Peter Eastway writes an almost weekly newsletter from his Better Photography website (www.betterphotography.com). These are some of the more recent posts.

Do Patterns Need A Break?

March 05, 2017  •  1 Comment

Vineyard NZVineyard NZDo Patterns Need A Break?

Vineyard east of Middlehurst, North Island, New Zealand.
80mm lens on Phase One XF 100MP, 1/3200 second @ f3.2, ISO 200

Join Tony Hewiit and Peter Eastway on Middlehurst this June for an art photography workshop - details on website.
The human mind loves patterns and repetition. And when we talk about composition, pattern and repetition are key elements in this sometimes vague and mysterious art. However, there are a couple of things that I look for when composing pattern shots.

The first thing I try to do with a pattern shot is to fill the frame. By filling the frame, the viewer is lead to believe the pattern goes on forever - it is limitless. If the above photo of vineyards included the surrounding edges of the vineyard, it would create a completely different image.

The second thing I look for is variation. After filling the frame, there needs to be some point of interest for the eye to land on. In the image above, there's the secondary colour pattern of reds and blues, but this is quite subtle. More obvious is the roadway that cuts through the image. It is a centre of interest, a dynamic line, a break in proceedings.

So, which do you prefer? There's no right or wrong, just a preference - but at least it can be a creative decision.
Check out our Middlehurst video, https://www.youtube.com/watch?v=sxunKjKpiVo&feature=youtu.be.
Check out the book we created on the last Middlehurst workshop.
It's a 16MB download file you view in Adobe Reader or Acrobat (PDF eBook). http://www.betterphotography.com/images/stories/Blog2017/Middlehurst144.pdf

READ MORE: http://www.betterphotography.com/peter-eastways-blogs-sp-19033/peter-eastways-blog/1192-do-patterns-need-a-break

 

Vineyard east of Middlehurst, North Island, New Zealand.
80mm lens on Phase One XF 100MP, 1/3200 second @ f3.2, ISO 200
Join Tony Hewiit and Peter Eastway on Middlehurst this June for an art photography workshop - details on website.

 

The human mind loves patterns and repetition. And when we talk about composition, pattern and repetition are key elements in this sometimes vague and mysterious art. However, there are a couple of things that I look for when composing pattern shots.

The first thing I try to do with a pattern shot is to fill the frame. By filling the frame, the viewer is lead to believe the pattern goes on forever - it is limitless. If the above photo of vineyards included the surrounding edges of the vineyard, it would create a completely different image.

The second thing I look for is variation. After filling the frame, there needs to be some point of interest for the eye to land on. In the image above, there's the secondary colour pattern of reds and blues, but this is quite subtle. More obvious is the roadway that cuts through the image. It is a centre of interest, a dynamic line, a break in proceedings.

So, which do you prefer? There's no right or wrong, just a preference - but at least it can be a creative decision.

 

Check out our Middlehurst video, created by Animoto.

 

Check out the book we created on the last Middlehurst workshop.
It's a 16MB download file you view in Adobe Reader or Acrobat (PDF eBook).

READ MORE: DO PATTERNS NEED A BREAK?


Why ISO 400? - After The Fires

March 02, 2017  •  Leave a Comment

Arnhemland LeafArnhemland LeafDavidsons, Arnhemland, Northern Territory, Australia

Scorched leaf detail, Arnhemland.
Canon EOS 5DSR, 100mm macro lens, 1/160 second @ f4, ISO 400, tripod.
Click the YouTube link below to see a mini-slide show.

In many parts of Australia, fire is part of the seasonal ebb and flow. Flying into Arnhemland last year, we could see lots of spot fires all around. My understanding is some are lit by lightning stikes, others are intentionally lit for land management. Whatever the reasons, they add an accent to the landscape.

What struck me most about the aftermath was the colour. Rich orange and red browns dominated small sections of the bush and so the challenge was to create an interesting composition. However, as you will see from the location shot (you'll see it on the website), it was a very busy area with strong overhead light. It was challenging!

My solution was to get in close using a macro lens. I also looked for areas where the leaves were backlit by the sun, but the background was in the shadow of a hill or outcrop, thus making a dark background against which the leaf would stand out.

For macro work, I like to work on a tripod so I can precisely control my focus. The closer you focus, the less the depth-of-field, the less of your image will be in tack sharp focus. However, I didn't want the entire leaf to be sharp, just a section of it.

