800 including shipping from China. As indicated earlier, the camera is produced in batches, which currently looks to be twice a year. This means a 6 month wait at most. However, given the cost of the camera and quality of its construction, 6 months isn't too long to wait.

Conclusion

I've grown to thoroughly enjoy using this camera. Its light weight means that I now carry the camera to places, where before I shot with 35mm. I am eagerly looking forward to carrying this camera on my next major trip; to photograph the Blue Mountains of New South Wales, Australia later this year. Based upon my experience with the 45-N1, I'm now wondering if there may even be a larger Chamonix in my future.

For more images of this camera see: Traditional Photographer Technical Gallery

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10 Practices for Better Landscapes

Sun, 01 Jun 2008 20:03:51 GMT

"There are no rules for good photographs, there are only good photographs." - Ansel Adams

In spite of this simple, if somewhat vague statement, it is well known that Ansel Adams was very meticulous in his approach and practice of landscape photography. This approach was rooted in his love and appreciation for the natural environment, as well as a strong technical knowledge of the materials he worked with. How then, do we learn from his example in order to make our photography better?

First, we need to understand what the ultimate goal of landscape photography really is. Landscape photography revolves around the single act of capturing the light on the land. Although nature provides us with an assortment of landforms and shapes, it is the nature and quality of light that gives these forms substance, imparts emotion and ultimately determines our vision of the land.

Secondly, we need to choose the necessary equipment to allow us to capture the light in the most effective manner possible. Some will argue that the choice of equipment is of no importance, that the final image is all that matters. However, as Ansel's example showed us, it is that choice of equipment that translates our vision of the scene onto film, and ultimately, the final print.

British landscape photographer David Ward writes in his book Landscape Within, "We all have the potential for individual expression, but to realize this as a visual art we need to develop not only our vision but also the means to communicate it". In order words, we need to learn to translate what we see and feel, given the equipment we work with, into an image the best represents our vision of it. In order to make this translation, I have developed a few practices that guide me along the way. Before getting into the practices I have developed, I should point out that I am a color landscape photographer, which means that all these points related to color.

1. Be Prepared

Being in the right place at the right time is the essential element in landscape photography. Rarely will just showing up and wondering aimlessly produce any meaningful results. Instead, careful consideration needs to be given to what is encountered on location; the major landforms, and the way the light highlights or shadows them (subjected to seasonal and the weather variations).

The Internet, guide books, post cards (an often overlooked source), can all have their place in researching the area, and is a natural starting point in preparing. However, nothing substitutes for actually visiting and walking around the scene. Whenever possible, you should try to arrive well before the actual shoot is to begin.

Look for bold lines that may attract the eye, scan for juxtaposition between elements in the scene, such as rock and flowers, and seek out lakes, rivers and other water sources (elements that many people are attracted to). Pay attention to foreground elements, nothing whether they intrude into the scene or enhance the scene. Most importantly try to get a sense of what the subject will look like under varying lighting conditions. This is not the time to be photographing, rather it is time to be looking and observing.

2. Understand your Environment

Equally important with being prepared is having an understanding of the environment where you will be working. Each environment – mountain, ocean, plains, desert, etc. – has its own unique elements, its own unique way of reacting to the light and each has its own window of opportunity, when the light is just right.

Recently, while doing a survey of Australian landscape photographers I found that the majority of those doing color landscapes seemed to have the same basic approach in their photography – bold lines, strong shapes, and vibrant colors. Since most of the mainland of Australia is harsh desert it only follows that successful images from there will reflect that environment. In this environment, the light comes quickly in the morning, and fades just as quickly in the evening, with strong directional elements. Those images that are most successful are those that successfully translate the light that is characteristic of this environment to film.

Understanding your environment will lead to choosing the most appropriate types of camera, filters and films to match the expected light. For example, for this image at Devils Marbles Conservation Area, I chose to use a panoramic format to emphasize the shapes of the rocks and their relationship to the horizon, on Fuji Velvia 50 to match the colors of the land, while using a warming filter to emphasize the warmth of the rising sun.

3. Travel Light

Like as not, for most landscape photographers, air travel is an essential part of our business. With the enhanced security enacted after the events of 9/11/2001 and with the financial difficulties that have plagued all airlines, it is becoming more difficult for the photographer to carry all the necessary equipment. Therefore, sometimes hard decisions need to be made about equipment to carry. Consider the environment you are going to be photographing in, and carry only the essential equipment for that environment.

