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Thursday, April 30, 2020

Photo By Christoph Stopka

Photo By Christoph Stopka

Today’s Photo Of The Day is “Fiery Sunset on Ridgeline” by Christoph Stopka. Location: Sangre de Cristo Mountains, Colorado.

“A massive snowstorm had been dumping on the Rockies all day long and the peaks were shrouded in thick, billowing clouds,” describes Stopka. “But for a brief moment, the towering clouds opened up a small window and exposed the craggy ridgeline in the fiery glow of the sunset. If you blinked, you’d missed it.”

See more of Christoph Stopka’s photography at www.christophstopka.com.

Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

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dancing bears

“The sun was setting on my first day in Katmai National Park when we set out for the shores of Hallo Bay to catch that golden-hour light,” photographer Sara Stein remembers. “We were staying on a small boat, so unlike the traveling seaplanes that frequent the area, we could stay until the sun had set.

“We rounded a small hill between the shore and the vast grasslands that the bears liked to frequent, and, to our joy, we were greeted with multiple sows and their cubs. Sitting in the long grass, I focused my lens on this pair, a couple of 2-year-olds, roughly playing while their mother chomped on the fresh grass, always keeping an eye on them.

“In a moment between tackles, the two cubs paused upright and looked as if they were dancing. I only had a few frames before one tackled the other to the ground and held him there until their mother called them both back to her side. This is the only photo where their paws were completely separated. Play fighting is great practice for the day when the growing bears may need to really show their claws. It was a magical afternoon, with a playful image to remember it by.”

Canon EOS 5D Mark IV, Canon EF 800mm f/5.6L IS USM. Exposure: 1/2000 sec., ƒ/5.6, ISO 1600.                                                                             

See more of Sara Stein’s work at sarasteinphoto.com.

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Wednesday, April 29, 2020

Photo By Rebecca Wilks

Photo By Rebecca Wilks

Today’s Photo Of The Day is “Focus” by Rebecca Wilks. Location: Death Valley National Park, California.

Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Much like making a photograph, where you control lighting, exposure, and composition, controlling the look and presentation of a print is an important step in the creative process. After all, the slightest shift in color or contrast can completely change the overall “feel” of a printed photograph. So why would you trust anyone but yourself with this task?

Though it can be difficult to give up a bit of creative control, high-quality photo labs will conduct extensive quality assurance checks. Photo courtesy of WhiteWall.

For this reason, many photographers continue to print their own photos at home or in the studio, which is totally fine, but this process also has its limitations in terms of maximum print size, print quantities and the inability to add unique finishes and substrates offered by professional photo labs.

Working with an online digital lab and trusting them to match your vision can create some anxiety at first, but it doesn’t have to be a stressful process. I have listed a few tips to help you identify the right online lab for you and how you can ensure that they do an exceptional job, even by your own standards.

Do You Need The Services Of A Professional Lab?

The first thing to determine is what “level” of service you need. If you are making standard 8×10 or 16×20 prints you may not need the services of a professional photo lab. On the other hand, if you want to make much larger prints from a select group of files, create a gallery show or produce prints for a client, a high-quality online lab can offer a variety of print sizes, papers and substrates including traditional matting and framing. If you plan to make large prints for display or looking for a unique finish such as prints mounted under acrylic glass or on metal, a professional online lab is something to seriously consider.

Large print sizes available from professional online photo labs transform your photos into bold statement pieces.

Image Resolution And File Types

Most online photo labs provide specific information and guidelines for image resolution and file types. Many labs, such as WhiteWall.com, publish a File Requirements and Resolution page which explains the maximum enlargement possible based on specific file sizes. Most labs will accept file sizes up to 1GB (per file), which is more than enough for most of us. In addition, most online labs will alert you when an enlargement you are requesting is too big for the image file size you provided before you place your order. In terms of file types, nearly all labs will accept common formats like JPEG or TIFF.

More is more. Since most labs will accept image file sizes up to 1GB each, create the largest file size you can, regardless of the desired print size. In the end, understand the limitations set by the file size. Many great photos worthy of print display have been created with a mobile phone. Just don’t expect to create a mural-sized print.

ICC Profiles And Paper Selection

Most photographers have experienced situations where image previews on their monitor do not exactly match the output from their printers. This may be caused by the monitor being too bright or not having the correct calibration or profile, or because of hardware limitations.

Precise color matching can be achieved by downloading ICC profiles provided by most online labs for viewing in Photoshop. In addition, different substrates such as acrylic glass and metal (discussed below) can affect the ICC profile. For example, the profile for a photo might be different for a traditional print versus the same print under acrylic glass. Most online labs take this into consideration.

A glossy acrylic print with a floater frame from WhiteWall. The natural wood finish of the frame enhances the “woodsy” character of the image.

Download ICC profiles directly from the lab you plan to use.  This way, you are guaranteed to have an exact match based on the specific paper products and substrates your lab offers. Labs such as Bay Photo, Miller’s Lab and WhiteWall all offer ICC Profiles for the papers they provide.

How Do You View Proofs If You Use An Online Lab?

If your computer monitor is properly calibrated, you can preview a “simulation” of the print results prior to ordering. This simulation is referred to as a “soft proof” in color management programs. A soft proof is understood as a colorimetric display of digital print data on a calibrated and/or profiled monitor. This procedure requires ICC display profiles (as described above), which describe the substrate to be printed in accordance with the material and color representation properties, and therefore allow a very accurate simulation on your monitor.