So with the camera nice and steady on a tripod, what's the problem? There was a very slight breeze. It really was hardly a hint of moving air, but it was enough to move the leaves ever so slightly. To maintain my aperture, I needed to choose a higher ISO setting (400 in this case) to keep my shutter speeds fast enough to arrest any movement.

In post production...

 

READ MORE: WHY ISO 400? - AFTER THE FIRES


Natural Highways

February 26, 2017  •  Leave a Comment

Arnhemland Aerial 1870Arnhemland Aerial 1870Davidsons, Arnhemland, Northern Territory, Australia

Tidal stream, Arnhemland.
Canon EOS 5DSR with 35mm lens, 1/6400 second @ f3.2, ISO 800.
A few places are still available for my July 2017 Arnhemland workshop.

 

It's interesting what 'the judges' pick as being successful photographs. At the recent WPPI Awards held in Las Vegas, this print was lucky enough to earn a Gold Award, while three others from the same shoot and area earned Silvers or a Silver with Distinction. What makes this image better than the others?

You can see the other images by clicking through to the website, but I am going to suggest that I really don't know! I can't know, because I'm the author. I have so much baggage attached to these images that it is hard to be objective - and I don't want to be objective.

Unlike the other images, this photograph has very distinct lines breaking up the frame. Looking like a dirt road, they are tidal watercourses in Arnhemland photographed from a helicopter while on my photo workshop last year. The other images are more random in their design and not as compositionally obvious, and sometimes I think that the photographs that are elevated to Gold status are helped by being a little more straightforward.

 

READ MORE: NATURAL HIGHWAYS


A Flock With A Difference

October 05, 2016  •  1 Comment

A Flock With A Difference 

Moving sheep, Middlehurst Station, South Island, New Zealand.
Phase One XF 100MP, 55mm Schneider lens, 4 seconds @ f8, ISO 200, 3X ND

Regular newsletter readers may recognise this location as I posted a colour version a couple of months ago, after Tony Hewitt and I had run our exclusive Art Photography Workshop at Middlehurst Station in New Zealand.

I confess that at the time I wasn't overly concerned about the photograph - there's an image in there for sure, but I felt there was still room for improvement with a different camera angle. It's a good reason to go back again, of course (and we are next year if you're interested), but it also points to how much influence our current thinking has on how we view our work. Or maybe I should only speak for myself.

When I took the photo, I had an image in mind, but I didn't quite get what I had in mind. It was something different. However, with the passing of time, I returned to these files with fresh eyes and thought, maybe it's not so bad after all.

Certainly that panel of five wonderfully sophisticated and educated judges at APPA this year scored it well (yes, a Gold he modestly writes), so you can be lucky every now and then.

So, what did the image look like before I started work on it? And does the finished edit look better with a little introduced colour? You'll have to click the Read More link to the website to find out!

 

Processed raw file to mono before adjustments. 

Final edit with a little more colour. 

As you can see, most of the technique is in the capture. Using a neutral density filter, I was able to set shutter speeds of two to eight seconds during which time the sheep on the outside of the flock had moved, whereas those in the middle had not! I took lots and lots of shots!

However, tonally the sheep blend into the background, so using layers and masks in Photoshop, I darkened down the surroundings and lightened the flock. The background mountain range has been subtly blurred.

So, when I add in a little colour, does it work better? I wondered about this before entering it, but went for the pure black and white look. Was I wrong?

And if you're interested in a photography workshop in the next 12 months (maybe a Christmas present for yourself?), I have trips going to USA, New Zealand, Arnhemland, Georgia/Armenia, Iran, Greenland/Iceland and Mexico. Full details on the Better Photography website!

 


Another tree...

September 28, 2016  •  Leave a Comment

Another Tree...

Tony's tree, Tones River, Middlehurst Station.
Phase One XF, 80mm Schneider f2.8 lens, f11 @ 30 seconds/1/80 second, ISO 50

Is this one or two shots? I love posing questions like this! Up front, it's two shots, but two shots of the same subject (camera locked off on a tripod), taken a few minutes apart.

Why?

A couple of days earlier, Tony Hewitt and I had been at this location with Barbara, Gary and Jim on our Middlehurst Art Photography workshop. Middlehurst is an amazing Tolkein landscape tucked away in New Zealand's South Island (and we're repeating the workshop next June if you're interested...).

