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Mountain and adventure sports photographers (and others) whom I admire and take inspiration from.

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(NB. Descriptions are mine. If I’ve got it wrong, please let me know).

 

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Michael Clark - Exposed

Michael Clark is one of the world’s top adventure sports photographers. With a client list that includes Nikon, Nike, National Geographic and Red Bull, he is well qualified in the photo industry and his willingness to share his knowledge, business practices and experience through his blog, newsletters and books has been a great source of inspiration for me since I started my business.

Michael is the author of two previous books; ‘Adventure Photography: Capturing the World of Outdoor Sports’ and ‘Adobe Photoshop Lightroom: A Photographer’s Workflow’. I’ve read both books many times and I learnt from Michael’s Lightroom book greatly when I adapted his photography workflow last year to manage my own photos. As a result, I’ve been looking forward to his new book ‘Exposed: Inside the Life and Images of a Pro Photographer’ since he announced it back in January.

Here is a summary of ‘Exposed’, in Michael’s own words;

The idea behind this book is to strip some of the glamour off this profession and share a wide range of stories and experiences to give the reader a very clear view of what it is like to be a working professional photographer and what it takes to create top-notch images.

Has Michael achieved his objectives? Read on to see what I think;

Idea 1 – “Strip off some of the glamour off this profession…”

Check. At first glance, adventure sports photography certainly does seem glamorous (and I know it’s not). What Michael is very good at is getting past this and outlining the great effort and pre-planning involved in;

a.) Getting the assignment, by tirelessly marketing yourself and your work. Either getting yourself chosen off the back of existing work or, something he is passionate about, using personal projects to keep yourself fresh and creative and ahead of the pack; and using that as a means to gain new clients;

b.) Planning out what you’re going to shoot, where and what with – e.g. by researching your subject in depth, being creative in your thinking and knowing your equipment technically, inside-out. In general, being prepared so you can get the most out of the shoot even if things don’t always go to plan (two of Michael’s tips – have a shot list and a plan A, B and even C);

c.) Choosing, carrying and setting up all the equipment needed – which for a lot of photographers would be deemed ‘lightweight’ but most surely isn’t in an adventure sports setting where you’re often trying to move fast through uneven terrain.

Emphasising this hard work is the not-so-glamorous locations Michael has found himself in pursuit of quality images. Being wet, tired and sore miles from anywhere in Patagonia (right up my street that one), hanging off a cliff on a badly cut rope in South Dakota (I’ll pass on that one, thanks) or squeezed in the entrance to a men’s bathroom in New Mexico taking portrait shots of free divers just out of the water (actually, nicely creative).

Idea 2 – “Share a wide range of stories and experiences…”

Check. Michael has included four ‘On Assignment’ chapters in the book;

a.) The Wenger Patagonia Expedition Race (top-end adventure racing)
b.) Men’s Fitness (California search and rescue)
c.) Red Bull Air Force (Utah base jumping)
d.) The Eddie Aiku (Hawaii surfing).

In each of these chapters, he explains the assignment in depth and details key things he considered to get the final image. As well as this, throughout the other ten chapters of the book (whose topics range from ‘Some days are better than others’ to ‘Keeping the fires stoked’), Michael includes plenty of other anecdotes and explains what was going through his mind as he prepared for a shoot.

I’ll admit the highlight story for me isn’t about adventure sports but of his State Street Global Advisers shoot of professional golfer, Camilo Villegas. A brief glimpse of the pressures involved in photographing for high-end advertising firms. Imagine being told by an Art Director, “You’ve got 10 shots. That’s it“*.

Idea 3 – “Give the reader a very clear view … what it takes to create top-notch images.” -

Check again. Each of the 16 main images Michael has chosen for the book has a background story on how he came to be in a position to make the image, information on what gear and thought processes he used to get the shot and a ton of technical Lightroom information demonstrating how he moved the image from in-camera to final post-production. (I suppose there’s a small risk here that the extensive Lightroom slider adjustments information may cause some people to switch off slightly. I love the practice of photo processing but, having read the book more than once already, it’s these parts I’m finding I’m not immediately re-reading – as the values you end up choosing are so individual to your own photographs. I do think the information is very valuable though and essential to the book).

To sum up my review, I think Michael has achieved his objectives and I really like ‘Exposed’. It’s got lots of great information and pictures in it and it’s a good read. I’m sure Michael will admit that it is unusual for a photographer to open up and share as much information about their images as he has (he freely admits an instance in the book where he made a mistake). I’m glad though he was this honest and has also chosen in his career to educate others. I for one have learned a lot from Michael’s books – both from a business operating side and of post-processing – and this is another one I will be regularly dipping in and out of for reference in the future.

