Tag Archives: Texas

Fall photography workshops approaching

Four photography workshops are approaching fast. Each have just a few spots available.

For more information and to reserve your spot before they are gone, please visit the website at http://www.thenatureconnection.com/workshopschedule.html  .

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Copyright © 2017 Brian Loflin. All rights reserved.

Update : South Texas Bird Photography Workshop

img_4819Setting up in the wee hours. by Cathey Roberts

Late last October six photographers met met with me where we encountered mild weather and birds in the numbers. It was a little iffy the first morning but the weather behaved itself and presented wonderful photographic light.

This fall we were blessed with a fair amount of rain in South Texas as well as here in Austin. Therefore the conditions on the ranch were in good shape. Things were green and not as parched as in previous months. The temperatures were pleasant.

The first afternoon in the first blind was a teaching period. Everyone acclimated to the nuances of shooting from a blind and  the limitations it presents. We double-checked equipment, shooting and exposure settings, flash and more. In general, the use of flash in daylight as a fill for birds is an unfamiliar technique for many new to bird photography. As usual, several bugs were worked out and a number of “keeper Images” were made by all.

img_4849Getting ready- Day One. by Cathey Roberts
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A highlight of the workshop is the raptor shoot. Raptor morning brought us a
mix of 16 Crested Caracaras and 17 Black and Turkey Vultures. by  Gary Eastes.
proud-caracaraProud Caracara by Charles Seidel.
20161022-_07a4739A Para Cara (above) and Coming in for landing by Bob Karcz

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road-runnerGreater Roadrunner by Charles Seidel.dsc_5815
 Roadrunner and luncheon snack. by Richard Flores.
20161023-_07a7076Roadrunner drink and reflection. by Bob Karcz
img_0208Run / Flying away. by Cathey Roberts
mmartin-lsw-oct02016-4-of-6mmartin-lsw-oct02016-3-of-6Great Kiskadee and Pyrrohuloxia by Michael Martin.
20161023-_07a6957Male Pyrrohuloxia with Prickly pear. by Bob Karcz
d4s_5720Mourning dove in the cactus pads. by Richard Flores

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Green Jay with grape and Olive Sparrow. by Gary Eastes
dsc_5287Curve bill Thrasher by Richard Flores
green-jayGreen Jay by Charles Seidel
mmartin-lsw-oct02016-6-of-6Look Out! Turkey Vulture with Crested Caracara. by Michael Martin
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Curious male Northern Bobwhite. by Bob Karcz

The next South Texas Bird Photography Workshops are already scheduled and spaces are available. They will be held March 2-5 and October 12-15, 2017.
Please contact: bkloflin@austin.rr.com  for more information.

Copyright © 2016 Brian Loflin. All rights reserved.
All images  copyright by their respected makers.

 

 

 

 

Central Texas Endangered Aquatics

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Texas Blind Salamander (Eurycea rathbuni) lives underwater caves within the Edwards Aquifer only in the San Marcos, Texas area. They retain their external gills and have only vestigial eye spots. Nikon D800, 105 mm F 2.8 Micro Nikkor lens, SB 910 Speedlight in softbox.

In late September I had the opportunity to visit the US Fish & Wildlife Service San Marcos Aquatic Resources Center to photograph several of the endangered aquatic species from the nearby Central Texas waters.

Located near the Edwards Aquifer, a prolific artesian aquifer, the center is involved with scientific research, including equipment and technology development, captive propagation technique development, habitat restoration, native species life history studies, and invasive species life history and control studies. The Center currently serves as a refuge for several listed aquatic species associated with the Edwards Aquifer and other Texas spring systems.

The hatchery also works closely with the faculty at local universities to provide volunteer, work, and research opportunities to undergraduate and graduate students in biology.

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Artificial streams are the main aquaria for the center and use fresh water from wells drilled deep into the Edwards Aquifer. The water is filtered and chilled to temperatures suited for each species and circulated throughout the unit.

To facilitate the photography of these aquatic species, I used a macro tank photography technique with a small 2.5 gal. aquarium, an artificial habitat and background. To better confine the aquatic individuals, a second piece of glass in a vertical orientation was used to narrow the available space for the subject specimen.

Equipment included a Nikon D800 DSLR, 105mm F2.8 Micro Nikkor lens and a SB910 Speedlight in a Lastolite EXYbox softbox on a boom. A black cloth also on a boom with a opening slit for the lens was employed in front of the tank to prevent reflections on the front of the aquarium. The setup is illustrated below.