We started well before dawn and were enjoying our time, exploring the area. Tony disappeared 'somewhere', but as we were all heavily engrossed in our own little worlds, it didn't worry us.

At some stage, I looked around from my camera to see the top of the tree above just catching the brilliant sunlight! Even better, from certain angles the background was in shadow. However, the worst part was seeing Tony in position with his camera, nailing a great shot as the light got better and better.

This bugged the hell out of me. How did he know? Was he just lucky? Or smart? Or just smarter than me?

Over the next couple of days, I dropped hints to everyone that we should go back to this location and all shoot the tree - I mean, I couldn't have Tony not sharing such a great location!

However, my version of the tree is more of a grand landscape, but I took two photos to make it happen! Click through to the website to see the two images I used.

 

Early shot before the sun reaches the tree. 

Photo when the tree is fully illuminated by the sunshine. 

My idea was to have just the very top of the tree illuminated by the sun, but my perfect planning didn't take into account the vagaries of the weather or the movement of the clouds.

The first photo was taken because I liked the clouds, but they were moving away from the mountain. So, to ensure I had an interesting sky, I locked the camera off on the tripod and took a long exposure with a neutral density filter. 

Then I waited.

And as we all waited, more clouds arrived from behind, covering the sun and so the tree sat in shade. And stayed in shade so by the time the clouds moved to illuminate the tree, the sun was higher than I had hoped for. The whole of the tree and its surroundigs were fully lit!

In some ways, I could have achieved the final result with a single exposure, but I do prefer the clouds from the earlier exposure and it wasn't a difficult 'composite': just two layers and a simple mask.

However, it's not a bad result. It earned a Silver Award at this year's AIPP APPAs and, since I'm going back next year, there's another chance to get just the top of the tree being illuminated by that rising sun!

And if you're interested in a photography workshop in the next 12 months, I have trips going to USA, Georgia/Armenia, Iran, New Zealand, Greenland/Iceland and Mexico. Full details on the Better Photography website!


Do You Really Want Clouds?

June 22, 2016  •  Leave a Comment

Do You Really Want Clouds?

Boab Tree, Wireless Station ruins, near Wyndham, Kimberley.
Phase One A-Series IQ3 100MP, Rodenstock Alpa HR Alpagon f5.6 23mm, 46 seconds @ f8, ISO 50

Light is everything. I wandered past this boab (from the other side) a couple of times earlier in the afternoon, noticing the unusual twin-trunk structure. It was a tree with potential, but at that stage of the day, the sun was still high in the sky and the location appeared incredibly busy. There was too much going on. 

I was on a PODAS - a Phase One Digital Artist Series workshop - with Christian Fletcher, Tony Hewitt, Bruce Pottinger and Drew Altdoerffer (from Phase One), and 16 keen photographers who were kitted out with the latest Phase One medium format equipment for the week.

After sunset as I walked back along the track to the cars, I noticed Bruce Pottinger set up near this tree. And it was positively glowing! The challenge was to isolate it sufficiently within what was still a complex and busy landscape. One way is to stand back and use a telephoto lens, which probably would have been the polite thing to do given Bruce was shooting. Another option is to use a wide-angle lens and get in very close to your subject. I applied the latter logic on this occasion. Sorry, Bruce!

The evening was absolutely perfect with a feathering of clouds to break up a large blue sky. In May, 'they' say you are almost guaranteed blue skies every day, but this year the weather was a little mixed up, not just in Kununurra, but around the world it seems. However, photographers usually shy away from clear blue skies because they lack interest, but did I really want clouds in this photograph?

Processed raw file before adjustments. 

Looking at the file out of Capture One raw processing software, I was struggling to maintain separation between the clouds and the boab branches (as you can see above). Too much of a good thing was not a good thing. Clouds are great, but broken cloud as a backdrop for a finely branched tree does not make a perfect backdrop.

As remarkable as Capture One is, it doesn't allow channel masks, although it will create masks based on colour selections, and so it was into Photoshop for a final tweaking. As you can see in the opening image, I have lightened up the main branches so they stand out from the sky. I have also removed the magenta colour from the clouds so they don't compete with the warm colours on the boab.

And if you're interested in a photography workshop in the next 12 months, I have trips going to Bhutan, USA, Georgia/Armenia, Iran, Greenland/Iceland and Mexico. Full details on the Better Photography website!


White Orpheus or Pink?