Whenever possible, hand carry all your camera equipment in a nondescript pack or case. If you must check your equipment, bury it deep in a nondescript bag surrounded by clothing. While convenient, wheeled luggage adds additional weight; weight which may cause you to exceed your allowance, resulting of extra charges, or worse, refusal to accept your bag. Choose a sturdy lightweight bag, with good straps that you can hand carry easily. Things to look for in a good lightweight bag include:

Strong Materials used in its construction - ballistic (1050 denier being the best) and Cordura® nylon are the best. Beware of some of the cheaper 1060 denier bags being produced in third world countries. Note: denier is a measurement of weight, not strength.
Quality Zippers - this is the most failure prone component of any bag. There are two basic types available on the market: chain and coil. Modern chain-type zipper teeth are made from injection molded resins, fused directly onto the zipper tape; they are incredibly strong. The best zippers (of both types) are manufactured by the YKK Group.
Avoid leather bags. Leather looks, feels, and even smells nice. When wet, however, it is very susceptible to mold and mildew, and should be avoided when traveling in the more humid parts of the world. It is also much heavier than contemporary luggage materials such as high-denier nylon.

As an additional benefit, carrying a smaller kit when traveling helps to focus the mind, making us more acutely aware of what we can and can't photograph, given the restrictions a smaller kit places upon us.

4. Photograph during the most attractive light of the day

The most impressive light of the day occurs just after sunrise and just before sunset, when the sun is within a few degrees of the horizon, a period of time known by landscape photographers as the "magic hour". During this period of time, the angle of the sun changes, and with it the color of the light, becoming warmer or cooler. The closer to the ends of the day, the warmer the light. At sunset, the light, as a result of human activity during the day, becomes more intense than at sunrise.

It's a challenge to make good use of the time outside of the "magic hours" as the sun is high and casts harsh shadows. Instead use the time you are not shooting to scout locations for afternoon or morning "magic" hour shots.

5. Use side lighting

Light coming from the side can produce richer images as the light casts shadows that define shapes, creating stronger, more interesting designs, while enhancing texture. The texture adds a tactile quality to the image, which adds a suggested physical connection to the subject.

This can be difficult light to photograph in, because of the extremes of contrast; areas of the image may contain washed out white highlights, or unrecognizable black shadows.

6. Use a tripod

A tripod is one of the most essential pieces of kit that I own. Quite often the small apertures - for depth of field - used in landscape photography requires shooting at very slow shutter speeds. To understand why, the most commonly used film for landscapes, Fuji Velvia 50 rated at ISO 50, when used with a polarizing filter, which loses two stops of light, gives it an effective film speed of ISO 12. This translates into shutter speeds of 1/8 second or less; to slow to effectively hand hold. Using a tripod also helps you organize your composition, by forcing you to slow down the photographic process, and become a more thoughtful photographer.

Beware of some of the cheap tripods that are currently available on the market, they can be quite unstable under a load or in windy condition. While more expensive, the newer carbon fiber tripods are much lighter and sturdier than the traditional aluminum ones. Carbon fiber tripods make transporting a tripod much less of a chore; an important bonus for the photographer who needs to travel long distance or travel by air.

7. Use a fine grained transparency film

For the most vibrant color and the sharpest images, use a fine grained transparency film. Many landscape photographers prefer Fuji Velvia 50 (so great was the outcry when Fuji discontinued the film that it was hurriedly reintroduced a year later).

Fuji Velvia 100 or Kodak VS100 films, while not as vibrant as Velvia 50, are excellent choices when the contrast level is high or to obtain better shadow detail. For more neutral colors, or for subjects needing to be pure white, try Fuji Astia 100F.

Many professional landscape photographers overexpose transparency film by 1/3 of a stop (exposing Fuji Velvia 50 at E.I. 40) in order to enhance the vibrancy of the film.

8. Use filters sparingly

Perhaps the quickest way to destroy an image is to use too much, or the wrong kind of filtration; over filtration can destroy the subtle nuances and pastel tones of a scene. With that in mind, there are three basic types of filters that are most useful for landscape photographers; warming filters, polarizing filters and split neutral density filters (covered under a separate practice below).

Warming filters

The human mind compensates for excessive coldness in a scene automatically, without our even realizing it. Film, on the other hand, records it as an excess of blue, making it necessary for the photographer to compensate for it. In order to compensate we use warming filters, which are designed as an 81-series filter (A through EF), or a Tiffen 812 filter. Warming filters allow the photographer to work in shadowed areas with soft light, countering the bluish cast associated with such light. They can also be used to make daylight seem warmer than it is, which many people find attractive.

Note that some photographers now suggest using Photoshop filters after shooting, rather than using warming filters. The results come across as amateurish, and show a lack of understanding of how warming filters respond to the spectrum of light in a scene. This is simply sloppy technique.

Polarizing filters

Perhaps the most valuable and most overused filter in landscape photography is the polarizing filter. In nature, light can be both polarized and unpolarized. Light waves that travel in the same direction are said to be polarized. The amount that light is polarized manifests itself in the amount light that is reflected off an object; in other words, the amount of glare that is reflected. The more glare, the more unpolarized the light is. The surface of bodies of water, such as lakes and streams, create a great deal of glare. The polarizing filter also has the side effect of saturating colors; one of the reasons it is so often overused.