A soft proof not only allows a preview of the expected print results, but gives you an opportunity to make any color adjustments before placing your order. Soft proofing is typically done in Photoshop and most online labs provide step-by-step details about the process.

In addition, many online labs also offer “hard proofs,” or actual test samples of your order, if you prefer to physically see the results you can expect to receive when placing your final order.

Calibrate your computer screen so you can view “soft proofs” of your prints before you actually order them. If you prefer to see “hard proofs,” confirm that the lab you plan to use offers this service.

What Materials And Substrates Work Best?

If you’re a newcomer to the expanding world of online print options, it’s easy to be overwhelmed by the large selection of materials you can print your images on. Whether it’s acrylic glass, aluminum, wood or something entirely different, the question remains, “Which substrate complements an image to make it look its best?”

Bold color choices for frames can accentuate the colors in your photographs, as with this ultraHD print on aluminum with a “pop art” frame from WhiteWall.

Online labs provide a complete list of papers they offer, along with a description of each paper’s attributes and examples of subject types that are best suited for each (landscapes, portraits, high-contrast, B&W, etc.). Selecting the appropriate substrate takes a bit more care, especially when making a selection from your one-dimensional computer screen.

Metal Prints. There are a number of options available for printing on metal, including aluminium.  Using aluminum as your substrate will provide a high-end, contemporary look to your photos and work especially well with high contrast images because highlights are not printed, which allows the texture of the metal to be visible. Bay Photo creates exceptional metal prints for wall display and also offers “EXT Metal” prints for outdoor display. The prints are extremely durable and weather-resistant and a great option for decorating extended living areas such as outdoor patios and decks as well as bathrooms and kitchens where heat and humidity are prevalent.

Photos Under Acrylic Glass. Photos mounted under acrylic glass provide a real touch of elegance to your photos and create an added ‘brilliance’ to the final print and among. Although WhiteWall.com offers numerous substrates and printing services, Photos Under Acrylic Glass are this lab’s signature product. The material is durable and adds depth to your photos. The thicker the acrylic, the more intense the effect. Architecture, underwater photography, portraits, night photography and colorful images of nearly any subject look spectacular under acrylic glass. The photo print is sealed by hand under a 1/16”, 1/8” or 1/4” thick pane of high gloss acrylic glass using a long-lasting elastic silicone. The advantage is that the silicone will never harden completely and adjusts to changes in temperature to avoid any flaws or disfiguration, which is why the company guarantees it for 75 years for vibrancy and UV protection.

Tools, Templates And Promotional Services. There are several online photo labs around the world that offer an enormous selection of high-quality products and unique services as well as traditional matting and framing and canvas prints. Miller’s Lab, which began servicing wedding and portrait photographers in 1964, expanded to provide services to all photographers from amateur to professional. The variety of printing services, online templates and marketing and promotional products offers one of the largest selections in the industry. Prints, framing, books, albums and a wide selection of printed cards is what gives photographers great flexibility from a single source.

The bottom line for choosing print surfaces and substrates: Review the list of products each lab uses and the type of subject best suited for each. Most labs provide recommendations for the type of images that look best with each substrate such as acrylic or metal. Based on this information and the result you want to achieve, selecting the right surface and substrate combination can be relatively easy and a whole lot of fun.

An online photo lab’s team of technical pros can be valuable creative partners in bringing your photos to life. Photo courtesy of WhiteWall.

Relinquishing control of the print process can be difficult, but once you make that initial commitment and finally “let go,” you will feel a sense of liberation and even get excited about the next time you place an order. In the end, it’s all about exploring the creative opportunities available through online photo labs. Do some research, read reviews, look for interesting alternatives online labs offer and go with your gut. Most online labs have great customer satisfaction policies so you really won’t have anything to lose by giving it a shot.


Jan-Ole Schmidt is an avid photographer and a Product Manager at WhiteWall, a professional online photo lab.

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Tuesday, April 28, 2020

Photo Of The Day By Brad Bellisle

Photo By Brad Bellisle

Today’s Photo Of The Day is “Crashing” by Brad Bellisle. Location: Sturgeon Bay, Wisconsin.

Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Today’s Photo Of The Day is “Need a Bigger Boat…” by Douglas Croft. Location: Monterey Bay, California.

“This whale had breached numerous times, so I went below deck to shoot from a porthole close to the waterline to get the perspective of looking up at the whale,” explains Croft. “When he came up this time, I started firing and was quite annoyed that the boat had ruined the shots, but then I looked at the back of the camera and saw how cool it was. The tele-compression makes it look closer than it was, but the video shot by our captain from the flying bridge shows the breach was actually only 15 to 20 yards behind the boat.”

See more of Douglas Croft’s photography at www.douglascroftimages.com.

Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Congratulations to Jody Partin for winning the recent Colors Coming Through Assignment with the image, “Gros Ventre Sunrise.” See more of Partin’s photography at jody-partin.pixels.com.

View the winning image and a selection of submissions in the gallery below. And be sure to check out our current photography assignment here and enter your best shots!

[See image gallery at www.outdoorphotographer.com]

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Monday, April 27, 2020

Photo By Beth Young

Photo By Beth Young

Today’s Photo Of The Day is “Winter Twilight, Eureka Valley Sand Dunes” by Beth Young. Location: Death Valley National Park, California.

