Capturing the mist that isn't really there is no longer a mystery

Landscape photographer Colin Southern is based in Nelson, New Zealand. "Every serious photographer," says Colin, "knows there will be times when their best laid plans for a great image will fall through. That's when I find myself having to switch to 'Plan B' at the last moment. ('Plan B' being essentially 'The lights fading - think of a plan quickly!') This first image falls squarely into that category.

"Not wanting to come away empty handed, I instinctively set up a composition that I'd used before. Later, when I shared this image with some friends, most found the misty effect quite stunning, which came as somewhat of a surprise as this type of shot is actually quite easy to achieve by following a few simple guidelines. Here's what I mean.

Step One: Choose a wide-angle composition
"Wide-angle lenses make things look smaller and further away -- so to make the rocks in the foreground look more significant, I know I must get the camera really close to them. For this shot I had the centre of the lens approximately 50 cm (20 inches) above the ground with the tripod legs in the water. I like to place the horizon line about 1/3 of the way down from the top on the frame. I then lower the camera until the foreground takes on a meaningful size. It really helps if you have a camera with LiveView or attach a right-angle finder to your camera. Wide angle lenses make this kind of agressive composition possible -- and ensuring an image with a dramatic perspective. I also set the focus on a point a few feet away and then switch the lens to manual focus because depth of field is seldom an issue at smaller apertures with a wide-angle lenses.

Step Two: Control the wide dynamic range
"Shooting into the light like this means that the detail in the rocks facing the camera are buried deep in the shadows - so shooting RAW is necessary, but it's still not enough. The very best way to reduce the extreme dynamic range of scenes like this is to use either a Singh-Ray Graduated Neutral Density filter or Reverse GND filter. I think that the common thought with many is that you install the filter so that it reduces the intensity of the light coming in from above the horizon, but in my opinion, with this kind of shot it's better to lower it even more so that it covers everything except the rocks in the immediate foreground -- the camera needs all the help it can get to record those foreground shadow details!

Step Three; Expose for minutes, not seconds, with multiple exposures
"The 'mist effect' is generated by waves surging over and around the foreground rocks. To get this effect you need a long exposure (ideally 2 to 4 minutes). But long exposures with falling light levels are tricky things to calculate (if you get it wrong you may not have time to reshoot). With the tide coming in, there's every chance that you'll get water splashes on your camera and filter. The trick here is to leave the camera on Aperture Priority mode (adding or subtracting exposure compensation so that highlight detail is retained) -- and then taking a series of shots. For a more extensive explanation of this step, refer to my post of September 26, 2008.

"The next question is usually, 'but how many?' Enough so that the total exposure time of all images adds up to the 2 to 4 minute target that we're aiming for. This shot consisted of 9 frames of 10 to 13 seconds each. The joy of this technique is that the camera will automatically compensate with longer exposures as the light levels drop -- you also can use a higher/noisier ISO setting than you normally would as the combining of the images in post-processing averages out the noise -- and if you get water splashed on the filter at some point you may already have enough images to still get a worthwhile result.

Step four: Combine the images in Photoshop
"First step is dealing with the RAW converter. If you're using a later edition of Photoshop (CS3 or CS4), then you'll probably need to use the fill light control quite agressively -- and be sure to adjust the colour temperature and saturation for whatever looks good.

"To combine the images, just open them all up, and then use the move tool to drag the remaining images into the first one (this stacks them as layers), and then change the opacity of each layer --100% for the lowest, 50% for the 2nd to lowest, 33% for the 3rd to lowest, 25% for the 4th etc. If you have too many images to do all at once, just combine them in, say, groups of 8, and then combine the resultant images in exactly the same way.

"I took this next image, 'Bar Code,' shortly after the one above. An initial composition meant walking quite some distance over mud flats -- but the further out I went, the deeper each step started to sink into the soft mud. I quickly realized a hasty retreat was the better strategy! After moving further around the coast, I spotted a better place, but the ideal composition meant standing in about 2 feet of mid-winter seawater well over the tops of the gumboots. I used a Singh-Ray 3-stop hard-step Graduated Neutral Density filter for knocking back the power of the lights above the waterline to balance them perfectly with their reflections. It also meant that I could expose for 2 minutes instead of 15 seconds.

"For shots like these, the size of the "stars" is inversely proportional to the size of the aperture used -- so these lights were shot at f/32 to emphasise the star patterns. Correctly exposing scenes like this can be tricky as cameras will often try to protect highlight areas to the point where the majority of the image (the mid-tones) are severely under-exposed. I find that it's usually best to simply choose an exposure that "looks about right" on the review screen (the highlights are going to blow anyway). It's often easier to start with a wide aperture - work out the correct exposure - and then double the exposure time for each f-stop you close down the lens. Post-processing is fairly straight forward - don't be afraid to raise the black clipping point to give the image more contrast - and adjust saturation and sharpening to suit."