June 16, 2016  •  Leave a Comment

Orpheus RootsOrpheus Roots

Mangrove Roots, Orpheus Island, 2009.
Phase One 645AF, P45+ back, 28mm lens, 15 seconds @ f16, ISO 50.
I was up to my knees in warm salt water, but I wasn't complaining. I also think that's why many people from the southern latitudes of Australia visit Orpheus Island in winter and if, following the chilly weather we've been having lately, you're in need of a warm respite, now would be a good time to book a trip to Orpheus Island in Far North Queensland.
There are two options. One is a six star resort which is out of my price bracket (champagne tastes, beer budget), the other is the experience of your photography life at the James Cook University research station on the other end of the island. However, while the location is fantastic, the real attraction has to be three of Australia's best photographers and photographic educators ever. Dr Les Walking is joined by Dr Vicki Cooper and Dr Doug Spowart. I'm pretty sure Vicki and Doug are both doctors, maybe they're professors or something else as well, but I get lost after an ordinary degree!
Les has been presenting his Orpheus Island printing workshop for eleven years along with John and Pam de Rooy. And after my presentation with Les in the Daintree last month, I said I'd mention his printing workshop in my newsletter - and hence the photograph above.
For more details about the Orpheus Island Photography Workshop, visit http://www.leswalkling.com/courses/orpheus-2016/.
Shooting the photograph, I was knee deep in salt water as the tide came in. It was taken only a stone's throw from the research station with a wide-angle lens and a long shutter speed of 15 seconds to blur the water.
To lighten up the tree roots as though they were catching the light from the sunset, I used a channel mask which picked out the light that was already striking the top of the mangrove roots and then, using a curves adjustment layer, lightened them up. It was easier than using a brush and carefully picking out the roots because all the hard work had been done by the channel. This is one aspect of Photoshop that can't easily be replicated in Lightroom or Capture One, but admittedly it takes a little more practice to achieve as well.
So, do you like the pink light catching the tops of the tree roots - or would you prefer them to look like steely-white moon light? Have a look here to see second photo and rest of blog. http://www.betterphotography.com/index.php/peter-eastways-blogs-sp-19033/peter-eastways-blog/1065-white-orpheus-or-pink

Does Mount Sorrow Look Sorrowful?

May 19, 2016  •  Leave a Comment

Mt SorrowMt SorrowDoes Mount Sorrow Look Sorrowful? Mount Sorrow from the Daintree Research Observatory. 110mm lens on Phase One XF 100MP, 50 seconds @ f7.1, ISO 50.
I'm just back from an engrossing week in the Daintree Rainforest, spent with Australian professor and doctor of photography, Les Walkling. And I mustn't forget Les's workshop partners, John and Pam de Rooy who host Les's famous Orpheus Island printing workshop, and assisting photographer Andrey Walkling.

The week was spent with 12 photographers and our own chefs and support crew at the Daintree Research Observatory, just out of telephone signal range and built to host university researchers. There was an expansive seminar and work room for our deliberations, a hospitality area that was well frequented and comfortable dormitory style accommodation. And within a half an hour drive was a host of different photography locations, from crocodile cruises, mangrove walks, ocean beaches and the rainforest itself. There's even a crane for providing a unique bird's eye view of the rainforest canopy.

However, this workshop was different. Instead of spending most of our time taking photographs, we talked about them. Instead of spending most of our time learning how to apply a curve in Photoshop, we learnt when and why to apply them. While technique was definitely an important component, the priority was to take participants to the next stage in their journey as photographers.

It was the art of photography.

And it lasted for seven, information packed days and while I was a co-presenter, I had one of the best educational experiences of my life. Les was in fine form, taking us from modernism to formalism and beyond, explaining how the contemporary art world sees photography and how the best exponents work. We received exclusive insights into both theory and technique, but in a practical way that allowed us to return with concepts and ideas that we can put into practice. I have a notebook full of ideas to work on and directions to take in the future.

The photograph above features the enigmatic Mount Sorrow which was shrouded in low cloud for much of our workshop. We could sit and watch it while eating our meals and I am sure everyone photographed and took videos of it as the clouds curled around its upper reaches.

This is a 50 second exposure during which time the tree-covered mountain was gently blurred by the swaying leaves. It uses a few technical aspects picked up at the workshop (some luminosity compensatory layers) and some ideas gleaned from the world of art.