“One of the highest dune fields in North America, it’s hard to describe the otherworldly feeling of the Eureka Valley Sand Dunes in winter twilight,” says Young. “It’s a very lengthy and sometimes icy single dirt road track from Furnace Creek to this remote location, with barely a soul around once you arrive. I lamented not being here just a half-hour earlier—the contrast of the sunlight hitting the dunes was just gorgeous. By the time I hiked up, though, there was a pleasant after-sunset diffuse glow hitting the sand and a gorgeous purple cast to the sky contrasted with the snowcapped peaks of the Last Chance Range. This is a location I definitely have to return to and camp in the tiny primitive campground at its base.”

Canon EOS 5D Mark IV. Exposure: 15 sec., f/16, ISO 250.

See more of Beth Young’s photography at www.optimalfocusphotography.com.

Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Capture the decisive moment

In the eyes of many people, photography still isn’t an art form. They way they view it is any person can walk around with a black box in their hand and simply press a button when they see something “interesting.” When those people do admire a photograph, they attribute the capture to luck, stating that the photographer happened to be in the right place at the right time and simply went CLICK. But let’s examine the topic of this series of Tips of the Week: how to capture the decisive moment. If many people consider getting these kinds of photographs pure luck, how is it that some photographers are consistently more “lucky”?

Just ask French photojournalist Henri Cartier Bresson. His repeated success capturing the decisive moment of people in their surroundings at the apex of emotion and action propelled him to the forefront of photojournalism. He certainly had the uncanny ability to know exactly when to release the shutter to produce fantastic images time and time again. With regards to wildlife, why are some photographers’ images consistently more revered than others? Is it luck? Everybody, state this in unison, “NO WAY.” In continuing this series of how the decisive moment relates to wildlife, here are a few more ways to become one of the “luckier” ones. And if you missed part 1 and part 2, be sure to read them for more ideas. 

How does one learn to capture the decisive moment when making images of wildlife? First off, practice, practice practice. Yet within all of the practicing, there are specific techniques to work on:

Edit Before Pressing The Shutter

Capture the decisive moment

This is an expression you’ve read if you’ve been a long time follower of my Tips of the Week. Wait for peak action to press the shutter. Wait until the eyes say something expressive. Wait for emotion to be displayed by the animal. If the eyes are closed, if the emotion isn’t expressive or depicted at all, chances are the file will be deleted. In other words, if you don’t see all the ingredients fall into place, edit before pressing the shutter because chances are the file will end up being deleted.

The Background Is Equally As Important As The Subject

Capture the decisive moment

This is another expression you’ve read often if you follow my tips. If the background or even the foreground presents distractions, the viewer’s eye will be pulled from the subject. This isn’t something you want to happen. To create a pleasing background, use as wide an aperture and as long a lens as the situation allows, and by all means, edit before pressing the shutter if the subject is too close to the background as it’s impossible to throw it out of focus. Ideally, the subject should be far away from the background so it falls out of the depth of field range.

It’s All About The Light

Capture the decisive moment

You’ve likely seen me repeat this expression as well. The color and quality of the light at sunrise and sunset is gorgeous. Wake up early and stay out late. Additionally, bright overcast conditions work as the light isn’t contrasty and provides a wrap-around effect.  This occurs when a soft, thin layer of clouds obscure the sun and allow the sky to act as a giant diffused light source. Faces become evenly lit and the colors of the subject become more vivid than if the image was made at noon on a clear day. Compare photographs you’ve taken in this kind of light to those in bright sun. Look at the even tones of the diffused light photos and compare them to the hard and contrasty ones of intense sun. Bright overcast conditions work well in that it allows you to photograph animals throughout the entirety of the day.

Exhaust All Possibilities

Capture the decisive moment

My final commonly used expression. Rather than make a single shot and walk away feeling superior because you feel you nailed the image, become humble and make three more images. In other words, photograph every subject vertically, horizontally, up close and then show the animal in its environment. You now have four images of every animal you photograph. It’s better to choose which one you prefer when you get home rather than beat yourself up after the fact because you neglected to make one version and now realize it would have made a better photo.

Mastering the decisive moment is obtainable by all. It does require practice, but like anything else, the more you strive to capture it, the more natural it will become. Make it part of your photographic repertoire and you’ll wind up hanging many more photos on your walls.

Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.

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Sunday, April 26, 2020

Photo By Laura Schoenbauer

Photo By Laura Schoenbauer

Today’s Photo Of The Day is “Just a Lick!” by Laura Schoenbauer. Location: Bloomington, Minnesota.

Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Saturday, April 25, 2020

Photo By Thomas Hartzell

Photo By Thomas Hartzell

Today’s Photo Of The Day is “The Raven” by Thomas Hartzell. Location: Yellowstone National Park, Montana.

“On a wolf educational trip, I took some time to photo animals a little closer,” explains Hartzell. “The raven provided a good subject.”

Nikon D850, 200-500mm f/5.6 lens.

Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Friday, April 24, 2020

Photo By Jody Partin

Photo By Jody Partin

Today’s Photo Of The Day is “Dynamic Duo” by Jody Partin. Location: Virginia Beach.

Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

The post Photo Of The Day By Jody Partin appeared first on Outdoor Photographer.



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Thursday, April 23, 2020

Photo By Bob Faucher

Photo By Bob Faucher

Today’s Photo Of The Day is “Ancient Survivors” by Bob Faucher. Location: Arctic National Wildlife Rescue, Alaska.