To see many more scenes of Colin's New Zealand countryside visit his gallery images now posted at www.pbase.com/cjsouthern. You can also contact Colin at the Cambridge in Colour Forum if you have any questions or comments.

What makes the versatile LB ColorCombo so essential when shooting in Hawaii

Every winter, Kevin McNeal travels from his home in Olympia, Washington, to visit a different island in Hawaii. "My goal," says Kevin, "is to produce images that catch the unique spirit of each of these breathtaking islands. Reproducing the full vibrancy and colors of Hawaii would not be possible without the right tools, and by far the most important tool in my kit is the Singh-Ray LB ColorCombo. Using this one essential filter -- in various situations ranging from the bamboo forest seen above to close-up shots of tree bark to vast scenics at sunrise -- I'm able to create images of Hawaii that capture right-in-the-camera all the magical colors and visual impact I'm shooting for.

"This winter I visited the island of Maui to shoot the east side of the island known as 'the long and winding Hana road.' I quickly discovered that it is indeed a long, winding road surrounded by lush green forests -- and waterfalls at every turn. What distinguishes the island of Maui from other islands is its highly diverse landscape. Everything from coastal beaches, wild flora, and even tropical rainforests can be seen on the island. It was my goal to capture the endless moods of Maui and illustrate how its profound colors leave such a lasting impression on every visitor. I felt it was most important to bring out in my images all the color vibrancy that my eye was seeing.

"What makes the LB ColorCombo Polarizer unique is that it combines a warming polarizer and a color intensifier in one filter. When photographing this image of the white flowers along the coastline, I was able to capture detail in the foreground flowers and hold the warm tones of the sky. I needed the polarizer to accent the deep blues in the sky and also get vibrancy out of the immediate foreground. This 'lighter, brighter' polarizer also allowed me to use a faster shutter speed to freeze the foreground flowers. During my entire trip around the island, I found that this filter really brings out the detail and gives each image added color saturation. First of all the polarizer accentuated the warmth of the early morning and late afternoon light. Without it, I would have sacrificed too much color saturation and depth due to the specular highlights and haze. Most scenes I came across featured several important elements that lead the eye through the image, and I found that quickly adjusting the polarizer allowed me to capture the subtleties of the light and produce more vivid images.

"In shooting the eucalyptus tree image at the left, I wanted to really bring out the saturated colors in the tree and balance the colors with the colorful foreground plants. In order to get the most of the scene I waited until it rained and the trees were still wet. I knew the combination of the wet bark and the polarizer would produce the best saturation of the unique colors in the tree.

"Because the ColorCombo has only a 2-stop filter factor, I can use a fast shutter speed when trying to avoid foreground foliage from 'blurring' in the wind. I need the polarizer for color saturation but with other polarizers the extra filter factor can require a shutter speed that's too slow to freeze moving subjects. This extra brightness of the ColorCombo is especially helpful in the hours of low light when all the magic happens. The low-light hours are prime time for a landscape photographer and it's the time when I strive to combine the colors of the foreground flowers with the warmer colors of sunrise or sunset to balance the scene.

"This image of the Iao Valley Waterfall illustrates the most critical benefit of using the LB ColorCombo -- its ability to reduce glare from flora, vegetation and rocks that are wet.
This shot was taken on a cloudy day to get the longer shutter speed. As with most tropical places, Maui tends to rain a lot, which works in your favor when trying to shoot these rainforests in their prime weather conditions. Although not ideal for most people, wet conditions provide exciting opportunities for nature photographers. The camera really gets the best color saturation in these wet conditions. The polarizer accentuates this even more -- making images really stand out. The challenge in wet conditions is to minimize the glare reflected from the rain on the vegetation. Trying to correct glare from rain is not something that can be done in post processing and using the polarizer can save you from an unusable image.

"In this final image, the morning sun was making its way over the horizon as I was shooting up at Hakleaka Crater. Rather then go for the traditional image usually taken from this spot, I looked for patterns within the scene. I noticed the light making its way through the mist in the low part of the crater and decided to really bring out the rich sunrise colors. In this image, I was able to capture the experience just as vividly as I remember it.

"I should add a note of caution," adds Kevin. "Anyone using this versatile filter should remember one important point. The ColorCombo is not a 'point and shoot' filter that can simply be placed on our lens and then taken for granted. It's a polarizer -- if we want to get the best image, we must remember to adjust the front ring each time before we click the shutter. Take it from me, it's well worth the effort!"