There are two basic types of polarizing filters available today, linear and circular. Both filters affect the light in the same way, however most modern SLR cameras - because of their TTL meters - require a circular polarizer, while older SLRs, Medium Format and Large Format cameras can use either type. In practice, this doesn't present much of a problem, as linear polarizing filters tend to be available by special order only.

9. Use a split neutral density filter

The greatest handicap of transparency film is the limited range of contrast it can record. Often if we expose for the shadows, the highlights will be overexposed, while exposing for the highlights, causes the shadows to record as pure black areas. In order to overcome this limitation, we use a special type of filter known as a split neutral density filter.

Split neutral density filters generally are rectangular in design, made of either glass or plastic, with dark and clear halves. The dark half of the filter contains a neutral color dye which is designed to impede the transmission of light. The most common filters are one-stop (.3), two-stop (.6) or three-stop (.9) in strength, although some are manufactured in half-stops, such as 1 1/2 stop (.45) and 2 1/2 (.75) stops as well. The transition between the dyed and non-dyed areas can be either hard or soft; with soft grands the transition zone can be quite subtle.

10. Don't stress over what you missed

Finally, don't stress about missing the "shot" - rejoice in just being there! Good landscape photography is rooted in a love for the land, which shouldn't be tied to the act of photographing it. I learned long ago that some of the best landscapes are those taken with the eyes, rather than with a camera. Remember, there's always tomorrow to try again after having "seen" where the best light occurs.

Finally

What has been presented here is a mixture of photographic vision and equipment choices. While vision is the element that will make or break an image, as photographers we need to choose the proper equipment to translate that vision onto film. American landscape photographer Jack Dykinga once remarked "Concentrate on equipment and you'll take technically good photographs. Concentrate on seeing the light's magic colors and your images will stir the soul."

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Aloha Airlines Ending Flights

Mon, 31 Mar 2008 03:14:22 GMT

A sad day for those of us who live in Hawaii. Aloha Airlines, which has served the islands for 61 years, is ceasing all flight operations effective Monday. This is due to extensive competition from mainland Mesa Airlines (operating as go!) and high fuel costs. The shutdown of Aloha's passenger operations will also affect about 1,900 employees.

http://www.msnbc.msn.com/id/23872335

del.icio.us Tags: Travel, Hawaii

Nikon F6 - A Film Camera for the Digital Age

Mon, 24 Mar 2008 06:46:36 GMT

I rarely write about, or give a lot of consideration to camera equipment, because I see them as tools that allow me to do what I love most. However, I recently purchased a new Nikon F6 as a replacement for an older Nikon F5, and found myself mesmerized by this marvelous camera; it's fit, finish, layout and handling are superb.

Some will probably ask why anyone would buy a new 35mm film camera, especially one as expensive as this one, in this age of digital photography. As we will soon see, this camera is as sophisticated as any DSLR camera on the market, and there are still photographers, like me, who prefer to shoot film for a variety of reasons.

Initial Impressions

When I first received the camera I was immediately struck by the quality of its construction; the rubberized grip feels solid and secure, the layout of its various controls allow for fast and easy operation, without taking ones eyes from the viewfinder, and a build that is as solid as a tank. Being used to the previous generation camera, the Nikon F5, I was immediately aware of what I considered it diminutive size. The camera was just too small!! I questioned whether I could get used to using such a small camera. Fortunately, I had also ordered the optional MB-40 battery pack, which arrived the next day. This made a tremendous difference; the size, weight and balance of the camera was now perfect.

To see the full article, visit: http://www.traditionalphotographer.net/Articles.aspx?Item=2

del.icio.us Tags: Photography, Cameras, Nikon F6, Film

Big Island Trip

Sat, 15 Mar 2008 15:58:01 GMT

Waikoloa, Hawaii

I'm off for a few days on the Big Island, staying in the Waikoloa area. The trip here was uneventful, save the expected minor inconveniences of modern day air travel. I arrived shortly before 11:00am. The Kona area hasn't changed a lot since my last visit here, although there is a lot of road and building construction going on at the moment.

The weather near Kona is good, but the volcanic haze in the air is quite heavy. They said on the radio that the volcano (on the other side of the island) is currently putting out a record amounts of ash and fumes. According to an article in today's Honolulu Advertiser newspaper "Sulphur dioxide emissions on Thursday reached 1,800 to 2,000 tonnes per day, far above the 150 to 200 tonnes per day that is typical at the crater." It made for an interesting sunset, although I was in the wrong place to take advantage of it.

I'm going to add images of the hotel I stayed at, the Hilton Waikoloa, simply because it is a very stunning hotel; I would love to stay here again someday.