But I hope the most important thought that participants took away was that it's very difficult to make everyone in the world happy with your photography, so really the best approach is to make yourself happy first. Of course, this doesn't mean working in isolation or disregarding other disciplines and genres, rather acknowledging that photography as an art form is personal - and that means it's up to you!

If you'd like to join Tony Hewitt and I on an exclusive five day photography art workshop next month (15-20 June) in New Zealand, there is just one place left - meaning a maximum of four students and two AIPP Grand Masters of Photography as leaders.Check out our Middlehurst brochure here. https://issuu.com/workingpro/docs/middlehurst

Mount Sorrow from the Daintree Research Observatory.
110mm lens on Phase One XF 100MP, 50 seconds @ f7.1, ISO 50.

I'm just back from an engrossing week in the Daintree Rainforest, spent with Australian professor and doctor of photography, Les Walkling. And I mustn't forget Les's workshop partners, John and Pam de Rooy who host Les's famous Orpheus Island printing workshop, and assisting photographer Andrey Walkling.

The week was spent with 12 photographers and our own chefs and support crew at the Daintree Research Observatory, just out of telephone signal range and built to host university researchers. There was an expansive seminar and work room for our deliberations, a hospitality area that was well frequented and comfortable dormitory style accommodation. And within a half an hour drive was a host of different photography locations, from crocodile cruises, mangrove walks, ocean beaches and the rainforest itself. There's even a crane for providing a unique bird's eye view of the rainforest canopy.

However, this workshop was different. Instead of spending most of our time taking photographs, we talked about them. Instead of spending most of our time learning how to apply a curve in Photoshop, we learnt when and why to apply them. While technique was definitely an important component, the priority was to take participants to the next stage in their journey as photographers.

It was the art of photography.

And it lasted for seven, information packed days and while I was a co-presenter, I had one of the best educational experiences of my life. Les was in fine form, taking us from modernism to formalism and beyond, explaining how the contemporary art world sees photography and how the best exponents work. We received exclusive insights into both theory and technique, but in a practical way that allowed us to return with concepts and ideas that we can put into practice. I have a notebook full of ideas to work on and directions to take in the future.

The photograph above features the enigmatic Mount Sorrow which was shrouded in low cloud for much of our workshop. We could sit and watch it while eating our meals and I am sure everyone photographed and took videos of it as the clouds curled around its upper reaches.

This is a 50 second exposure during which time the tree-covered mountain was gently blurred by the swaying leaves. It uses a few technical aspects picked up at the workshop (some luminosity compensatory layers) and some ideas gleaned from the world of art.

But I hope the most important thought that participants took away was that it's very difficult to make everyone in the world happy with your photography, so really the best approach is to make yourself happy first. Of course, this doesn't mean working in isolation or disregarding other disciplines and genres, rather acknowledging that photography as an art form is personal - and that means it's up to you!

If you'd like to join Tony Hewitt and I on an exclusive five day photography art workshop next month (15-20 June) in New Zealand, there is just one place left - meaning a maximum of four students and two AIPP Grand Masters of Photography as leaders. Check out our Middlehurst brochure here.


Tree Details - How To Do It In Easy Light

April 18, 2016  •  Leave a Comment

Yosemite TreesYosemite TreesWinter Trees #1, Yosemite Valley, USA.
Phase One XF with IQ180 back, 240mm lens, 1/4 second @ f11, ISO 50

Okay, I confess that this is a personal favourite. And when I made this as a print, I loved it even better. No, it's not an 'in your face' composition and it doesn't have an atomic colour palette either. Some unkind souls may even suggest it's not very 'me' given how subtle the colouration is, particularly the greens in the shadows. I think it will work nicely on my wall for a while...

So, what are the tricks to capturing photographs with lots of fine detail like this? First up, you need the right conditions. At 1/4 second, any movement would have caused detail-killing blur. Of course, I could have waited for there to be more light (so I could use a faster shutter speed), but then the quality of the light could have changed. On this morning, there wasn't a breath of wind down the bottom of Yosemite Valley. There was snow on the ground which was reflecting light into the trees and the overall illumination was very soft. So, yes, the light is directional (the tops of the branches are lighter than the bottoms), but it's a soft light with lots of detail. Tripod mounted. Sharpest aperture for the lens.

Second point: don't over expose your image. A camera meter will look at this scene and give you a great 'average' exposure, but even in low light situations like this, the highlights on the tree branches, especially the dead branches which are very light grey in tone, can be easily 'clipped'. The histogram might look like it's okay on the back of your camera, but take another shot two stops darker and you might find there are still a few bumps in the histogram up next to the white values. If you want to keep detail in your highlights, you need to manage your exposure correctly in camera.