You'll find more of Kevin's images from his visits to Hawaii as well as many other examples of his fine work at his website.

When shooting for magazine covers, be sure to leave room for the words

Seattle photographer Jon Cornforth recently had the cover image on the June issue of Backpacker magazine. A regular contributor to this blog, Jon says, "This photo shows Prusik Peak reflected in Gnome Tarn located in the Upper Enchantment Lakes in Washington's Alpine Lakes Wilderness.

"I created this image 4 years ago in September while I was backpacking in the Enchantments. That's when the best backpacking weather of the year occurs, and -- as a bonus -- that's also when the larch trees turn golden yellow.


"There are only two ways to visit the Upper Enchantments. The first option is an 11-mile hike up the Snow Creek Trail that gains more than 6,000 feet of elevation. The second option is only 7 miles with about 3,500 feet of elevation gain, but it goes over Asgard Pass. I have hiked in both ways and definitely prefer the Asgard Pass approach. Gnome Tarn is pretty easy to locate near the base of Prusik Peak. I have to warn you, though, it took me three tries to finally get the classic shot you see here. On my first attempt, I got snowed on for several days and slept under a boulder where the space was barely bigger than a coffin because I had decided to go light and not carry a tent! On my second attempt, the pond had completely evaporated during a dry summer. After several years of failure, I created the classic image you see here on my third time out.

"Although I prefer the tighter reflection picture, one thing that I try to keep in mind when shooting landscape scenes, is to also take a wider shot that includes more sky just in case a publisher later needs more room at the top to drop in text -- such as Backpacker chose to do with this second image. I created both of these photos with my beloved Pentax 67II medium format film camera and a Singh-Ray 3-stop soft-step Graduated Neutral Density filter. Whenever I am instructing a workshop client on how to use ND Grad filters, I repeat over and over to them my mantra that reflections in the water are almost always 1-stop darker than the subject itself. In these situations, I always use a 3-stop soft-step ND Grad, because the bottom half of the filter's gradient transition is about 1 to 1.5 stops on my meter which works perfectly as a 1-stop filter.

"This past spring I spent a week in beautiful (but overcrowded) Yosemite National Park with my new Canon 5D Mark II. One of the highlights of that week was photographing Yosemite Falls in full thunderous flow reflected in a Merced River overflow pond. It is a classic image to be sure. One does not have to get up super early to shoot in Yosemite when there are no clouds, but the nice light illuminated the valley floor about an hour after sunrise. On this morning, I used my Canon 17-40 f4 lens with the Singh-Ray LB Warming Polarizer, and my new Singh-Ray 4-stop soft-step Graduated Neutral Density filter to create this classic tight shot of the Upper Falls and its reflection.

"Now wait! Didn't I just say I always use a 3-stop soft-step ND Grad filter to balance out reflection scenes? Let me answer that by saying, whenever I meter a scene (anybody remember how to do that?), I usually come up with a value of about 1-1/3 to 1-2/3 for the difference between the subject and its reflection. I have always felt that a reflection picture looks correct if the subject is properly exposed, and the reflection is slightly darker. Throw a 2-stop hard-step ND Grad (1-2/3 stops on my meter) on there, and the mountain almost always becomes darker than its reflection, which I find distracting and un-natural looking. So this past spring, I started experimenting with a 4-stop soft-step GND filter in hopes of landing somewhere closer to a perfectly balance reflection scene. What do you think?

"Finally, I once more remembered to take a wider shot that has plenty of room at the top to drop in text in case a publisher needs the space. Now, if I could only figure out how to also get a horizontal image each time, too!"

This weekend, July 24-26, Jon will be displaying his fine-art prints at the prestigious Bellevue Arts Fair in Bellevue, WA. If you live in the area and plan on attending, his booth location is I-12. Let him know you read about him on the Singh-Ray blog. He also has a new blog at www.cornforthimagesblog.com and can frequently be found "tweeting" on Twitter @CornforthImages about his current and upcoming photography workshops and other adventures.

Making "something out of nothing" calls for Singh Ray’s Gold-N-Blue Polarizer

As a versatile Utah free-lancer and year-round "outdoor action shooter," Adam Barker's eye never strays far from the business side of photography. "I found an interesting statistic recently in a photo trade publication," says Adam. "It said the total photography workforce at the end of 2008 hit an all-time high of 205,000. Yowza!! That’s great news for retailers and manufacturers, but a little less enthralling for photographers trying to create unforgettable and unique images.

"It’s great to see the business we love taking hold with so many. A byproduct of this photography buzz, however, is an absolute overflow of images. Never has it been so important to create images that are a notch above the rest. There are numerous tools I rely on to help create unique images on a regular basis -- regardless of the conditions Mother Nature throws my way. That's why one of my most trusted filters is the Singh-Ray Gold-N-Blue Polarizer.

