By Lynne Rogers Harris
The Best of Spring by Lynne Rogers Harris (ISO 200, f5.6, 1/2000)
Recently, I met a fellow photographer at River Legacy Park in Arlington, Texas, to try a new technique.
Another Trinity Arts Photography Club (TAPC) member had shared a video on how to shoot and process high-key images. This isn’t exactly high key, but the method used was about the same. I took a white board and placed it behind the flowers and shot a little over-exposed. This made it much easier to turn the background a nice white when editing in Photoshop.
I found that if I shot with the sun directly on the flowers, I had to do some maneuvering to get rid of the dark shadows. I actually shot several flowers that I thought turned out pretty good. I processed this with the white background, did a little cloning to take out
‘ junk,’ and voila — I had my image.
This photo is actually a composite of two shots. I thought these type of images with flowers made nice little cards, so I’ve printed several of them.
By Laura Richards
Surprise by Laura Richards (f/11, 1/500, auto ISO 400, 300mm)
Several years ago, my husband and I took a trip to several countries in southern Africa, including Botswana where we visited Chobe National Park. Driving through the park, we saw a wide range of animals and birds. On this particular photo, I was focusing on the egret. It was quite a distance away, so I wasn’t sure what kind of image I would get.
When I got home, I uploaded all my photos onto the computer. As I looked at this one, I wasn’t impressed with the egret, but then I realized there was a crocodile right next to the bird. The shape of the crocodile mimicked the curve of the grass so I never saw it while I was taking the photo. Ironically, the crocodile was in better focus than the egret, and I never knew he was there. The other thing that surprised me was the proximity of the two. I would think the egret would be a good snack for the crocodile, but there doesn’t seem to be any friction between them.
A lot of times I delete photos that I don’t think are great before I upload them, but I am finding out that there are hidden things in photos that actually make an interesting story, and you don’t see them until you enlarge the photo. I normally would crop this image, so the viewer would see the crocodile right away, but I wanted to show how easily you can miss things if you aren’t careful.
By Lynne Rogers Harris
Anole’s Lunch by Lynne Rogers Harris (Olympus M1 Mark III, ISO 200, SS 1/200, f2.8)
This was the first year back for the Butterflies in the Garden exhibit at the Fort Worth Botanic Garden. As most of us know, the conservatory was in need of repair so we have missed this event the last few years. It was a cloudy day and I was expecting the conservatory to be dark inside and the butterflies hiding. I was pleasantly surprised to see just how much light was coming through the windows.
After arriving, we were told new butterflies had just been released into the conservatory. They were everywhere. After shooting a while and talking with other photographers, I was about ready to leave when someone pointed out this anole lizard. He was a little camouflaged, but I finally saw him and he had a butterfly in his mouth. Of course, I couldn’t resist taking a photo. I took a few shots, and he soon crawled away with the butterfly still in his mouth. Later, I learned that the lizards eat the butterfly bodies but
not the wings.
Please join your fellow photographers when they post outings on Facebook. It’s always fun to shoot and learn with others; and you never know when you’ll get that one shot that makes the trip all worthwhile.
By David Roberts
Barred Owl In Flight by David Roberts (324mm, f 5.6, 1/2000, auto ISO 2500)
One of the primary activities practiced at the Colleyville Nature Center (CNC) is photography, and the primary subject being photographed is wildlife, particularly birds. By far the most popular birds at CNC are the Barred Owls, with the spring mating season and subsequent arrival of the baby owls (owlets) being the peak time of activity for the year.
I was fortunate on a recent visit to find the ‘West Side’ female owl sunning herself in the
opening of the iconic ‘Owl Tree.’ After posing for some static shots in great light with awesome catchlights in her eyes, she decided to stretch her wings and take flight. I had witnessed this exact scenario many times before, as this is my third owl season at CNC. I knew there was a good chance she would fly instead of returning to inside the tree, so I was prepared with the proper camera settings. As with many things, timing is everything. Even though you know its coming, its amazing how easy it is to be distracted by conversation with a fellow photographer or simply removing the camera from your eye to scratch your nose. There is certainly an element of luck involved here, and luck was on my side.
This image was captured on March 5, 2020, at 10:10 a.m. with a Canon EOS 7D Mark II, Sigma 150-600mm f5-6.3 contemporary lens.
By Bill Webb
Exploded Deli Club by Bill Webb (f 4.5, 1/10, ISO 400)
For our recent ‘Food’ topic, I chose to try one of those exploded shots we see sometimes. Folks have since asked if it was a bunch of Photoshop layers. The answer is ‘no.’
Here’s how I did it.