Be warned the book can be very technical, mostly from a Lightroom perspective. The included DVD has a Lightroom and Photoshop primer but I suggest reading Michael’s Lightroom book (or another Lightroom teaching book) first. If you do and you find you’re as interested in the mechanics of post-processing a photo as much as making one, then this book is an additional purchase I’m sure you’ll treasure. The only other thing I would add is you sometimes have to jump back pages to read about other things on the same assignment/topic. Which can be touch frustrating but isn’t a big issue and doesn’t take away from what I’d still class is an excellent book.

Rating – 5/5 for Michael Clark ‘Exposed: Inside the Life and Images of a Pro Photographer’ - Available on Amazon

*Text excerpt and image from Exposed: Inside the Life and Images of a Pro Photographer by Michael Clark. Copyright  2012. Used with permission of Pearson Education, Inc. and New Riders.

 

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Lukasz Warzecha on location in the Cairngorms

Professional photographer, Lukasz Warzecha (pictured above), has announced a Spring / Summer Photography workshop in the Peak District, with top climber, Neil Gresham.

I went on Lukasz’s Winter Photography workshop in January 2012. We spent the weekend in the Cairngorms photographing Mark Diggins of the Sport Scotland Avalanche Information Service (SAIS) and Mountain Equipment Pro Partner, Andy Turner. We also got advice on how best to use off-camera flash in the outdoors.

I learnt a lot from the weekend. If you can make one of Lukasz’s workshops, I’d highly recommend it.

See all the info on Lukasz’s blog;

http://blog.lwimages.co.uk/workshops.

 

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Mountain Equipment Pro Partner, Andy Turner, sorts out the ropes after climbing a route on the Mess of Pottage buttress, Coire an t-Schneada, Cairngorms National Park, East Highlands of Scotland (Colin Henderson)

I was lucky enough to get a space on Lukasz Warzecha’s Winter Photography Workshop in Aviemore last weekend.

Lukasz Warzecha is a super-nice Polish “photographer turned visual artist” (a quote from his website, LW Images). I first read about Lukasz in Mountaineering Council of Scotland’s members’ magazine a few years back. Since then, he’s embraced the social side of digital and I’ve been able to follow Lukasz on Facebook and Twitter as he travels around the world taking highly engaging pictures of people climbing and mountaineering.

LW Images Winter Photography Workshop

Back in 2011, I was disappointed when Lukasz advertised an LW Images Autumn Photography Workshop with Dave Macleod in Wales. But only because it was too far for me to go with no spare money. I remember tweeting Lukasz at the time asking if he had any plans to do a Scotland one and he replied “Watch this space”. In January 2012, my waiting paid off when he advertised a Winter Photography Workshop in the Cairngorms focused on “creative image making, composition, different lighting scenarios and advice on how to maximise your camera and equipment to get the best possible picture”. Just what I wanted.

Lukasz’s promotional pull for his Winter Photography Workshop was Mountain Equipment Pro Partner, Andy Turner. Andy is one of Britain’s best winter climbers and has climbed extremely hard routes such as ‘The Secret’ (graded VIII/9) and ‘Sassenach’ (IX/9), both on Ben Nevis. (Of ‘The Secret’, US Alpinist magazine reported it “may be the most difficult onsight of a winter climb in UK history“). In January 2011, Andy also repeated Dave Macleod’s awesome-looking ‘The Hurting’ (XI,11) on the Fiacaill Buttress in Coire an t-Sneachda, in the Cairngorms National Park.

(Of most interest to me, Andy’s also climbed on Cerro Torre in Patagonia’s Los Glaciares National Park. He and his climbing partner reached Maestri’s famous Compressor belay stance on the headwall before retreating due to bad weather).

First up, Mark Diggins, SAIS

It was to Coire an t-Sneachda we were headed on the first day of Lukasz’s course. As a prelude to Andy Turner, Lukasz had persuaded Mark Diggins of SportScotland Avalanche Information Service (SAIS) to let us photograph him as he studied snow conditions for the daily report on the SAIS website. Mark, an internationally-respected mountain guide, is the co-ordinator for the SAIS and the lead ranger for the Northern Cairngorms. He wisely sent someone else to do the official forecast that day, which I’m sure he happily justified to himself as we soon attempted to distract him with who-knows-how-many number of shutter clicks and popping flashes, often just inches away from his head. I’d like to say a big thanks to Mark for his patience and his time; I found it all very interesting and informative.