"To illustrate exactly how versatile this filter is, I have included several different images with this story. Simply put, I have used this filter many times over to create something out of nothing. We have all faced the challenges presented by lackluster gray skies, flat shadowless lighting and/or colorless lakes and streams. You may have a dynamic subject and an engaging composition, but the light just might or might not be there. That when I turn to my Gold-N-Blue Polarizer.

"This first image (above) features a classic western water scene from Lake Powell, UT. It seemed all the elements had lined up: wonderfully textured foreground, simple mid-ground and dramatic clouds serving as my background. As the sun dropped lower in the sky, however, clouds across the horizon sapped any hopes I had of a five-star image (or so I thought). I was able to 'save' the shot by screwing on my Gold-N-Blue Polarizer. I always recommend shooting several images, experimenting with different degrees/hues of polarization in order to ensure you’ve come away with a keeper.

Again from a shoot down at Lake Powell, this houseboat image was shot at dusk. A 30-second exposure ensured silky smooth water, while the Gold-N-Blue Polarizer ensured warm, inviting tones resulting in a stock image sure to hold the attention of interested licensors.

This image of a winding river near West Yellowstone, MT, really opened my eyes to how the Gold-N-Blue can provide a compositional boost to many images. Dialing the filter to its strongest gold effect, the river suddenly glowed with life and resulted in a foreground element that engages and holds the attention of viewers.

Lastly, this outdoor lifestyle image demonstrates the utility of the Gold-N-Blue in a commercial setting. On a fly fishing trip through Montana, I enjoyed a particularly serene sunrise along the Beaverhead River. By using my Singh-Ray 3-stop Reverse ND Grad and the Gold-N-Blue Polarizer, I was able to bring this otherwise average scene “back” to life. The sun had been up for around 30 minutes or so and the skies had become somewhat harsh. With the Gold-N-Blue, I was able to extend that magic hour just a bit longer.

"Several photographers have posted previously on this blog their appreciation for the 'unpredictable' nature of this filter. While that certainly is one aspect of it, what I appreciate even more is the highly predictable way the Gold-N-Blue Polarizer can so often take mundane lighting and turn it into magic. I count on it and always make room for the Gold-N-Blue in my bag—it gives me creative freedom and the added confidence that I'll come home with some keepers."

For more examples of Adam's landscapes and outdoor action photography, check out his impressive blog and website. You'll find his schedule of upcoming workshops listed, too.

The Art and Method of Satisfaction Management

One of the challenges of serious photography is balancing time in the field with the demands of "real life." We asked aspiring outdoor photographer Floris van Breugel for his perspective. "Being a graduate student at Caltech is generally considered a rather time consuming ‘day job,' and yet, I'm committed to getting out and coming home regularly with meaningful images" says Floris. "My time is limited, that’s a fact; but I'm always finding new ways to use my time more efficiently. Part of the solution is realizing that -- if I expect to come home from a photo trip with original and exciting images -- I need to do enough careful research and planning to make sure my time is spent wisely.

"And speaking of time spent wisely, it takes me almost no extra time while I'm in the field to use my filters. If, for example, I were to take the approach of blending multiple exposures to extend the dynamic range of the image, I would need to spend considerable time at home in post processing to get the light balance in each image just right. Since learning how to use my ND grads, polarizers and other Singh-Ray filters to get it right in the field, I now know before leaving the scene that I’ve captured it just the way I want it to look and that it will only take a few more minutes on the computer to create the final image. That means I can spend more time photographing in the field! My best advice is to get the 4x6-inch-size Graduated ND filters and start hand holding them -- that way you can move the filter a bit during the exposure, which reduces the ‘grad line’ effect that can turn some people away from using them.

"Recently, however, I'm aware of something else that's important to my image making strategy... we might call it 'satisfaction management.' I'm not entirely certain where this concept will eventually lead me, but I can say it began when I recently read the thoughts of veteran professionals Guy Tal and Darwin Wiggett on making more personally meaningful images to satisfy our own souls rather than always going for 'trophy" images to meet the expectations of our perceived audience and/or marketplace. I only know I hope to make more images that reflect my personal experience with my subjects. (For more on this topic, I suggest a reading Guy's article and Darwin's article). In order to balance the two sides, I now intend to make sure there will be opportunities during each trip for both some pre-planned images, as well as ample time to explore new opportunities with an open mind.