“Constant winds coming off the slopes of the Brooks Range in Alaska buffet a musk ox pair near the Smith Mountains in the Arctic National Wildlife Reserve,” explains Faucher. “To include the landscape and yet not have it be a distraction from the primary subject, I waited for this dominant pair to separate from their herd, which was grazing along the near side of the gully just behind where the back and hump of the male is now obstructing the view. I wanted to have the musk oxen fill the foreground and the landscape recede into the background. To accomplish this, I made a shot with a medium length lens to capture the background and a second shot with a long telephoto of the muskoxen. The two images were composited in Photoshop. In addition, I converted the image to black and white because musk oxen aren’t particularly colorful, but the landscape is and it tends to compete for attention in a color rendition.”

Canon EOS 5D II, Canon EF 200-400mm @ 400mm, Gitzo tripod, RRS BH-55. 1/25 sec., f/16, ISO 400.

Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Wednesday, April 22, 2020

Photo By Charlotte Couchman

Photo By Charlotte Couchman

Today’s Photo Of The Day is “Elk Cow in RMNP” by Charlotte Couchman. Location: Rocky Mountain National Park, Colorado.

Couchman describes the image as an “elk cow chewing grass, backlit by the afternoon sun.”

Olympus 75-300mm lens. Exposure: 1/640 sec., f/4.8, ISO 200.

Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Epson today announced two new desktop photo printers, the SureColor P700 and P900. Though aimed primarily at serious photo hobbyists, the new printers are sophisticated enough to be an option for pros as well.

Image of Epson SureColor P900

The Epson SureColor P900 (pictured) can print on media up to 17 inches wide. The Epson SureColor P700 has most of the same features, but a smaller maximum print size of up to 13 inches wide.

The key difference between the two models is their maximum print sizes. The SureColor P700 can make prints up to 13 inches wide, and the SureColor P900 increases that to up to 17 inches wide. These models replace the SureColor P600 and P800, released in 2015. Both can accommodate cut-sheet and roll papers.

One of the key upgrades of these models is a 10-channel printhead that includes dedicated channels for Photo (glossy) and Matte Black inks. Previously, switching between Photo Black and Matte Black required physically swapping the cartridges, a process that was somewhat time consuming and wasted ink. That chore is a thing of the past with the SureColor P700 and SureColor P900.

The Epson 10-color UltraChrome PRO10 used in both the P700 and P900 is a pigment-based inkset with a new Violet ink for finer color reproduction.

The new Epson 10-color UltraChrome PRO10 pigment inkset adds a Violet ink, and though testing is still ongoing, Epson expects that the longevity ratings will be similar to that of its UltraChrome PRO12 inks used in large-format professional printers, “Up to 200 years for color prints and up to 400 years for B&W prints,” according to the press release (below).

Another improvement of the P700 and P900 compared to their predecessors is a 30-percent reduction in the size of the printers, a nice benefit if you have limited space in your home studio or office. The new models will be available in May, with the SureColor P700 priced at $799 and the SureColor P900 at $1,295.

The SureColor P700 and P900 feature an elegant industrial design that’s 30 percent smaller than the models they replace.

For more details of the SureColor P700 and SureColor P900, see the press release below.

###

Epson Reinforces Commitment to Changing Needs of Creative Professionals with New Photography Desktop Printers

13-inch SureColor P700 and 17-inch SureColor P900 Incorporate Breakthrough Advancements from Large Format Printers to Produce the Highest Quality Prints for the Desktop

LONG BEACH, Calif. – April 21, 2020 – Epson, an industry leader in the photography market, today announced a breakthrough in professional printing technology with the introduction of the 13-inch SureColor® P700 and 17-inch SureColor P900 desktop photo printers. Replacing the award-winning SureColor P600 and SureColor P800, these new printers draw from over 20 years of experience to incorporate the same large format printing technology used by the world’s leading photographers into a sleek, compact design, allowing for the creation of exhibition quality prints from the convenience of the desktop.

“Fifteen years ago, Epson stunned the industry with the Stylus Pro 3800 that provided unprecedented creative control for photographers, allowing them to print up to 17-inches wide without a darkroom,” said Reed Hecht, senior product manager, Professional Imaging, Epson America. “With the introduction of the SureColor P700 and SureColor P900, a new generation of photographers will experience another breakthrough in printing technology – truly redefining not only the photographic print but also the printing workflow.”

The new SureColor P700 and SureColor P900 are the smallest professional 13 and 17-inch printers in their class, with a 30 percent size reduction from Epson’s previous generation printers, and are designed for use in photography, graphic design, fine art, and illustration. The printers tout a new 10-channel MicroPiezo® AMCTM printhead to increase productivity, with dedicated channels for both Photo and Matte Black ink types – no ink switching necessary.

Featuring new UltraChrome® PRO10 pigment ink* with Violet, the SureColor P700 and SureColor P900 deliver an extremely wide color gamut and support Advanced Black and White Mode to create unparalleled, professional black and white photographs.

According to Henry Wilhelm, director of research at Wilhelm Imaging Research, the world’s leading independent print permanence testing laboratory, Epson’s new printers and inks are currently undergoing comprehensive ten-factor testing with a range of papers and canvas, with both color prints and B&W prints made using Epson’s Advanced Black and White Mode. “Preliminary data for the Epson 10-color UltraChrome PRO10 pigment inks in the new SureColor P700 and SureColor P900 create stunning museum quality prints with WIR Display Permanence ratings that we believe will equal the ratings achieved by the current UltraChrome PRO12 inks of up to 200 years for color prints and up to 400 years for B&W prints.1 Prints framed with UV-absorbing acrylic – and those displayed under LED illumination – will achieve significantly higher ratings.”