All images were taken with a Nikon D200, with a Nikon 18-70mm F3.5-4.5 G lens, at ISO 100. Additional images were taken (not shown here) on a Nikon F6, with a Nikon 24-120mm AF-S VR lens, on Fuji Velvia 50 and Fuji Provia 400F.

del.icio.us Tags: Travel,Hawaii,Hilton Waikoloa Hotel,Big Island

Going back to Film - One Photographer's Story

Mon, 05 Nov 2007 01:15:20 GMT

Quite often these days we hear of photographers leaving film and turning to digital. It is a rare, although welcome occasion, when we hear one leaving digital and returning to film. In the Kodak ProPass magazine, we can read the story of Singapore based photographer, Chi Kuang Hwa and his return to film. He writes:

Going back to film has also changed the way Kuang shoots.

“It’s a slower process,” he explains. “Using black-and-white film with a LEICA Rangefinder and a fixed lens forces me to think, to slow down, to feel, to anticipate.”

He adds that black-and-white film has a look that is very difficult to achieve digitally. “It has more gray tones, organic-looking grain, and a certain transition from your point of focus to the out-of-focus areas which is gradual and beautiful to look at,” he says. “I would blind-test my clients and they would consistently pick the black-and-white film images over the black-and-white digitally captured ones.”

While there are merits to shooting digital, a growing number of photographers are returning to film. Some say this is a longing for the days when the photographer was more in touch with the process, rather than it being a computer generated process as we find today. Perhaps, there is a quality inherent in film that is missing from digital.

The full article can be found here: http://www.kodak.com/global/en/professional/member/ProPass/magazine/V407/Hwang_GradualReturn.jhtml?id=0.1.14.12.28&lc=en

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Traditional Photographer .NET

Sun, 21 Oct 2007 23:46:51 GMT

If you are like me, and still like film, I've got a new website in development - http://www.traditionalphotographer.net. This website is for those who shoot film, with resources, articles and a discussion forum for this target group. The site is in development, but should be up in about 2 weeks time.

del.icio.us Tags: Photography, Film

Color Photography - More than Just Color?

Sun, 21 Oct 2007 02:45:10 GMT

On one of the Internet forums that I participate in, there has been some discussion, heated at times, about the emotional impact of Black & White photography versus Color. Most of those participating are B&W photographers, and it is surprising how many of them think of texture and form as exclusive to B&W photography, not something a color photographer would consider. The thinking seems to be that color should be enough to make the image successful. However, I have found over the years, that texture and form are very important to the success of a color landscape as well. In this short blog entry, I would like to concentrate on one of these aspects, the aspect of texture, as it relates to a color photograph.

We are touch sensitive beings, which shouldn't surprise anyone. Manufacturers, aware of this, have made tactile sensation part of every product we buy, from automobiles to sweaters. They understand that touch brings about an emotional connection to a physical object in a way that color alone could never do. Texture is what ties touch to a physical object. As landscape photographers we can tap into knowledge this as well. I'd like to devote the remainder of this post to exploring texture in the color photograph.

Let's start by examining an image that I feel is only successful because of the texture that it shows.

This image was taken just as the sun was beginning to rise above Makapuu Point on the island of Oahu, Hawaii. In this image, I wanted to make the viewer feel as if they were walking along the beach, watching the sun, I wanted the viewer to feel as if they could feel the sand between their toes as they walked.

In order to do this, I chose a low point of view, which I knew would allow me to capture as much texture (or detail) on the sand as possible. In addition to the low tripod level, I waited until just after a wave had washed the shore, but before the sand had time to dry out fully. This caused the rising sun to leave a seeming path for the eye to follow, to the mountain in the background, as well as emphasizing the texture of the sand itself.

Image details: Toyo 45AII camera, Nikkor-SW 90mm F8 lens, Fuji Velvia film. Exposure unrecorded. For a larger view of this image, see: Dawn, Makapuu Beach, Windward Coast, Oahu, Hawaii on my website.

del.icio.us Tags: Photography, Travel, Hawaii

Blue Angels Show - Kaneohe Marine Corps Base, Hawaii

Mon, 15 Oct 2007 02:53:22 GMT

I just felt the Blue Angels flying over my house, so I grabbed the digital camera and ran outside. Unfortunately, I couldn't get any close shots, since they were flying over the bay, a good distance from the house. This image is with a Nikon D200 and Nikkor 28-200mm Zoom (at 200mm), ISO 200.

del.icio.us Tags: Hawaii, Photography, Airplanes

Fiji Islands - Tuesday, 9 October 2007

Wed, 10 Oct 2007 06:03:35 GMT

Today I'm off on a day cruise with South Sea Cruises. I'm taking what is called the Combo Cruise. The high speed catamaran leaves Denarau Marina at 9:00 am for South Sea Island (privately owned). After lunch the cruise passes Matamanoa Island, Tokoriki, Matamanoa, Treasure Island and Bounty islands along the way.