"Increasingly, photographers think they need brilliant sunsets to make beautiful images. However, we all know there’s a lot more than sunsets out there -- we don’t need fleecy white clouds at all to have a fantastic time and come home with images that convey the experience. Here’s a recent example from the Alabama Hills in the Eastern Sierra, where I used my 3-stop Reverse Graduated ND filter to shoot into the sun. This exposure did require some post-processing to remove the flare created by shooting into the sun, but without my reverse ND grad I would not have been able to properly capture the complete sun-star.

"I have also learned to make the most of any weather and lighting conditions -- be they rumbling storm clouds, or clear blue skies. There’s always something beautiful out there! Now, back to my methods for maximizing the way I spend my time. Here are some examples of first some planned 'trophy' images and then images that just emerged from my experience at the moment. Having seen some imagery from similar oak savannah areas in the California foothills, I decided it was time to give it a go myself. With a few tips and some fine-tuning using the 3D terrain view of Google earth, I found what looked like a great spot. Already the time of year was just right – I wanted golden hills with budding oak trees – now it was just a question of getting the right weather conditions. I started to watch the weather over the area – a clearing storm overnight would give me the best chance at a striking sunrise. When that day appeared, I drove the 2.5 hours in the middle of the night, slept in the car, and awoke to a vast expanse of rolling hills. I spent a good hour exploring to find just the right spot with a complementary foreground. That of course is where the real creativity comes in – the personal connection that will give the image a deeper meaning. As the sun broke through, soft pastels graced the landscape, and with my 2-stop hard-step Graduated ND filter I took this image, “Freedom of the Hills,” as a 3-shot panorama. After taking in the surroundings for a bit longer, I drove home, edited the file in record time (thanks to the Graduated ND filters), and was at work in lab before 10. It was a bittersweet experience though. While it’s one of my favorite images, there’s an emptiness that comes from having made it in such a hit-and-run, trophy-collecting manner.

"The travel approach I prefer is a well-researched trip, with ample time and opportunities for real discoveries. Recently I had such a trip to Minaret Lake in the High Sierra. I had been anticipating this excursion since last year -- I knew I wanted to catch these dramatic peaks towering over a half frozen lake. After paying attention to previous years' weather patterns, talking with the rangers, and monitoring the weather (temperatures), a friend and I decided to gamble on a weekend in late June. After the 8-mile hike I came over the ridge and was greeted with a perfectly half-thawed alpine lake! That evening the remnants of a thunderstorm blew over, and the setting crescent moon completed the magical scene. Using my 2-stop hard-step Graduated ND filter I was able to contain all of the scene's dynamic range into one easy exposure. Those hours of careful research ended up paying off quite a bit!

"The following day I spent taking in the scenery, and exploring the thawing alpine landscape. I stumbled upon this patch of fresh Corn Lilies, and just had to endure the steady barrage of mosquitoes. The large gray boulders littered throughout the garden added a Zen-like quality that I really enjoyed. After I put on my Singh-Ray LB Warming Polarizer, the scene just got better -- the filter brought out the natural greens to their full potential.

"That evening I decided to try and get an image of the friendly marmot that had been hanging around our camp. It was the least I could do to make up for the chewed up hiking poles he left me. After many tries, I finally managed to get close enough to use my wide angle lens for an environmental portrait. The 2-stop hard-step Graduated ND filter allowed me to capture the whole scene in a single easy-to-process exposure. Lesson: always be prepared to take advantage of a relatively unexpected moment, and keep your filters within reach!

"Lastly, I want to reiterate what so many photographers I admire have said -- good images come from the heart; from a personal connection with nature. Sometimes it’s important to take the time to go somewhere just to explore, with no real idea what you may or may not find. You might be pleasantly surprised. I refer to the image at the top of this story which I found in a seldom visited canyon in the backcountry of King’s Canyon National Park. I knew the first part of the canyon quite well, but had no idea what treasures were hidden several miles downstream. I was ecstatic to discover this peaceful and mossy stream, which also happened to be home to a pair of American Dippers. Using my Singh-Ray LB Warming Polarizer, I was able to cut out the distracting glare, enhance the natural colors, and all that without losing too much light -- thanks to the efficient 'lighter, brighter' quality of the filter (it was approaching twilight in the dark canyon).

"In conclusion," says Floris, "whenever you're feeling short on time, it’s helpful to do your research and carefully time your trips to maximize the potential results. But, at the same time, it’s critical to always be open to the unknown and the unexpected experience. Knowing how and when to apply the tools in your filter bag can make that a lot easier, too!"

To keep up with Floris' photographic excursions, be sure to bookmark his website.

Three recent images produced with a very well-traveled set of Singh-Ray Filters

As a Pulitzer-Prize winning photographer and frequent contributor to many leading news, travel and sports publications, Jay Dickman has literally covered the world.