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Great care was given to the safety of every living specimen. Before introduction of any living subjects, the aquarium, any underwater props and gravel substrate was thoroughly washed and sterilized to prevent contamination of the endangered species. This procedure was also repeated between the introduction of each subsequent species. Water was that of the specimen’s home enclosure.

Over the course of a morning I had the pleasure to photograph the Texas Blind salamander (Eurycea rathbuni), San Marcos salamander (Eurycea nana), Fountain Darter (Etheostoma fonticola), all from the Edwards Aquifer near San Marcos, Texas, and the Devils River Minnow  (Dionda diaboli) from spring-fed streams in Kinney and Val Verde counties west of Uvalde, Texas.

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San Marcos Salamander

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Fountain Darter

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Devil’s River Minnow

Copyright © 2016 Brian Loflin. All rights reserved.

 

 

 

 

 

 

 

 

 

 

Workshop Report: Macro Photography Intensive

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Seven participants joined together in September at Mo Ranch for the three day macro photography workshop including in the macro lab (From left) Kelly Sile, Richard Bennett, Glenn Rudd, Gary Eastes, Diane Young, Tracy Curran and Dan Tonnison. Nikon D800, LAOWA 14mm F 4.0 Wide Angle Macro Lens.

 

The historic, 500 acre Mo Ranch at Hunt, Texas, was the site for a three-day intensive macro photography workshop geared to shooting in a macro studio/lab and in field settings. The workshop was located in a beautiful setting on the North Fork of the Guadalupe River  in the heart of the Texas Hill Country and centered in diverse habitats including aquatic, riparian areas, grasslands, oak-juniper woodlands, and limestone hills.

Award-winning naturalist and photographer Brian Loflin led the macro  workshop packed with over 20 hours of hands-on instruction and guided shooting where participants grew in their photographic abilities with new found skills, techniques and proficiency.

The intermediate/advanced level workshop featured hands-on learning and demonstrations with native flora and fauna of the area and covered many subjects including:

• Equipment for getting close   

• Perfecting Exposure

• Tools to make macro work easier

• Grip and support equipment

• Backgrounds • Wide Angle Close-Ups

• Lighting with Flash • High Speed Flash

• Multiple Flash • High Key and White Box

• Tank Photos • Macro Panorama

• Focus Stacking / Extreme Depth of Field

• Extreme Macro • How big is it? (Mensuration)

Everyone worked hard through the workshop to capture stunning, highly detailed images of tiny subjects difficult to observe with the unaided eye. Everyone brought home images to brag about. Here are a few examples of that work:

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Richard Bennett- Stick insect, above, and grass seed head (focus stacked), below.

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Glenn Rudd, Red Ant, above and Mayfly, below.

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Diane Young- Bark lice (Psocoptera) above and below.

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Dan Tonisson- Cactus stem, above (focus stacked), and Sunflower, below.

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The next Intensive Macro Photography Workshop is scheduled for
September 7-10, 2017.

Copyright © 2016 Brian Loflin. All rights reserved. Participant images copyright by the maker.

NEW: MacroQuest –coming soon!

 

MacroQuest-Logo115-06-24_172141_M=A_R=8_S=4-Edit-Sm

MacroQuest is an intensive photographic expedition into the tiny natural world that surrounds us. During the Quest each photographer works to discover as many of the small natural subjects that can be found in the study area and to document those subjects using high quality, close-up and macro photographic techniques. MacroQuest is not a competition per se, but participants all work hard to build as large a body of work as possible during the period.

MacroQuest will explore all areas of the biotic environment including land, air and aquatic realms. The Quest targets may include all forms of plant, animal and mineral specimens. The goal is to discover as many unique species from as many orders and families as possible.

MacroQuest will be held in designated geographical areas of rich biodiversity that include as many habitat types as possible and that are not restricted to public access. Occasionally, MacroQuest may be held on other private lands. The goal always is to capture biodiversity.

Equally important to MacroQuest is the informed identification of the subject of every photographic image and the inclusion of the location and habitat where found. Therefore, an image data form will be completed for each image and will be shared at the end of the quest period. It is requested that representative images from every participant be used in the promotion of MacroQuest and of biodiversity itself. All photographic images shall remain the personal property of the image maker and copyright to those images will remain with the maker.

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Watch here for upcoming announcements. For more information, please contact: bkloflin@austin.rr.com.

Copyright © 2016 Brian K. Loflin. All rights reserved.

Manage the Background – Part three.

I previously discussed managing the background through Depth of Field and through contrasting tone values. This last discussion revolves around the third method of setting off the subject, using contrasting or complimentary colors.