South Sea Island

Our first stop after leaving Denarau Marina is South Sea Island. What do you do on an uninhabited island? Plenty as it turns out.

After our arrival we were told that it should take us about 5 minutes to completed walk around the island if we so desired, leaving is with plenty of time for other activities like snorkeling, scuba diving, riding the submersible ship Captain Nemo, around the reef, or just sitting on sun chairs on the beach and soaking up the sun. The water here is crystal clear, and as I was soon to find out, these little coral islands dot the whole area.

Next, it was back on the boat for a trip around the other islands. First up was Bounty Island, followed by Treasure Island, Beachcomber Island, then off to the most northern island in the Mamanuca Group is Tokoriki Island. With all the islands we only stopped long enough to take on or drop off passengers, however at Tokoriki we docked - all other transfers were by boat.

After leaving Tokoriki it was time to begin the return leg of the journey stopping at Matamanao Island as several other exclusive resorts (Mana and Malolo) before returning to Port Denarau Marina.

del.icio.us Tags: Travel, Fiji

The Coral Coast, Fiji - Monday, 8 October 2007

Mon, 08 Oct 2007 07:53:44 GMT

The island of Vitu Levu boasts few beaches except along the Southern "Coral Coast" where tropical forests converge with white sand beaches backed by coco palms and resorts. Sigatoka marks the western end of the Coral Coast, and stretches all the way to Suva, the capitol of Fiji.

I began the drive from my hotel near Nadi, intending to drive all the way to Suva, a distance of some 200km. However, I only drove as far as Pacific Harbour, 49km west of Suva. As I reported in an earlier post, the roads are not very good; the potholes made driving tedious. Additionally, every village has 2 or 3 speed bumps at each end, requiring slowing down to 20 kph - the national speed limit is 80 kph. Needless to say, by the time I reached Pacific Harbour I was pretty well worn out. I spent a little time wondering around a tourist area in town before leaving. I passed Sigatoka Sand Dunes park on the way, but it was closed, despite the sign saying it was open daily. Well, today is Fiji Day, a national holiday.

del.icio.us Tags: Travel, Fiji, Photography

Nadi, Fiji - Sunday, 7 October 2007

Sun, 07 Oct 2007 03:00:51 GMT

I arrived in Nadi, Fiji at about 1pm this afternoon. I checked into my hotel, the Fiji Macombo, shortly after arriving. I'm quite impressed with the hotel, and will talk about this later. The weather is quite warm, it was 32 C when I arrived with a high humidity. This will take some getting used to.

Initial Impressions

The first thing I noticed about the people on the island is how warm and friendly the are. Almost everyone I've run into today has greeted me with the Fijian greeting "Bula". People wave towards you as you walk by or as you drive down the street. Everyone seems to go out of their way to be nice. Hopefully, this will be repeated in other parts of the island, and isn't just restricted to the Nadi area.

The roads on the island are not very good, with signs being few and far between. Drivers seem to pass at will, regardless whether they are in a no passing zone or not. It really isn't too bad, since there isn't a lot of traffic anyway. I noticed a lot of people walking, and a lot of busses - most had no windows, with the air conditioning being the wind.

Today, being Sunday, all the stores in town were closed. I also hear the tomorrow is Fiji Day, a national holiday, so I don't know if anything will be open tomorrow or not. Today, I saw large groups of people walking with their bibles, obviously just coming from church. But, I found a Hindu temple in Nadi, and a glimpse of a mosque. Seems like there is a lot of religion here.

Port Denarau

This afternoon, being my first here, I decided to take it easy. I went to the Port Denarau Marina for some shopping and sightseeing. The Marina offers so many promises, but little in the way of delivery. The promised coffee shop is "coming soon" as is the Hard Rock Cafe, and Bookstore. There is a nice New Zealand Naturals Ice Cream store which partially makes up for the others!! Port Denarau is in the middle of a very upscale housing and hotel area, so I expect it will do fine.

There are a number local cruise ships based here, and I'm trying to decide which one I will take. More on this later.

Just to leave you with an image from this afternoon. The ship shown here is one of the ships used for full day cruises around the islands. The whole harbor is quite beautiful with a mountain range in the background. the plan for tomorrow is to drive along the Coral Coast to the capitol city of Suva.

del.icio.us Tags: Fiji, Travel

Sydney, Australia - Friday, 5 October 2007

Sat, 06 Oct 2007 08:00:41 GMT

This afternoon, I visited some of my favorite spots in the city. I started by riding the subway into town, and then walking over to Darling Harbour. Darling Harbour is home to the Sydney Aquarium, Australian National Maritime Museum, Sydney Convention Center and many other attractions. It seems to be a spot where tourists and locals alike come to relax, enjoy the cafe scene and just enjoy the things this vibrant city has available.