For the first time, users can easily print directly from iOS® devices2 to the SureColor P700 and SureColor P900 in a color managed workflow. Using an updated mobile version of Epson Print Layout software, full support and color management tools are provided for iPhone and iPad printing. These printers also feature a new print driver mode – Carbon Black – which dramatically increases Dmax by up to 11 percent, for best-in-class black density and reduced bronzing and gloss differential on glossy papers.

The SureColor P700 can accommodate both roll and cut sheet media, and the SureColor P900 accommodates cut sheet media and an optional fully enclosed roll media adapter supports both 2-inch and 3-inch rolls and roll printing up to 10 feet long. Additional features include a 4.3-inch customizable touchscreen, upgraded wireless connectivity including 5GHz and an interior LED light to watch the progress of a print.

More About the SureColor P700 and SureColor P900 Desktop Photo Printers

Designed to help photographers reproduce every detail of their creative vision, the new SureColor P700 and SureColor P900 incorporate a range of features to produce exhibition quality prints from the convenience of a desktop:

  • Outstanding image quality and color — All-new UltraChrome PRO10 Ink with Violet produces a wide color gamut for vibrant and rich colors
  • No Photo and Matte Black ink switching — Dedicated channels for both black ink types – no switching needed
  • New 10-channel MicroPiezo AMC printhead — Consistently delivers prints with outstanding speed, consistency and accuracy; supports variable size droplet technology as small as 1.5-picoliters for remarkable output quality
  • Easy printing from smart devices — Print color-managed files directly from an iOS device2 with an easy-to-use interface
  • New Carbon Black Driver technology — All-new Carbon Black Driver mode dramatically increases Dmax for best-in-class black density on glossy papers
  • Professional media handling — Accommodates rolls3 and sheet media up to 1.5 mm thick of Epson Professional, Signature Worthy® and Legacy papers as well as third-party media
  • Easy to use — Features 4.3-inch customizable touchscreen, wireless connectivity and interior LED light
  • Compact design — 30 percent smaller than the previous generation
  • Industry-leading print permanence — UltraChrome PRO10 ink is expected to create prints that last up to 200 years for color and 400 years for black-and-white1

Pricing, Support and Availability

The SureColor P700 ($799 MSRP) and SureColor P900 ($1,295 MSRP) will be available through Epson Authorized Resellers starting in May. The printers offer a standard Epson PreferredSM Limited Warranty, a one-year program that includes toll-free advanced telephone access Monday through Friday and usually next business-day on-site service in the unlikely event of any hardware failure. For additional information, visit www.proimaging.epson.com.

 

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Tuesday, April 21, 2020

Photo By Sundar Amartur

Photo By Sundar Amartur

Today’s Photo Of The Day is “Indian Heron” by Sundar Amartur. Location: Bangalore, India.

Amartur describes the image as a “bird in hunting mode with Intense concentration.”

Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Monday, April 20, 2020

Photo By Susan Winfree

Photo By Susan Winfree

Today’s Photo Of The Day is “Bobcat Blessed” by Susan Winfree. Location: Livermore, California.

“A close encounter with a bobcat as it was leaving a gully in the Livermore Open Space area,” explains Winfree. “It was my first day out with the new Canon 80D and 70-200mm lens. I went for a hike and saw this little darling. I kept as much distance as possible above it until it started coming out of the gully. I was low to the ground and as still as possible as not to frighten it and had to lean back slowly to get focus and take a shot as soon as there was eye contact. Then it turned away and kept on going.”

Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Capture The Decisive Moment In Your Images, Part 2

What’s it about pictures of wildlife that so strongly separates the great ones from those that never get looked at a second time? What differentiates a cherished image from one you shun so emphatically? There are a number of factors, but one of the most critical characteristics is the decisive moment.

The decisive moment can be defined as an instant in time in which all elements of an image work harmoniously. The eyes, head position and facial expression are priceless, the lighting complements the subject and the background and foreground are in accord with the rest of the picture. So, how does one learn to capture the decisive moment? First off, practice, practice practice. Yet within all of the practicing, there are specific techniques on which to work.

Expect the Unexpected

To capture the decisive moment, a good rule of thumb is to always expect the unexpected. Even within the most mundane situations, there’s the potential to capture a precious sliver of time. The evening walk your subject takes within its environment, watching momma nurse her young and patiently waiting for the cubs to wake from a nap are all routine circumstances that can morph into fabulous images. When both you and your camera are ready, capturing the unexpected comes more easily, especially when you’re persistent.

Capture The Decisive Moment In Your Images, Part 2

Anticipate the Action

A second essential factor that determines whether or not you capture the decisive moment is to develop quick reflexes. As every serious wildlife photographer knows, precious animal instances are fleeting. When they occur, if your shutter finger isn’t engaged and you’re not ready to press, you’ll miss preserving them. Learn how to anticipate peak action.

Practice these strategies without your camera as you stroll through your neighborhood and watch a bird take wing, a rabbit dart across a field, a squirrel jump onto the trunk of a tree, etc. Pretend you have your camera and press the imaginary shutter at the opportune moment. Familiarity with your subject should be high so you increase the chance of obtaining an image that displays peak emotion, action or impact. As you practice without your camera, begin to take your DSLR on your walks and practice for real to test your reflexes and see if you capture a great result.

Capture The Decisive Moment In Your Images, Part 2

Practice on People and Pets

Another good way to practice is to photograph people you know, especially kids at play, to nail the decisive moment. As you become proficient capturing photos of friends and family, head to a playground, dog run or other location where lots of action takes place and practice on people/animals you don’t know. This presents a step up in your challenge and hopefully brings your ability to the next level. Have business cards in hand in case anyone is suspicious about your actions. It’s a shame we live in times where this needs to be done, but it’s better to be safe than sorry. Don’t be hesitant to verbally share what you’re doing. Offer to photograph the parents playing with the kids and email them some of the files. It may even lead to a money-making opportunity.