"Most recently," says Jay, "I’ve had the great opportunity to travel with Lindblad/National Geographic Expeditions (eight ships in the fleet, traveling year-around, pole-to-pole) as the on-board National Geographic Expert, providing lectures and photographic input to the travelers aboard these amazing journeys. Three trips to the Antarctic, two to Baja, a couple to the Galapagos, the Dalmatian Coast, and -- the cherry on the sundae -- the ultimate trip “Around the World by Private Jet.”

"In this atmosphere, I get to combine my two passions: photography and teaching. Many of the trips are photographically driven; excursions to the shore are set at 'prime-light' time, providing not only the tremendous locations but also positioning the photographers onboard for the best light possible.

Landing recently on Port Lockroy in the Antarctic, we off-loaded our Zodiac rafts in rather inclement weather…mid-20’s and blowing snow and sleet. Making our way through the cabins of this 19th century British outpost, the weather started moving out (if you think your home location fits the old-saw, 'if you don’t like the weather, wait five minutes,' the Antarctic takes this adage to the 10th power; one minute you are in sun and shirtsleeves, the next the temperature has dropped 25 degrees and you are fighting horizontal blowing snow and fog). On this small rock island, there are colonies of gentoo penguins. Rules of the road here dictate that visitors do NOT approach, touch or impede the progress of these residents. We are guests, and we are to respect the rules.

"The photo above was captured with the Antarctic Peninsula and its mountains as the background and a number of visually enticing gentoos close by. I moved within about 5 meters of the closest bird and sat. Penguins are curious and it didn’t take long for this one to shuffle up towards me, trying to figure out why I was there. The foreground was in the shade of the departing storm, the mountains in the background were basking in the sun…pretty but one of those impossible lighting situations for the photographer, as the dynamic range was too great for the camera to capture.

"I’ve been using Singh-Ray filters for several years, not willing to chance my images to anything less. From the LB Warming Polarizer to the Galen Rowell series of Graduated ND Filters, these filters are permanent residents of my camera bags. Although our eyes can see a tremendous dynamic range, the camera has a much more limited range. Looking at this scene, my eyes could take in the shadows as well as the detail in the sun-lit snow. With this fact in mind, I used a 2-stop, soft-step ND Grad filter that would place the demarcation zone over a broader area so the transition in density would not be noticeable.

"The one foreground penguin shuffled closer, the guy on the top left did a moment of sky pointing, giving the image a little more interest on that next layer, and the above image was made using my Olympus E3, 12-60mm lens @ 23mm, 1/250th of a second at f8 at 100 ISO.

"On another expedition to the Antarctic, we were incredibly fortunate to have visited Neko Harbor, one of the most stunningly beautiful bodies of water on the earth. Calving glaciers, icebergs, mountains, it’s the definition of sensory overload. These expeditions carry kayaks onboard the ship for those desiring a nearer experience to the frigid waters of the Antarctic. I’d gone out solo in one, and several of us were navigating towards a huge iceberg -- but not too close as these can roll quite unexpectedly and quickly. While one boat was passing in front of this behemoth, I used the Singh-Ray LB Warming Polarizer, turned not all the way to full polarization (the sky was intense enough without making it look false). I wanted to bring down the value of the sky while making the reflection a bit more pronounced. A couple of frames, and we paddled back to the ship. This time my camera was the Olympus E30, 12-60mm lens @ 17mm, 1/500th of a second at f4.4.

"Now let’s go about as far away as possible from Antarctica, both literally and figuratively, to the Pyramids of Egypt. Near the end of the Around the World by Private Jet trip, we landed in Cairo, Egypt, home of the famed Pyramids. Our stop here was in midday because we were moving through a number of locations.

"We’d gone to an overlook, where one can see all three of the Pyramids with a clean and unobstructed foreground. I was shooting the typical scenes, our group was scattered about, and our time had come to an end. As I was heading back to our vehicle, I saw this guy in his incredible headdress, offering to pose for photos for a fee. I ran up to him, asked him to just talk to a friend, and composed the image so there was no intrusion of cars or anything else which would detract from the timelessness of this image. Harken back to what time of day I’d mentioned earlier: midday. Not the best light for people photography, especially in the Egyptian desert. I only had a couple of minutes as our drivers were calling for us, so I decided to use my Singh-Ray LB Warming Polarizer -- again on the Olympus E30 and 12-60mm lens -- knowing that it would help provide saturation in the sky (a sand storm had moved through a short time before) as well as reducing the reflections on his skin. I had just enough time to make two frames before a caravan of buses and cars intruded on the road in the background; I was finished... but I was pleased with the results from the first two frames."