This image is of the city skyline from Cockle Bay at Darling Harbour. In the foreground is a floating restaurant, and in the background the Sydney IMAX Theater and city skyline.

After leaving Darling Harbour, I rode the Monorail around the city, passing through the China Town area, finally getting off at city center. From there I walked along Pitt Street, back to Circular Quay.

Later, I took what has become one of my favorite walks within the city. It starts at the entrance to the area known as "The Rocks", wonders past some of the oldest pubs and hotels in city, to the Ken Duncan gallery, then backtracking a little and taking the walk over the Sydney Harbour Bridge and back.

As I walked across the bridge, I noticed a number of people out for their daily run. I can't help but be a little envious of them, being able to cross the the bridge spanning, what is undoubtedly the most beautiful harbor in the world, as a matter of daily exercise. I'm sure that the weather probably only allows this during only a portion of the year.

I'm not really much of a city person, but I've grown to love Sydney. The wealth of its history and architecture are evident everywhere I look. The little out of the way coffee shops and pubs make relaxing every day of the week part of the culture. Whenever I leave, I long to return.

del.icio.us Tags: Australia, Sydney, Travel

Return to Sydney - Friday, 5 October 2007

Sat, 06 Oct 2007 06:00:37 GMT

My time in Victoria is over, and I must begin the long trip home to Hawaii. Before then however, I'll spend two more days in Sydney, then three days in Fiji. It seems amazing that despite all the rain we have had in Victoria the past week, since I arrived, there are major fires raging further north, near Sydney. Truly, this is a country of extremes.

del.icio.us Tags: Australia, Travel

Australian Spring - Tuesday, 2 October 2007

Tue, 02 Oct 2007 03:42:05 GMT

It is spring time here in Australia, and to top it off, the sun is shining brightly. It has been raining since I arrived last week, and this is a welcome change. I took the opportunity to take an early morning drive through the historic township of Wandiligong.

Here is an image from this morning as I was driving around.

del.icio.us Tags: Australia, Victoria, Travel, Photography

Beechworth, Victoria, Australia - Sunday, 30 September 2007

Sun, 30 Sep 2007 23:38:47 GMT

The weather is still a bit unsettled today, with a bit of light rain and overcast skies. Yesterday it rained all day - quite hard at times. According to the weather report, the weather should be back to normal in a day or so.

This afternoon, I visited the historical town of Beechworth. Beechworth is one of Victoria's best-preserved gold rush towns. With over 30 buildings listed by the National Trust, Beechworth has a remarkable architectural heritage, from imposing hotels, churches and government offices to miners’ cottages and the gaol where bushranger Ned Kelly was imprisoned.

Ned Kelly (1855-1880), outlaw and folk hero of the Australian bush, was tried for murder, at the courthouse in Beechworth. being aware of the story of Ned Kelly, it was obvious that a visit to the Beechworth Historic Courthouse was a good place to start. The Beechworth Courthouse was built in1858 of local honey colored granite. In this building, Ned Kelly was tried, as were other members of the Kelly gang, including Joe Bryne and Dan Kelly (Ned's brother). Ned's mother, Ellen, surviving brother Jim and various cousins also appeared in the Court at various times.

After visiting the Courthouse, I decided to walk through the town and look at the historical buildings.

del.icio.us Tags: Australia, Travel, Victoria

Milawa, Victoria, Australia - Friday, 28 September 2007

Fri, 28 Sep 2007 23:37:04 GMT

Australia is in the midst of a major drought, but it has been raining for most of the past two days. While it makes photography hard, I understand that the country badly needs the rain.

This afternoon, the rain lightened up a bit, so I took the opportunity to visit the Milawa Gourmet Region, located in the Ovens & King River Valleys of North East Victoria. This Region is known for it abundant agricultural land and includes wineries, mustard, olives and lavender fields among other crops grown here. Also located in this region is the Milawa Cheese Factory, which produces many varieties of cheese. This is one of my favorite spots to visit, which I do whenever I am in Victoria.

The first image was taken inside the Brown Brothers tasting room in Milawa, and shows the selection of wines that are available for purchase. The selection varies from year to year, based upon the quality of the harvest. Family owned Brown Brothers, is one of Australia's largest wine producers, having been established over 100 years ago.

The Image below is of the Milawa Mustard shop in Milawa. This shop has an excellent range of mustards and other local products. For example, I purchased a very nice Sundried Tomato & Capsicum Pate and a Chili & Tomato Pesto, both of which are local products from the King Valley.

I also visited Milawa Cheese Factory Bakery & Restaurant, but unfortunately, the cheese tasting was closed as they were preparing to close for the day. I may be able to return later during my visit.