Main event, Andy Turner Climbing

Saturday was ‘the big day’ and we headed back into Coire an t-Sneachda, this time with Lukasz, Andy Turner and his partner, Ruth Taylor. Ruth is a qualified Mountain Instructor and was responsible for our safety over the weekend. She did so admirably, this time getting us up to the foot of the Mess of Pottage buttress and clipped in to a safety rope so we could concentrate on taking photos. We then spent c.2-3 hours shooting Andy and his friend, Emma Warren, climbing – or more accurately waltzing – up a route on the buttress.

Mountain Equipment Pro Partner, Andy Turner,    hooks his ice axe as he climbs up frozen granite on the Mess of Pottage buttress, Coire an t-Schneada, Cairngorms National Park, East Highlands of Scotland (Colin Henderson)

(See more photos here).

On Saturday night, Lukasz (or Andy, or Ruth, not sure who) wangled us a visit to Glenmore Lodge bar for the BMC Winter Climbing Meet’s end of week party. We spent a few hours lurking on the outskirts of the party. I spotted Andy Cave, Alan Hinkes, Nick Bullock and – I think I recall being told – two members of the legendary Japanese Giri-Giri Boys.

How to use off camera-flash

On Sunday, Lukasz taught us about studio work and how to use off-camera flash. It’s the first time I’ve used ‘proper’ flash and I found the results very interesting. I’ve already made enquiries about booking a studio here in Edinburgh to take shots of friends and get in more practice. I can see a lot of scope for interesting outdoor portraits, not least close-up shots of overly-tired, muddy mountain bikers. Watch out those of you headed for the 2013 Strathpuffer!

Thanks to Lukasz and his friends for a great weekend;

Plus my fellow students – Dan, Tom, Andy and Rebecca.

Here’s to a Spring workshop.

I specialise in capturing people hill walking, hiking and backpacking in the Scottish Highlands & Islands. If you are interested in a photographic record of your day or weekend out, please contact me.

 

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Shafts of light on the Strontian River during a descent of Sgurr Dhomhnuill, a Corbett in the West Highlands, Scotland (Colin Henderson)

(Or, how to organise, edit, find and not lose your digital images)

Although I’m not a full-time photographer, I do get paid for my images. And I appreciate it’s best to learn from the pros.

Two months ago, I had c.6,500+ photographs in my hard drive. I had no idea which ones I liked best, when they were taken or whether they were worth keeping. More worryingly, I had no back up copies of any of them in case of a disaster. In short, my photo organisation was a mess.

Prompted by the purchase of a new computer and Adobe Lightroom 3, I downloaded a copy of Michael Clark’s ‘Adobe Photoshop Lightroom: A Professional Photographer’s Workflow’ (www.michaelclarkphoto.com), took time out to read it cover to cover and decided what worked best for me.

My photography workflow

  1. Download images to ‘Raw files’ folder on desktop
  2. Create new Lightroom catalogue (or use existing)
  3. Import photos with generic keywords (rendering 1:1 previews)
  4. Rate photos 1 or 2 (delete / happy to keep)
  5. Filter to view 1 star images and remove from Lightroom and hard drive
  6. Select all 2 star images and review again, marking any up to 3 star
  7. Downgrade any images if required and remove as above
  8. Batch rename the remaining images (the 3 star ones) and mark as a Red label (unprocessed) or Yellow label (unprocessed part of panorama)
  9. Choose which of the 3 star images I’m going to submit to stock agency and mark them up to 4 star
  10. Fully caption 4 star images and complete IPTC data
  11. Export to ‘Processed Images’ folder on desktop ready for stock submission via FTP
  12. Exit Lightroom, choose to back up catalogue and regularly remove older back ups (I save to my hard drive and to a portable)
  13. All files are backed up regularly by Apple’s Time Machine (though I do manually if I’ve made a lot of changes)

Ratings summary

  • 1 star – delete
  • 2 star – happy to keep for archive
  • 3 star – publish on website and share (e.g. blog, Twitter, Facebook, 500px)
  • 4 star – processed for stock agency
  • 5 star – keep aiming for!
  • Red label – unprocessed image
  • Yellow label – unprocessed panorama
  • Green label – processed and no model release required
  • Blue label – processed and model release required

As a result;

  • I’ve spent 2 months of evenings/weekends choosing and processing photographs (my wife thinks I’m nuts)
  • All my photographs and Lightroom catalogues are stored in two places – on my hard drive and a portable hard drive
  • I’ve cut images down from c.6,500 to c.5,200
  • All are rated 2, 3 or 4
  • All are named consistently with location and date
  • I can find any photo very easily

Which may not mean much but it makes me feel much more organised!

Credit - Michael J Clark – Adobe Photoshop Lightroom: A Professional Photographer’s Workflow.

Published with kind permission.

 

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