Photo 1 – Exploding sandwich photograph setup
Photo 1 shows my lights and supports set-up in the kitchen. I set up two stands and ran solid wire between them to make the ‘shelves’ onto which I would place the sandwich makings. I had an LED panel as main light positioned at camera left and a small LED fill (about 15 percent power) on top of the camera.
Photo 2 – Exploding sandwich layers attached to wires
When that was all set up, I disassembled my Jason’s sandwich and carefully positioned the pieces on the layers of wire as you see in Photo 2. I checked exposure and lighting to get the background dark and the sandwich well-lit. I took the shot.
Photo 3 – Exploded Deli Club final image
Then in Photoshop, I used spot healing and cloning to remove the wires. Voilà – an exploded sandwich (Photo 3).
The last step was to reassemble the sandwich and have lunch!
By Michael Burleson
Calm by Michael Burleson (f 5.6, 1/800, ISO 800)
This shot was taken on an overcast afternoon when my wife and I took a break from her schoolwork to see her horse. Horses are known for their theraputic qualities and are often used to promote mental health.
While she was visiting, I decided to walk around the barn to take a few shots of the horses.
This was a very subtle and still moment between her and her horse that displayed a calmness I was thankful to capture.
The sky that day really painted the canvas for the shot, and I didn’t really find it necessary to edit it much. I chose black-and-white because it really brought the moment to life.
By Lynne Rogers Harris
Smoke Dancer by Lynne Rogers Harris (f/8, 1/125, ISO 100)
I had been wanting to try my hand at shooting smoke as I had seen some really cool images. So, I bought some incense sticks, set up my black backdrop, used two flashes pointed at the smoke from the sides, and started shooting.
I learned quickly that too much of the flash was hitting the background but my setup just didn’t allow me any other options.
At any rate, I pulled the image into Photoshop and played a little and still wasn’t very happy with the result. I then “inverted” the colors and voila. Suddenly, to my eyes,
I saw a sketch of a dancer and fell in love with it. I hope you can see the dancer, too.
By Terry Barnes
Time to Reflect by Terry Barnes (1/320, f/10, ISO 100)
This spring I learned the PhotoPills app can calculate the dates and times when the sun will be exactly centered down the east-west streets in New York City. I wondered if it could be done in Oklahoma City, specifically at the National Memorial.
The Memorial is located at the site of the former Murrah Federal Building. There is a block-long reflecting pool with “portals” on each end about 10-feet wide by 25- to 30-feet tall. I wanted to center myself on the east end of the pool and have the setting sun centered through the west portal with a reflection on the water.
PhotoPills gave me two possible evenings in September, so I entered the dates into my calendar and waited four months. On September 16, the clouds obstructed the sun, so I
only got a few planning shots.
I returned the next evening to a perfect sky. I set my camera to take a shot every 15 seconds, starting about 10 minutes prior to the “PhotoPills time” and continuing until the sun had crossed the portal. This picture was time stamped within a minute of the time the PhotoPills app had provided. What a smart app!
By Bill Webb
St. Olaf Stars by Bill Webb
This star trails image is a composite of 125 images taken using an intervalometer to trigger the camera every 16 seconds. The individual image exposures were 15 seconds long at f/2.8, ISO 1600, using a 14mm ultra-wide-angle lens. I positioned my camera to place the polar (North) star above the steeple.
Capturing the photos took about 30 minutes. In Photoshop I stacked the images to create the trails.
The light on the cemetery markers is caused by another photographer who turned on his car lights (a REAL no-no) while I was doing this. I have another version of this image that eliminated the lights (they were on for just two frames), but I kinda liked this one.
The location is St. Olaf Kirke (The Old Rock Church) in Cranfills Gap, Texas. Gates into the property are locked so you can’t just drive in.
By Darren Wiedman
Fuzzy Dice II by Darren Wiedman
This shot was one of about three hundred that I took for our “Motion” competition many months ago.
One Saturday afternoon, to my wife’s delight, I spent several hours dropping dice on a glass table with my right hand while simultaneously pressing the shutter release cable with my left.
It took a while to get the lighting right and not have odd reflections on the glass. Timing was also a huge issue. I was trying to capture the dice in a way where some were still falling and others were bouncing back off the glass. But the dice would often ricochet out of the shot.
I included the wall in the background to give a sense of depth, but later I realized that the harsh line was a bit distracting. But it did help if one of the dice was crossing the line. That issue eliminated a lot of otherwise good images.
I wanted to give a sense of motion while still having the dice remain sharp, so I “dragged the shutter.” This is done by using a flash to freeze part of the action, while keeping the shutter open long enough to capture more of the subject with ambient light.
This was a lot of fun, and I could’ve done it much longer. But I ran out of daylight, and my wife ran out of patience.
Fuzzy Dice II by Darren Wiedman (f/4.5, 1/80, ISO 400, 78mm)