March 5, 2011

God’s Fist – Yellowstone NP, Great Fountain Geyser

I was the only one there at sunrise and it was beautiful, but not what I had hoped for. Great Fountain steamed calmly away as the sun rose, but no great fingers of water reached skyward. This was not going to be so easy.

Great Fountain is not on a schedule like Old Faithful. It generally blows about once a day and while it can be roughly predicted, it seems to be no exact science. I took a few images of the pool and then begin to wander nearby areas, hoping to catch it later. Around noon I came back to find crowds gathering and cars lining the sides of the narrow loop road. It seemed everyone was here now. But only I had the satisfaction of having been there with the sunrise.

I grabbed my gear and hustled along the line of cars, to where a surprisingly large gathering was taking place. Fortunately most everyone wanted the high vantage points. I just wanted this lowly spot down in the weeds off the roadside. About ten minutes later, she blew. Slow and spurting at first, but then spectacular.

Bright sun is generally not the most ideal light however and my mind was racing like fanatic and I varied the setups I had been envisioning, working with filters and tweaking settings in an attempt to make something memorable of of this scene. The truth is that the resulting sequence from these moments were on my computer until months after I returned home. They sat patiently on my hard drive, waiting for me to become inspired. I saw them now and then, but secretly I was remembering the peaceful sunrise and wishing it had happened then.

In time I sifted through them more closely, thinking in terms on tone, analyzing details and thinking about the process. The light was actually pretty amazing. And there was one frame that stood out above the rest and it was higher and more spectacular than any others from this majestic water show. Once I started working it, I knew I had only needed one frame and this was it. I hope you enjoy… Gavin

Release details: Prints Available.. Order Open Edition originals above.. Master prints and Signature Limited Editions are listed below and can be ordered by contacting gallery.

Released prints….

For Photographers. How it Was Made…

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March 5, 2011

Entrance to Death Valley. Gavin Seim.

This is one of those photographs that I overlooked for awhile. It’s not earth shattering and it may never be seen as one of my best, but the more I look at it the more it tells a story. The harsh afternoon sun, the heat waves fading into the distance. The approaching car, escaping from the clutches of the tortured hills.

The long line of the road leads my eye in and then it curves away. I know the place beyond is dry and barren. At least I think I know. But at the same time, my sense of adventure wants to go there anyways. It senses there’s beauty (and perhaps water) just over those mountains.

For Photographers. How it was made…

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March 1, 2011

Click To Listen>> Photography Podcast. PPS #75
Review in iTunesVote on Podcast AlleyDirect Podcast Feed

Today’s Panel... Gavin SeimDenns ZerwasEric GuggenheimMark Teskey.

On this roundtable we discuss a lot of tips and mistakes to avoid from various genres of photography. We also get into some news, industry and business talk and more.

Podcast #75 forum discussion:

Notable Time Indexes:

  • 00:00 Introductions, micro 4/3 stuff and other news.
  • 21:25 Workshops announcements.
  • 26:17 Techniques for different situations. Architecture.
  • 35:09 Techniques for different situations. Outdoors.
  • 53:15  Techniques for different situations. Weddings.
  • 1:00:50. More tips on photography. Avoiding mistakes.
  • 1:20:40 Marketing. Things on our mind about the industry.
  • 1:37:15 Announcing Pro Photo Show LIVE.
  • 1:42:14. After show. Random things.

Links to things we mentioned.

Info on live show. Post coming soon with details. I’ll add a link.

Lights & Shadows. HDR and tone workshop. Coming to CA in April.

LR Power, Lightroom workshop. Coming to CA in April.

The new Fuji X100 rangefinder style.

It goes head to head with the Leica X1.

Some other interesting models.

Ricoh GXR,

Sigma DP2.

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February 25, 2011

by Gavin Seim: Updated 11/22/12. There’s a lot of confusion out there about resolution as it relates to making prints, so I want to help clear it up. I make mostly large prints and spend quite a bit of time studying factors that effect my image quality. Often I use a 5D MK II, which is 21MP. I also use 4×5 film because of it’;s vastly higher resolution. It scans in at closer to 200MP. But to start with lets use an average 18MP file as our example.