Capture The Decisive Moment In Your Images, Part 2

Break the ice by initiating a conversation with your potential subjects. Topics that work well are family, pets, hobbies, job, vacation and sports. While you make photos of the people, talk about the topics. Try to capture a look of surprise, love, contentment or other emotion the same way you’d try to do that with a wildlife subject. Make your subject feel comfortable. It heightens the chance of extracting a decisive moment. Stiffness and anxiety are not conducive sentiments you want to be expressed by the folks on whom you practice.

When kids are the practice subjects, the opportunity to capture a decisive moment becomes easier. Let kids be kids. Turn them loose where fun is inevitable and simply wait using the above strategies. This is where the practice of learning how to anticipate the action and expecting the unexpected benefits. Within a few minutes, the kids will become enveloped in what they’re doing and be oblivious to your presence. This is often the case with the wildlife you photograph, so the similarities are high. Watch for merriment through the viewfinder and try to relive your childhood through their actions while you gain practice for when you go into the field.

Capture The Decisive Moment In Your Images, Part 2

Mastering the decisive moment is obtainable by all. It does require practice, but like anything else, the more you strive to capture it, the more natural it will become. Make it part of your photographic repertoire. Review last week’s tip to absorb all the info I shared. Be sure to read next week’s tip to catch the final installment. Do so and you’ll wind up hanging many more photos on your walls.

Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.

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Sunday, April 19, 2020

Photo By Gary Meyers

Photo By Gary Meyers

Today’s Photo Of The Day is “Flight Through Paradise” Gary Meyers. Location: Breaux Bridge, Louisiana

“A great egret flying through the misty swamp of Lake Martin in Southern Louisiana,” describes Meyers.

Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Saturday, April 18, 2020

Photo By foxfan

Photo By foxfan

Today’s Photo Of The Day is “The Pounce” by foxfan. Location: San Juan Island, Washington.

“Fox kits chase each other during the fading light of dusk on San Juan Island,” describes foxfan.

Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Friday, April 17, 2020

Photo By Kris Walkowski

Photo By Kris Walkowski

Today’s Photo Of The Day is “Glorious Morning” by Kris Walkowski. Location: Redwood Del Norte National and State Park, California.

Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Congratulations to Jason Stewart for winning the Telephoto Techniques Assignment with the image, “Can We Be Friends?” See more of Jason Stewart’s photography at www.jasonstewartphotography.net.

View the winning image and a selection of submissions in the gallery below. And be sure to check out our current photography assignment here and enter your best shots!

[See image gallery at www.outdoorphotographer.com]

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This week, Sigma announced it was introducing a new charitable initiative, in partnership with authorized Sigma lens dealers nationwide. The camera and lens company said that from now until June 30, 2020, 5 percent of all Sigma lens sales made through participating dealers will be donated to charitable organizations working on COVID-19 relief efforts.

“This contribution is meant to help ease the many and various burdens felt by those affected by the coronavirus across the country,” says Mark Amir-Hamzeh, President Sigma Corporation of America. “To that end, Sigma will donate, through our dealers, a portion of product sales to much deserving charities around the country.”

For more information, see the press release below.

###

Sigma Gives Back with New Dealer Program

Now through June 30, 2020, 5% of all Sigma lens sales through authorized dealers will be donated to charitable organizations working on COVID-19 relief efforts 

Ronkonkoma, NY – April 15, 2020 – Sigma Corporation of America, a leading camera, photography lens, cine lens, flash and accessories manufacturer, today announced that it is launching a charitable initiative in partnership with authorized Sigma lens dealers nationwide. From now until June 30, 2020, 5% of all Sigma lens sales made through participating dealers will be donated to a charitable organization of the dealers’ choice. Donations will be made to organizations working on COVID-19 relief efforts to help ease the devastation many communities are feeling as a result of the global crisis.

“Photography is a creative outlet that helps us all feel connected through the most troubling of times, promoting awareness, compassion and empathy. These qualities are at the heart of who we are as human beings,” says Mark Amir-Hamzeh, President Sigma Corporation of America. “This contribution is meant to help ease the many and various burdens felt by those affected by

the coronavirus across the country. To that end, Sigma will donate, through our dealers, a portion of product sales to much deserving charities around the country.” 

Participating Dealers and Benefiting Charities Include:

  • Allen’s Camera – ERA Food Pantry
  • Art’s Camera – Waukesha Food Pantry
  • ASAP Photo & Camera – Foodbank of Central & Eastern North Carolina
  • Bedford Camera and Video – Our Neighborhood Empowered, Inc.
  • Camera Mall – Senior Solutions
  • The Camera Shop of Muskegon – Kids Food Basket of Muskegon
  • Glazers – Seattle Foundation
  • Hunt’s Photo & Video – Meals on Wheels
  • Kenmore Camera – North Helpline
  • Midwest Photo – Warm Westerville Area Ministry
  • Precision Camera – Health Alliance for Austin Musicians
  • PROCAM Photo & Video Gear – The Hope Clinic
  • Rockbrook Camera – Foodbank for the Heartland

For the most up to date information on participating dealers and benefiting charities, please visit: https://www.sigmaphoto.com/focused-on-the-fight

About Sigma Corporation

Craftsmanship. Precision. Dedication. Since 1961, Sigma has been devoted to the pursuit of advancing photographic technology. Unique to the industry, the family-owned business produces its high-quality, award-winning still photo and cinema camera lenses, DSLR and mirrorless cameras, flashes, filters and accessories from its state-of-the-art manufacturing facility located in Aizu, Japan.