To understand this color concept better, we need to review the theory revealed in the Color Chart. For purposes of discussion in digital photographic terms, we use the RGB (Red, Green, Blue) color chart (below), an additive color scheme.

RGB Secondary Color wheel

In the RGB color chart (above) we see the photographic Primary Colors of Red, Green and Blue labeled in white. You may notice they are spaced evenly in thirds, or 120 degrees, around the wheel. Across the wheel from each of the the primary colors we see the Secondary Colors of Magenta, Cyan and Yellow. These secondary colors are actually made up of equal parts of the two adjacent primary colors.

Colors that are opposite each other on the chart have maximum color contrast, and are called complimentary colors. Two colors commonly found in nature are blue and yellow, a maximum color contrast of two complimentary colors.

In this sunflower photo the yellow flower contrasts perfectly in color with the blue background. This is because the yellow is exactly opposite the blue on the color chart. That makes them complimentary colors and one of the most visible of color contrasts.

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_DSC6502-Sm Nikon D2Xs, 200mm F4.0 Micro Nikkor, daylight.

For this cone flower (above) we have the  secondary color of magenta petals against the primary green background. Based upon our understanding of the color wheel these colors are still complimentary, thus of maximum color contrast.

GalliardiaMoth-1533-SmNikon D2Xs, 200mm F4.0 Micro Nikkor, daylight.

However, in the Indian blanket flower photo (above) the reds and oranges are not complementary to the green background. This is because they are not opposite on the color wheel.They are in fact, analogous, meaning adjacent on the wheel. Analagous colors work well together and create a harmonious color scheme. Here, the yellow tips to the flower petals separate it from the background primarily by contrasting tones rather than color.

However , the Shinia moth near the flower  center, a symbiotic insect to the Indian blanket, does not contrast well with the flower. This is actually to the moth’s benefit- a color mimicry trait that protects this moth from predators.

So, what ever the method you can use to separate your subject from the background, it’s a good tool to help attract the viewer’s attention to the subject. If more than one technique can be used in a single image, that’s even better.

Good photographic composition begins with a visual preview of the scene. Do everything you can to find and use as many elements of good design to give your image as much impact as you can within the camera. That will make the task of post processing must easier and allow your images leave the viewer with a lasting impression.

Copyright © 2016 Brian Loflin. All rights reserved.

Manage the Background – Part two

I have often discussed the importance of assuring the subject stands out in the frame. To do this you must manage the background.

Previously, I discussed the first method in which you can separate the subject from the background by using a very small Depth of Field. Here I will talk about using contrasting tone values.

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Nikon D800, 105mm F2.8 Micro Nikkor lens, daylight.

In the image of the flowering seed head of Bushy bluestem grass, the highlight and mid-tone values of the plant structure contrast very well with the dark, mottled tones of the background. This allows even the finest detail to be visualized quite well. Remember, here I talk about tone values- not colors. This means changes in reflectance from dark to light. Even though monochromatic in characteristic, this subject is very well defined.

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Nikon D800, 200mm F4.0 Micro Nikkor, sun, SB-910 fill flash. Three frame HDR image.

A more colorful Passion flower really snaps out against the darkest of backgrounds. In this case some of the flower’s filamentous petals and the leaves themselves make up the background.

I am frequently asked how do you make the background dark. The answer is simple, don’t put light on it. In other words, find or make the background about two stops darker that the mid-tone exposure value. Find a Point of View that yields a nice underexposed background. Or conversely, shade the brighter background with your hand, body or a piece of cardboard or opaque reflector. If you make a shadow fall behind the subject, that’s it!

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Nikon D800, 105mm F2.8 Micro Nikkor. Two SB-910 Speedlight flashes.

The polar opposite of dark backgrounds is to make a high key, or very light background. In this case, the high key background is useful to better define the edges of medium-to-dark subjects as in the mating stink bugs above. Many times natural lighter surfaces or backgrounds may be found. When that is not possible, placing a light material or lighted surface behind the subject works well. In the case of the stink bugs, the subjects were placed on a sheet of opal acrylic plastic that was illuminated from behind with a flash (speedlight). An additional speedlight provided front illumination from above. With the capabilities found in today’s flashes, it is relatively simple to vary the TTL (Through the Lens) power ratio of each flash independently, producing the desired tone values of the subject and of the background separately.

Regardless of your choice-light or dark- be sure to manage the distractions to produce a subject that pops!

Copyright © 2016 Brian Loflin. All rights reserved.