First let me say that digital has a long way to go in terms of resolution. Today’s camera’s are amazing, but lets get a perspective. Ansel Adams did much of his work on 8×10 sheet film. It’s hard to compare film to digital exactly, but using a good film he probably would have had a rough equivalent of around 400 million (mega) pixels. This makes our digital cameras look pretty paltry at times and it’s one of the reasons I’ve started working with 4×5 film for some of my projects, as it can give me  200+ effective megapixels when scanned (more of that on my pictorials website).

Say we have a full size file from a Canon 7D. The resolution of that file would be 5184×3456 pixels. About 18 mega pixels (roughly 22x less than that 8×10 film). Our file comes in at just over 11 x 17 at 300 PPI. Note that PPI and DPI refers to Pixels Per Inch or Dots Per Inch (a printing term). For today’s purpose I’ll refer to it as PPI as it’s becoming the more common term.

First and foremost, PPI and actual file resolution (or pixels) are not always the same. For example I could take our file in Photoshop and set the size to 30×20. Unless I told PS to Resample (or increase the resolution) of the file, the computer would now see this file as a 20×30. Only now it would show as being just over 172 PPI instead of 300 because the pixels have not changed or increased, which means there must be less pixel per inch when printed at that size – It’s still an 18MP file. I’ve just told the computer it’s larger in physical print size. What really matter however is if you have enough overall resolution. Here a screen capture to show how I was changing PPI. The PPI on each is different, but the pixel quantity is the same.

So what if I printed this file as a 4×6. I’m not sure why I would want a print that small (see the wall portrait article), but bear with me. At 4×6 our 18MP file would print out at just over 860PPI if we left it at full resolution. That’s a lot since most human eyes can’t see any difference above 300PPI. Bottom line, my file has more than enough pixels. Printing with that extra PPI won’t hurt anything. Though depending on the printer, all that information may not be used.

Why does all this matter. Well mainly so you don’t get confused. PPI has relevance in sizing and printing because it can quickly tell us something about how good our print will be. That brings us to larger prints and how this all relates.

Click for larger view – Gavin’s 30 inch canvas, Bull of the Mist. This a medium sized print. Taken in early morning at ISO 3200 made the detail on this slightly less, but it was needed for shutter speed. As you can see, the detail is good, but not flawless. The canvas helps give it an organic art feel. This was made from a file that was 5464 x 2732 pixels. It was up converted to 9000px wide before print. More about this image here.

Resolution VS Large prints.
This is where things get subjective. I’ll speak from my own experience as I regularly produce prints 40 inches and beyond. With our 18MP file we know we have plenty of information for a baby print. What about a serious print meant for the wall. Lets look at that 20×30 again. Lets go into the “Image Size” box of Photoshop and changing the file dimensions to 20×30, without altering the resolution as I did above. I left Resample un-checked which means I changed the print size but not the amount of pixels in the file. We’ll now have 172PPI at a print size of 30×20. Are you getting it? This is telling us how much information we have to lay on paper in terms of real life printed pixels – 172PPI is not bad. Most peoples eyes can probably see a bit more detail than that, but the print should still be good.

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February 21, 2011

by Gavin Seim. So I’ve planned another road trip, along with Spring workshops. I’m hitting the road early April with my little family and heading to SF area for two workshops in Oakland. I’m stoked. We plan to spend about a month on the road in the RV. After the workshops, we may head up towards the Grand Canyon as I hunt for stock and landscape images, then who knows. Here’s the workshop lineup. I hope you’ll help me spread the word and I hope to see you there.

April 16-17 is  my Lights and Shadows workshop. This is a fresh 2 day event that covers HDR and beyond. It’s an intimate workshop limited to about 20 people. We’ll be doing work in the field and editing back at the home base. More info here. There’s also a Facebook event page.

On April 18th is the Lightroom Power workshop. This has something for everyone. We’ll cover basics, but also get deep into power user stuff. It’s another fun hands on workshop, so bring your laptops with LR and prepare to think differently about your editing. More info here, and the Facebook event page here.

I’m also working on setting up something for Fresno. Still working on the details of that, but stay tuned to this post or the Seim Effects FB page for details. I’ll also update the workshop pages if a new location is added. Hope to see some of you there… Gav

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