See the following link for more information about the Milawa Gourmet Region. http://www4.visitmelbourne.com/displayObject.cfm/ObjectID.0009F7EC-B019-1F83-B35880C476A90000/vvt.vhtml

del.icio.us Tags: Travel, Australia, Victoria

Road to Victoria - Wednesday, 26 October 2007

Thu, 27 Sep 2007 09:02:07 GMT

Living in Hawaii leaves me with little opportunity to travel long distances by car. So, when I visit Australia I take the opportunity presented me. One of my favorite drives is from Sydney to Northern Victoria, a distance of about 600km. I left at 4am this morning, intending on photographing the sunrise along the way. Unfortunately, the weather wasn't in a cooperating mood, with overcast skies, and a general dreary feeling. Fortunately, by mid-morning, the sky has pretty much cleared up, and the sun shone.

About 300km south of Sydney, the first image of the day presented itself, in a beautiful field of rapeseed (canola). This is a subject I have photographed a number of times, but have never really been happy with. These fields can be quite colorful, in fact, so colorful that it overwhelms the scene. Rapeseed, which is a member of the mustard family, is grown both as feed for livestock and for its seeds, which are used as birdfeed. The seeds are also processed into an oil, known to us as Canola oil.

A lot of people think of Australia being primarily desert, and while this country does have large tracks of land that is desert, parts of New South Wales (where this image was taken) and Victoria are quite fertile. Later this week, I will travel through some other agricultural areas in Victoria, and will visit a couple of the local wineries. I have a few pictures to share from these visits as well.

A major accident caused the main road (Hume Highway) between Sydney and Melbourne to be closed near Holbrook, with southbound traffic being detoured through Waga Waga. This meant at least an additional 50km was added to the trip. Needing to get to Bright, where I would be spending several days, this left me a little pressed for time.

del.icio.us Tags: Travel, Australia, New South Wales, Photography

Sydney, Australia - Tuesday, 25 September 2007

Wed, 26 Sep 2007 07:01:28 GMT

This has been a very long day. It started at the Honolulu International Airport and ended with the sun setting over Sydney Harbor, in Sydney Australia. I arrived in Sydney on a flight from Nadi, Fiji at a little after 12:00pm. After clearing customs, and picking up a rental car from Hertz, I checked into the Mercure Hotel, near the airport. That done, I hopped on the subway and rode into Circular Quay, which is pretty much the heart of the city. I started by visiting Ken Duncan's photography gallery in The Rocks, then over to the Sydney Opera House. I spent an hour just photographing the tile patterns on the roof of the Opera House, then I decided to sit on the steps of the Opera House and wait until sunset. This whole area comes to life after sunset, with the Opera Bar starting to fill up, as patrons order beer and just watch the sunset. Finally, it was time to return to my hotel on the subway system.

Without a doubt, Sydney, Australia is the of the most recognizable cities in the world. In large part, this recognition comes from the iconic Sydney Opera House, with its backdrop Sydney Harbor Bridge. Originally founded as a British penal colony in 1788, today the natural harbor forms the centerpiece of a modern, cosmopolitan city.

Tomorrow, it is onto the southern state of Victoria. Since it is a 600km drive to my destination, I will be leaving around 4am - partially so I will arrive at a early hour, and partly to be able to photograph the sunrise, from the plains south of Sydney.

I'll leave you with a photo of the Sydney Opera House taken this evening.

del.icio.us Tags: Travel, Australia, Sydney

Nadi, Fiji - Tuesday, 25 September 2007

Mon, 24 Sep 2007 23:34:04 GMT

Arrived in Nadi, Fiji at 5:10am after a short 6 hour flight from Honolulu. After getting off the plane, and walking along the open air corridor, the first thing I noticed was the sounds of birds everywhere, obviously waiting the rising sun. I found it a very peaceful way to arrive in an unfamiliar place. After leaving the gateway, we were directed to transit desk, where three Fijian men in native dress, two with guitars and one with a ukulele, serenaded us with traditional songs, and shouts of "Bula" or welcome. I can't think of any better way to greet arrivals to Fiji - I wonder if this is the way visitors were greeted when they arrived in Hawaii in days gone by. All the people I have met here so far, seem to be very friendly and open.

Unfortunately, there were at least a hundred people - or more - waiting in line at the transfer desk, and only two people working it. It took over an hour to get through the line and get cleared - requiring another pass through security - to get into the lounge where I could wait for my flight to Sydney. Also, unfortunately, I was charged an extra fee for excess luggage at the Honolulu airport before boarding. It seems my luggage allowance is only 30kg (about 90 lbs) total. While this may seem like a lot, for a large format photographer, it was not much at all. In fact, I left a lot of items at home, and even carried three lenses in a fanny pack on the airplane.

As I alluded to earlier, it was still dark upon arrival, so naturally I was unable to see any of the island from the air. However, now that the sun has risen, I can see that the airport is surrounded by a small mountain range. Not unlike what I can see from home, although a little more rugged, and somehow more inviting (not as much vegetation). However, there are very few homes or buildings of any kind. Nadi, is on the Leeward side of the island, so I assume it is drier here than the rest of the island. I'm really excited about being able to return here in a couple of weeks, to spend time photographing it. One final note, it is about 23° C (75° F) and quite humid.