In addition to his ventures with Lindblad/National Geographic, Jay currently hosts his own series of FirstLight digital photography workshops in locations around the world. "Just when I think I'm sick of spending so much time away from home, I do my drill -- I pick up that camera and the magic flows through me." To see more of Jay's magic, visit www.jaydickman.net or visit his workshop schedule at www.firstlightworkshop.com

Trying the LB Warming Polarizer, it didn't take long to appreciate the difference

Douglas Dietiker was raised in Western Washington enjoying the surrounding natural beauty. "Hiking, camping and traveling in the Pacific Northwest," says Douglas, "aroused my lasting love for this wonderful area. Photographing nature allows me to translate that love into an art I now share with others.

"I find using a polarizer to be almost a requirement when shooting in the rain forests along the west coast. Besides often being a damp environment, I find that many of the plants reflect the light even when there's no rain.. A polarizer certainly helps reduce such reflections. On a recent trip to the Redwood National Park, I brought an LB Warming Polarizer along with me just to try out. I placed it on my lens and never took it off, except for the brief time I mounted my 'regular polarizer' on the camera to compare the differences in exposure speed and viewfinder brightness. From then on, the test was over and the Singh-Ray went back on my lens for the remainder of the trip.

"When I studied my images later I found the color rendition was similar between the two filters, however the LB Polarizer was about a half stop brighter in the woods. I also think there is a slight edge in sharpness in my shots that I would like to attribute to the Singh-Ray filter. I found the extra brightness was a real bonus since light levels under the canopy of towering evergreens can be quite dark, even in mid-day. And of course, I always try to shoot there when there is some degree of cloud cover.

"I've included two images from the trip shot on two different days. The image above was made on the only day I had fog and mist to work with. As I was capturing the bridge photograph below, I half expected to see some Hobbits lurking about. In fact, I'm pretty sure I caught a glimpse of one through the corner of my eye.

"I expect my new LB Warming Polarizer will be really helpful as I do more of my shooting with Live View, which I am realizing will be a very useful feature. I was lukewarm about using it when I first got my D3x camera, but I find I am using it more and more. It really helps when I'm dialing in the polarization effect just before each shot. I can see the effect much better through Live View than through the viewfinder. During this last trip, I was setting up the composition through the viewfinder then switching to Live View to set the polarizer. It wound up being a great combination for me. It may not be how Live View was intended, but it works for me.

"I always admit to everyone," says Douglas, "that I go to the woods and the mountains primarily to enjoy the scenery and to enable others to do the same." You can enjoy more of his images by visiting his website.

Conveying the emotion within an image calls for conscious control of the colors and light

As Arizona landscape photographer Steve Kossack prepares to lead his annual Yosemite high-camp backpack and workshop across 60 miles of rugged high-altitude trail, he's again feeling the inner excitement. "Once again," says Steve, "I'm feeling that compelling urge to photograph the wonders of nature. I'm always trying for images that convey my emotional response to the scenes before me. I find that it's never easy to put emotions into words -- let alone a photograph! However it's the emotional moments and places that are so special for me.

"The Sierra Nevada mountain range is famous for what is often called alpenglow -- a time when a layer of blue and magenta bands forms in the twilight sky at high altitudes. On most days you can see alpenglow even on cloudless evenings. I have learned not to walk away from a Sierra sunset until well after the light has faded to almost complete darkness.

"In capturing the dramatic alpenglow above Cathedral Peak in Yosemite National Park, a couple of problems were solved by the use of my Singh-Ray filters. The most obvious challenge was the deep and dark shadow that the bottom of the composition presented. The trees added to this because they were an element that I thought would be most important. I’m shooting from a position above tree line! I needed enough shadow detail to tell this story. If I exposed for the highlights and let the shadow go where it might, I knew I’d have the deep rich color of the panorama but lose the detail in the shadow. The solution for the shadows was to use a 4-stop hard-step Graduated ND Filter. By taking a meter reading of the shadow area, I shot a series of manually bracketed frames, starting with the shadow exposure and then opening up one stop for each of four consecutive frames.

"I also realized that by doing this I would lose more of the rich color saturation with each step of increased exposure. Here the solution was to use the LB ColorCombo with the polarization set for a bit less than maximum effect to avoid over-polarizing and thus increasing the contrast. After all, my purpose here was to balance the exposure, cut the glare off the granite and enhance the green of the shaded trees. This capacity to enrich the greens makes both the LB ColorCombo and the LB Color Intensifier filters two of my favorite filters. Now with a fairly long exposure induced by the filters, I came away with the benefit of a slight blur in the clouds, lending a tranquil touch to the image.