Third suggestion: spend a little time in post production adjusting your exposure, your contrast and your black point. I set the exposure so the highlights were light but not clipping (not paper white), then adjusted the contrast to bring out the texture in the tree trunks, then finally I used the black point (you can use the black slider in Lightroom/ACR or the black point on a curves dialog) to darken the shadows to give me some rich blacks. It's the blacks in the photo that makes the rest of the tones stand out.

Perhaps I was channeling Ansel Adams a little bit and while I did convert this to a black and white, I found it hard to resist bringing back a hint of colour. Next week I'll show you how I shot tree details in difficult lighting conditions - you may be surprised at the technique!

I'm presenting an advanced Photoshop workshop in Sydney on Sunday 5 June. Click here for details.

Winter Trees #1, Yosemite Valley, USA.
Phase One XF with IQ180 back, 240mm lens, 1/4 second @ f11, ISO 50

Okay, I confess that this is a personal favourite. And when I made this as a print, I loved it even better. No, it's not an 'in your face' composition and it doesn't have an atomic colour palette either. Some unkind souls may even suggest it's not very 'me' given how subtle the colouration is, particularly the greens in the shadows. I think it will work nicely on my wall for a while...

So, what are the tricks to capturing photographs with lots of fine detail like this? First up, you need the right conditions. At 1/4 second, any movement would have caused detail-killing blur. Of course, I could have waited for there to be more light (so I could use a faster shutter speed), but then the quality of the light could have changed. On this morning, there wasn't a breath of wind down the bottom of Yosemite Valley. There was snow on the ground which was reflecting light into the trees and the overall illumination was very soft. So, yes, the light is directional (the tops of the branches are lighter than the bottoms), but it's a soft light with lots of detail. Tripod mounted. Sharpest aperture for the lens. 

Second point: don't over expose your image. A camera meter will look at this scene and give you a great 'average' exposure, but even in low light situations like this, the highlights on the tree branches, especially the dead branches which are very light grey in tone, can be easily 'clipped'. The histogram might look like it's okay on the back of your camera, but take another shot two stops darker and you might find there are still a few bumps in the histogram up next to the white values. If you want to keep detail in your highlights, you need to manage your exposure correctly in camera.

Third suggestion: spend a little time in post production adjusting your exposure, your contrast and your black point. I set the exposure so the highlights were light but not clipping (not paper white), then adjusted the contrast to bring out the texture in the tree trunks, then finally I used the black point (you can use the black slider in Lightroom/ACR or the black point on a curves dialog) to darken the shadows to give me some rich blacks. It's the blacks in the photo that makes the rest of the tones stand out.

Perhaps I was channeling Ansel Adams a little bit and while I did convert this to a black and white, I found it hard to resist bringing back a hint of colour. Next week I'll show you how I shot tree details in difficult lighting conditions - you may be surprised at the technique!

I'm presenting an advanced Photoshop workshop in Sydney on Sunday 5 June. Click here for details.


Twelve Apostles From The Air

March 21, 2016  •  Leave a Comment

Twelve ApostlesTwelve ApostlesPort Campbell National Park from the air.

Canon EOS 5DSR, 17-40mm lens, 1/6400 second @ f4, ISO 1250

It's always a challenge giving advice to photographers about to shoot from a helicopter. On the Canon Collective Tour to Geelong last weekend, two dozen photographers took a spectacular drive along the Great Ocean Road to Port Campbell National Park and the 12 Apostles. We all had 25 minute flights booked over Australia's most spectacular stretch of coastline.

The one thing you know when shooting from a helicopter is to keep your shutter speeds up high, but this depends on the helicopter, the location and the weather. The smaller the helicopter, the more it bounces around and so the faster the shutter speed required. The more unstable the weather, the more the helicopter bounces around and when you're flying over uneven ground, there can be updrafts that bounce you around as well.

I have tack sharp photographs taken from a helicopter with shutter speeds as slow as 1/250 second, but I have many more that are blurred. Even at 1/2000 second you can have blurred shots if the chopper is moving around a lot.

I suggested to the photographers that they needed a shutter speed of at least 1/2000 second to ensure they took sharp photographs, but there were a few compromises. First, as we were shooting in the late afternoon, to get a 1/2000 second shutter speed probably required a reasonably wide aperture - and wide apertures are not always optimum in terms of image quality (the edges can be a little soft, although the middle is normally pretty good).