Next stop, Sydney.

del.icio.us Tags: Fiji, Travel

Film Still Popular Among Pros

Thu, 20 Sep 2007 05:46:49 GMT

In an AP Business report by Ben Dobbin comes news that film is still popular among professional photographers. This in spite of the many photography magazines that try to convince us otherwise.

Eastman Kodak Co. mailed a survey in mid-August to some 40,000 of the nation's estimated 64,000 full-time and part-time professional photographers, and 75 percent of the 9,000 who responded said they will continue to use film even as they embrace digital imaging. Sixty-eight percent said they prefer film over digital for a variety of applications. Many cited its superiority for shooting larger-format and black-and-white images, the adaptability of color film to a wider range of lighting conditions, and film archives being far easier to store than electronic ones.

“First and foremost, photographers are artists, supported by the science of the tools that help them do their job,” said Mary Jane Hellyar, President, Film Products Group and Senior Vice President, Eastman Kodak Company. “This survey indicates that film remains an important tool on which professional photographers rely to effectively create their work, so providing choice is of utmost importance. It’s an ‘and’ world where digital and film co-exist and complement each other.”

While no one is predicting the demise of digital photography or a great resurgence of film-based photography, this is heart warming news for those of us who continue to use film as our preferred medium.

http://www.physorg.com/news109430472.html

Kodak's Press Release: http://www.kodak.com/eknec/PageQuerier.jhtml?pq-path=2709&pq-locale=en_US&gpcid=0900688a807b9764

del.icio.us Tags: Photography

Fall 2007 Trip to Australia and Fiji

Mon, 17 Sep 2007 05:36:15 GMT

I'm off again on another photography trip this coming weekend. I normally take at least one trip a year to Australia, and it has been almost a year since I was there last.

This trip will be a little different from past trips; I almost always try to spend a little time in the Outback, but this year I am going to concentrate on the Alpine National Park - including Mount Buffalo National Park - area of Victoria. This is an area about 300 km north of the city of Melbourne; well known for its vineyards. Snapshot map:

Ovens River Valley

I'll start the trip in Sydney as usual, and drive down from there. It is about a 600km drive, taking most of the day. I don't mind, since it is a very relaxing drive, and long distance driving is an activity that one doesn't get to do much living in Hawaii.

I'll be in this area for about 10 days, then I'll return to Sydney.

From there it is off to Nadi, Fiji to photograph on the island of Viti Levu. I'll be staying in Nadi, and photographing primarily around the towns of Nadi and Suva (the national capitol). I'm also planning on spending a bit of time along the Coconut Coast - more on this later.

I'll do my best to keep this blog updated along the way, assuming that I can find an Internet connection - from past experience, finding one around Bright isn't easy, when you are wanting to use your own computer (using theirs is no problem at the Bright Backpackers Hotel).

To give you a little better idea of how I travel and the type of photography I do, the equipment for this trip includes: Toyo 45AII (primary landscape camera), Nikon F6 (primary travel camera) and a Nikon D200 (backup camera), along with various lenses and a Nikon SB-800 flash unit. I'll be shooting a combination of Fuji Velvia 50, Fuji Velvia 100 and Fuji Provia 400X, and a SanDisk 4GB Extreme IV CF card.

Until later,

Robert

del.icio.us Tags: Australia, Fiji, Photography, Travel

Let's Explore

Sun, 19 Aug 2007 05:01:21 GMT

Aloha,

Welcome to my site at Live. I'm a professional Landscape Photographer living on the island of Oahu, Hawaii. I would like to take this opportunity to welcome you and invite you to visit as I explore the landscape and the world around us.

Although I live in Hawaii, I'm a frequent traveler to Australia. I love the clean air and wide open spaces. Last year, I had the opportunity to visit Devils Marbles Conservation Area in the Northern Territory. Devils Marbles is located just about 245 miles (395 km) north of Alice Springs, near the town of Wauchope, and is a is cultural and natural park, unique for its spherical rock formations. The park covers approximately 4452 acres (1802 hectare).

The image you see here, was taken just after sunrise. I was fortunate, at this time of year, late October, to have the park to myself. I left the parking and camping area and started photographing well before sunrise; just as the sky started to turn color. The image shown here was taken just a few minutes after sunrise, and the sun rises very quickly in the desert. For those interested in equipment, the particular image was taken on a Toyo 45AII, with a Schneider Symmar-S 135mm f5.6 lens, on Fuji Velvia 50. I also used a Horseman 6x12 back with 120 roll film for this.

You can see more of my work at: Vision Landscapes

del.icio.us Tags: Travel, Australia, Hawaii, Photography