"On the banks of the Tuolumne River in early morning light the emotional attraction for me was seeing the steam rising off the river. The challenge was to find the angles that would offset, yet not overpower the subtleness of the setting. Once I found the lines that led into and out of the composition, the proposition became how to capture the colors. I set my exposure for the highlights and then opened up 3 stops using a 3-stop hard-step ND Grad. This gave me an exposure in the foreground that still rendered the right side of the bank almost in silhouette. I needed this contrast to set it all off. Next was adding the LB ColorCombo, carefully avoiding too much of the reflection in the water.

"These final two images were both captured along Merced Lake in Yosemite National Park, which is the second lake from the headwaters of the Merced River. The quiet seclusion of this high alpine setting, with deep granite walls falling sharply into the lake, create a setting as tranquil as any I’ve experienced.

"When I set up the image on the left it looked somewhat sterile through the viewfinder, however it was anything but when I surveyed the scene. What I was missing was the slight movement of the water in the foreground. I knew that a long shutter exposure was needed. The Vari-ND enabled me to extend my exposure just enough, and I also used my trusty LB Color Intensifier to step up the color saturation. As I increased the exposure I came closer to the glow of highlights that I liked but I was losing the one color that was most important to me. Green! The LB Color Intensifier is my usual choice to solve this problem.

"As I was shooting this image, the lake's surface was almost white-capped as the result of a strong wind. A 30-second exposure -- made possible by using my Singh-Ray Vari-ND -- changed the water's surface into a lovely gloss. Stacking the ColorCombo and then a 3-stop soft-step Graduated ND brought the exposure range into better balance and enhanced the green of the trees while holding back the glow of the granite. These steps resulted in a perfect rendering of the fallen tree in the foreground. By applying conscious thought to the choice of my filters and the way I use them, I have acquired a much better 'feel' for the way they will work in the field."

Steve and his unique approach to landscape photography are now featured in a new 100-minute DVD being released this week by Master Photo Workshops (Directed by Gregory McKean.) The new DVD, entitled "Every Picture Tells A Story," provides an in-the-field workshop experience packed with helpful information and clearly demonstrated techniques. You'll find more info on Steve's website or just order your copy today.

Adding the finishing touches to the waters of Vermont

In recent years, Montreal-based nature photographer Rob Servranckx has headed south to northern Vermont for the first half of his June vacation. "For four dawn-to-dusk days, I'm the co-instructor for a photo workshop conducted by Gustav W. Verderber. Many don't understand that, for me, this is not work. It's an opportunity to do and think photography in beautiful locations. It's also fun to share ideas and images with other photographers and to see their reaction when they discover how Singh-Ray filters can improve their images.

"The Green Mountains in northern Vermont include many spectacular waterfalls, beautiful landscapes and magnificent lakes, making it a fantastic area for outdoor photography. I can't imagine going to our workshop without demonstrating how my Singh-Ray filters -- especially the Gold-N-Blue Polarizer and Graduated ND filters -- can help them.

"I find the Gold-N-Blue especially useful to enhance woodland waterfalls and streams surrounded by deep green foliage. For these first two images, I used it to insert a subtle touch of gold in the specular highlights and glaring reflections on the wet rocks and still water, and to gently warm up the deep green foliage. Under cloudy conditions (the only time I shoot waterfalls!), using this filter is enough to slow down the exposure time to about half a second, just about a perfect shutter speed to start blurring the water while holding some detail and texture in the highlights. By adding just a light touch of gold in images like these -- it keeps the image looking very natural.”

“When using the Gold-n-Blue Polarizer on a digital camera, a magenta cast is introduced, but it is very easy to correct for this and get the white balance just right. After shooting my images in RAW mode, I select the white-balance eyedropper in my RAW converter software, place it on the white water, click once... and voila! A perfectly color-balanced image. Another method is setting my camera's custom white balance in the field with the filter on the lens -- it gives me the same results, and allows me to preview the corrected settings on my camera's LCD in the field.”

"One of my favourite destinations during our workshop is Willoughby Lake in northern Vermont. This beautiful lake with pristine waters was carved by glaciers a long time ago. These glaciers created high, fjord-like carvings, with steep cliffs and a deep bowl where the lake formed. There are so many compositions here –- I could easily have spent 2 or 3 days in this one place alone. I really like this composition of the lake, with the skeletal-looking roots reaching towards the skull-shaped rock. This contrasts nicely with the lush greens of the forest and the aqua-colored waters. But the bright cloudy sky was making the exposure a little tough. By very carefully placing my Singh-Ray 3-stop hard-edge Graduated ND filter to follow the edge where the mountain meets the sky, I was able to darken the sky sufficiently to get a great exposure."

You can see more of Rob’s work on the Sojourns In Nature web site and on their blog.