And even with a wide open aperture, the ISO may need to be pushed up a little to ensure correct exposure with the shutter speed and aperture combination. One approach is to set the shutter speed at, say, 1/2000 second on Tv (shutter priority) mode and turn on auto ISO. Once the camera reaches the widest aperture, it then starts to increase the ISO to ensure correct exposure.

So how come this photo is taken at 1/6400 second? Well, old habits die hard and I usually shoot in aperture priority mode - but I keep an eye on my settings. I set the aperture and the ISO so that when I was pointing the camera at the ground, my shutter speed was around 1/2000 second. However, if there were breaking waves in frame with lots of white water, the camera would push the shutter speed up higher to maintain correct exposure.

The caveat on this advice is that we had a fixed flight path and time. If you have more time, you can slow yourself right down and think your options through. On the other hand, there's something really exciting about spending 25 minutes on a flight and shooting like mad! It's an amazing flight and worth booking at 12 Apostles Helicopters.

And thanks to the Canon Collective for inviting me along. You can find out more about the Canon Collective at
https://www.canon.com.au/en-AU/Personal/imageSpectrum/Community/collective-home.

To see the photograph as it was captured in camera, click through to the website below...
http://www.betterphotography.com/index.php?option=com_content&view=article&id=1039:twelve-apostles-from-the-air-better-photography-newsletter&catid=39:peblog&Itemid=77

Port Campbell National Park from the air.
Canon EOS 5DSR, 17-40mm lens, 1/6400 second @ f4, ISO 1250

It's always a challenge giving advice to photographers about to shoot from a helicopter. On the Canon Collective Tour to Geelong last weekend,  two dozen photographers took a spectacular drive along the Great Ocean Road to Port Campbell National Park and the 12 Apostles. We all had 25 minute flights booked over Australia's most spectacular stretch of coastline.

The one thing you know when shooting from a helicopter is to keep your shutter speeds up high, but this depends on the helicopter, the location and the weather. The smaller the helicopter, the more it bounces around and so the faster the shutter speed required. The more unstable the weather, the more the helicopter bounces around and when you're flying over uneven ground, there can be updrafts that bounce you around as well.

I have tack sharp photographs taken from a helicopter with shutter speeds as slow as 1/250 second, but I have many more that are blurred. Even at 1/2000 second you can have blurred shots if the chopper is moving around a lot.

I suggested to the photographers that they needed a shutter speed of at least 1/2000 second to ensure they took sharp photographs, but there were a few compromises. First, as we were shooting in the late afternoon, to get a 1/2000 second shutter speed probably required a reasonably wide aperture - and wide apertures are not always optimum in terms of image quality (the edges can be a little soft, although the middle is normally pretty good).

And even with a wide open aperture, the ISO may need to be pushed up a little to ensure correct exposure with the shutter speed and aperture combination. One approach is to set the shutter speed at, say, 1/2000 second on Tv (shutter priority) mode and turn on auto ISO. Once the camera reaches the widest aperture, it then starts to increase the ISO to ensure correct exposure.

So how come this photo is taken at 1/6400 second? Well, old habits die hard and I usually shoot in aperture priority mode - but I keep an eye on my settings. I set the aperture and the ISO so that when I was pointing the camera at the ground, my shutter speed was around 1/2000 second. However, if there were breaking waves in frame with lots of white water, the camera would push the shutter speed up higher to maintain correct exposure.

The caveat on this advice is that we had a fixed flight path and time. If you have more time, you can slow yourself right down and think your options through. On the other hand, there's something really exciting about spending 25 minutes on a flight and shooting like mad! It's an amazing flight and worth booking at 12 Apostles Helicopters.

And thanks to the Canon Collective for inviting me along. You can find out more about the Canon Collective at https://www.canon.com.au/en-AU/Personal/imageSpectrum/Community/collective-home.

To see the photograph as it was captured in camera, click through to the website below...

Processed raw file before adjustments. 

Yes, you're right! I have squished the headlands together a bit, just to add a little extra drama. Note to self: I must take another flight on a sunny day - it must be simply spectacular!

And if you're interested in a photography workshop later this year, I have trips going to Karijini, Kununurra, the Daintree, Arnhemland, New Zealand and Bhutan. Full details on the Better Photography website!