In 2012, the company introduced the Sigma Global Vision with three distinct lens lines: Art, Contemporary and Sports. Designed for industry camera mount systems including Canon, Leica, Nikon, Olympus, Panasonic, Sony and Sigma, each lens is handcrafted and tested in Japan to ensure a high-performance, premium product that is purpose-built to last. In 2016, the Sigma Cine lens lineup was launched, further cementing Sigma as an innovator in imaging engineering. Embodying the core optical DNA that has defined the Sigma benchmark of excellence, Sigma cine lenses meet the needs of advanced 6k and 8k cinema production.

Forming the landmark L-Mount alliance alongside Leica and Panasonic in 2018, Sigma continues its storied tradition of imaging excellence through groundbreaking innovations such as the all-new native L-mount Sigma fp full-frame mirrorless digital camera, announced in July 2019. The introduction of the fp along with the availability of 15 award-winning Sigma Global Vision lenses in native L-Mount format demonstrates Sigma’s continued commitment to the creative community through expanded product offerings. With the fp and these lenses, even more shooters can now leverage Sigma’s renowned optical formula to achieve their creative vision with ease.

For information about Sigma, please visit www.sigmaphoto.com or follow the company on Sigma Blog, Twitter, Instagram and Facebook.

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Thursday, April 16, 2020

Photo By Jeff Davidson

Photo By Jeff Davidson

Today’s Photo Of The Day is “Buckeye” by Jeff Davidson.

“This buckeye butterfly makes me think of a Monet painting with the delicate color, soft feeling and general beauty of nature’s bounty,” says Davidson. “The wingspan is 2 1/8 to 2 1/2 inches. They’re found throughout most of the United States south to the tropics. They’re rare in the north except along the Atlantic coast. Flight is from midsummer to fall. They fly swiftly if disturbed.”

Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Springtime brings millions of alewives to the state of Maine on their annual spawning run from the Atlantic Ocean. Using both large rivers and small streams, they make their way inland to lakes and backwaters of streams, where they deposit and fertilize their eggs. It’s a perfect opportunity for photographing osprey fishing and in-flight.

Photographing osprey in flight and fishing

With water droplets exploding, the osprey emerges from the stream with a nice catch. Canon EOS-1D X Mark II, Canon EF 800mm f/5.6L IS USM and Canon Extender EF 1.4x III. Exposure: 1/3200 sec., ƒ/8, ISO 10000.

The Alewife is a species of herring that is 10 to 14 inches in length and weighs up to 1 pound. While not as well-known as the salmon runs of the Northwest Pacific coasts of the United States and Canada, the alewife migration is one of nature’s great happenings. Like salmon, alewives are an anadromous species that migrate into freshwater from the sea to spawn. However, unlike salmon, they do not usually die but instead return to the sea—providing they can successfully run the gauntlet and avoid being caught by human or wildlife predators.

Several species utilize the annual alewife run as a source of food to aid in raising their young, including the osprey, bald eagle, cormorant, gulls, mink and raccoon. Smoked alewife is considered a New England delicacy.

Conservation efforts have been critical to maintaining and expanding the alewife fishery. Native Americans fished for alewives for millennia, and European settlers also exploited this resource. In more recent times, overfishing, dam construction and pollution have decimated the alewife population. Nineteenth-century logging and dam building for industrialization along the rivers destroyed the environment for many wildlife species. As a result, many New England Rivers have no alewives today.

Fortunately, ongoing conservation efforts to restore the environment have led to a resurgence of the alewife population in some streams. Pollution cleanup, restoration and building of fish ladders and removal of dams have provided an environment conducive to the health of the alewife fishery.

Photographing Osprey Fishing The Alewife Migration

As a photographer, my primary interest is photographing osprey, which I deem to be the stars of the alewife migration with their dramatic dives to catch the alewives. Watching an osprey hit the water at over 60 miles per hour and then emerge with a fish is one of nature’s spectacular events. The 6-foot wingspan of the osprey enables it to begin flight with powerful strokes as it emerges from the water after being totally submerged. Sometimes they will emerge with two or even three fish clamped in their sharp talons, though the struggles of the fish, coupled with their weight, will usually result in the osprey flying off with only a single fish for all of its efforts.

The osprey performs a “wet dog” shake to shed water to ensure smooth and efficient flight. Canon EOS-1D X Mark II, Canon EF 200-400mm f/4L IS USM Extender 1.4x at 560mm. Exposure: 1/2500, ƒ/6.3, ISO 6400.

From a photographer’s perspective, the osprey exiting the stream amid a spray of water droplets with its catch is a wonderful action shot to be had. As it begins its climb, several shot opportunities are present, and one of my favorites is the “wet dog” shake when the osprey twists vigorously to rid itself of water from its feathers for smoother flight.

Ospreys are successful on most of their dives based on my experience. However, they are not home free once they capture their prey, as they have two thieving competitors: gulls and bald eagles.

A herring gull is similar in size to an osprey and is very aggressive. While it can catch fish itself, it will attack an osprey when it is still in the water and vulnerable to rob it of its catch. The bald eagle has a different strategy. It waits until the osprey has gained some altitude before it attacks. The eagle will fly up under the osprey, forcing it higher and higher until the osprey tires and drops the fish, which the eagle will then snag in mid-air. Sometimes another eagle will join the fun and attempt stealing the fish from the eagle that just stole it.

The osprey leaves without its fish after being attacked by a herring gull. Canon EOS-1D X Mark II, Canon EF 800mm f/5.6L IS USM. Exposure: 1/2500 sec., ƒ5.6, ISO 640.

Tips For Capturing The Scene

Here are some tips for photographing osprey to capture shots like those shown in this article.

Timing

The fish are typically most numerous with the incoming tide; check the tide table for the stream that you are near. You may be several miles inland, so plan for the additional time it takes for the tide to move upstream.

Finding Your Spot

Seek out a position on the river with good over-the-shoulder lighting. Also, being at the water’s edge or nearby to get a low shooting angle is beneficial. Be aware of the background to avoid distracting elements like bridges, buildings, houses and especially other photographers.

Patience & Persistence

As with any wildlife shoot, be patient since unpredictability is part of the challenge. Sometimes there are osprey but no fish running, or no osprey but fish are running, or neither osprey nor fish present. Then there is that time when everything comes together, like the day I counted 17 osprey in the air hovering and circling as they scanned the water for fish. It was an excess of riches because for a successful shot you need to watch one osprey and focus on it as it begins it dive and then follow it to the water. With so many ospreys present, it was inevitable that some great shot opportunities would be missed.

An osprey shows off its nice catch as it flies overhead on its departure from the river. Canon EOS-1D X Mark II, Canon EF 800mm f/5.6L IS USM. Exposure: 1/3200 sec., ƒ/5.6, ISO 320.

Bring A Fast Camera—Or Three

I used to be amused when I would see a professional photographer carrying multiple cameras. Well, I am no longer laughing, as the right tools are needed for the job. I prefer high-frame-rate (10 fps or more) cameras that will yield more wing positions in a sequence. This gives you a better chance to obtain the ideal shot, as some wing positions are more pleasing to the eye.

I can be found in the field photographing ospreys fishing with a big telephoto lens on a tripod, a telephoto zoom lens on a diagonal strap and wide-angle zoom around my neck. Thus, I can cover range of 24mm to 1120mm. I never know what circumstances may occur with the intended subjects or if an unexpected animal may make an appearance. While I may be looking for wildlife, a great landscape shot might present itself, too.

I use three camera bodies, as I have learned to avoid changing lenses in the field. The time involved to change a lens could result in a missed shot. This approach also helps avoid the possibility of getting dust or moisture on the camera’s focal plane sensor.

Dial In Your Exposure First

When setting up, I take test shots and check the histogram to make sure there is no clipping of the lights or darks. To ensure that the bird’s head is not overexposed, I zoom in on my camera’s LCD to check for head detail. In changing light conditions, judgment is often necessary to make on-the-fly adjustment of settings. Depending on conditions, I have employed exposure compensation values from minus 2 to plus 2 stops. While some “fixing” can be possible later with processing, don’t count on it. Get it right in the camera.

This osprey is off with a “twofer” after striking a dense group of alewives on their spawning run. Canon EOS-1D X Mark II, Canon EF 200-400mm f/4L IS USM Extender 1.4x at 560mm. Exposure: 1/2500, ƒ/5.6, ISO 10000.

Composition & Camera Settings

When choosing the lens length, be sure to leave space around “bird in flight” situations as it is better to crop some later than clip the bird’s wing. My rule of thumb is that the sitting bird should only take up one-third to one-quarter of the frame height in the viewfinder. This may seem like too much room, and perhaps it is if you desire only a sitting portrait, but I have found an osprey launching for prey can fill up the empty area pretty quickly.

The osprey might be diving 100 yards distant or as close as only 20 yards away. Their dives will be from the sky or a tree perch along the river. I listen for their chirping to locate them as they will often vocalize before they dive. Given that their diving speed is up to 60 mph and the background along the river is cluttered with trees, I find it helpful to use back button focus to lock on to the bird before it dives. I typically shoot in shutter priority with a shutter speed of at least 1/2500 sec. to “stop” the action. Also, I use Auto ISO to compensate for the changing light conditions from the sky. Depending on the scene’s brightness, a negative exposure compensation of -1 stop is typically warranted to avoid over-exposing the osprey’s white head and feathers.

While I have invested in top-of-the-line camera equipment, I have seen excellent shots taken with a range of cameras and lenses from 100mm to 400mm. A 150-600mm telephoto zoom is a popular lens that I often see in the field. So, don’t think that only the “pros” or those with super-telephoto primes can be successful photographing ospreys fishing.

A close-up view as the osprey flies by with the alewife, which is always oriented head-first. Canon EOS-1D X Mark II, Canon EF 800mm f/5.6L IS USM. Exposure: 1/3200 sec., ƒ/5.6, ISO 2000.

Planning Your Trip To Maine

If you would like to try your hand at photographing osprey, some planning is required. The alewife run is in the May and June timeframe, but the exact timing varies from year to year. A web search will yield status reports to aid your planning.

One of my favorite places to visit is the Damariscotta Mills Fish Ladder. Two other popular shooting places are on the Saint George River in Warren, Maine, at Payson Park; and downtown, east of the bridge on Main Street. Also, I have had good luck just driving around and looking for ospreys in the air. I have found them on small streams and narrow inlets in addition to the major rivers. It’s a great adventure, and I wish you good shooting if you decide to go. 


See more of Howard Arndt’s work at howardarndtphoto.com.

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