THE THINGS I DO…

Living in the part of Virginia that seldom, if ever, sees any significant snowfall, I have been asked by several of my regular photo walkers to give some of my tips for shooting in the snow. What follows are some tips for making better snow pictures and dealing with the effects of cold weather on your gear.

If your photo has more than 3/4 of the image taken up by snow, OVERexpose your image by 1 to 2 f/stops. Use the exposure compensation button if you are shooting in the auto or semi-automatic exposure modes or simply open the lens to let more light in if shooting manual. Even with the modern exposure algorithms, most snow shots made following the camera’s meter will result in gray snow. The compensation I suggest will at least get you in the ball park. Thankfully, digital photography has allowed us to see our images immediately after exposure…allowing any changes to be made on the spot. Keep in mind here that you only need to compensate if you have a lot of snow in your photos. If you’re shooting a tight portrait out in the snow, you probably don’t need to compensate for the snow (the meter isn’t seeing it).

Try not to change lenses if the snow is flurrying around you. For some reason, changing lenses when snow is in the air can attract stray flakes onto your camera’s imaging sensor. Shooting in the cold is difficult enough and the last thing you want is a stray flake coming to rest on your sensor! So, if you do have to change a lens, bend over the camera and use your body to shield it as you make the change.

Keep your batteries warm! Cold batteries are less efficient than warm ones and will not last as long as a set that has been warming in a pocket close to the body. Don’t shoot with cold batteries, they’ll drain faster. Warm them first before inserting in your camera. Carry an extra battery pack and keep it warm in a pocket.

Another exposure tip for those using point-and-shoot cameras: if your camera has an auto setting for beach or snow, use it! That setting will do the exposure compensation I mentioned earlier for you. By the way, sand will give your camera the same exposure challenges as snow…both are bright lighting conditions that need similar exposure adjustments.

When finished with your shooting (and this is more important the longer you’ve been outside in the cold), but your cold camera and lenses into a large plastic ziploc bag BEFORE coming in where it’s warm. This will prevent moisture from collecting on the outside of your camera and potentially shorting out the camera’s electronic innards. The plastic bag will get cold and cause condensation on the outside of the bag instead. When the bag is warm, you can remove your camera.

Speaking as one who has fallen in the snow, don’t take more gear than you really need. A camera body and a couple lenses are easier to protect if you slip on an icy patch.

Take plenty of memory cards with you to keep from running out of storage space when things get interesting.

Rely on your histogram view to guide your exposure (if your camera allows you to view it). Remember, your histogram will tend to have less info in the middle and more on the left side and right since your snow shots will contain a lot of highlights (the snow!) and shadows. Look at a histogram of a well-exposed snow scene and us it as a guide for other similar scenes.

So, keep warm and try my tips the next time you have a chance to go play in the snow!

I just gave a workshop about digital photography and there’s still some confusion out there about image file formats available in-camera. I hope this will help clear things up.

First, RAW format is simply the uncompressed (or very slightly compressed) 1s and 0s coming off your sensor chip. Nothing is modified and you have the greatest amount of post-shoot image control when you start with a RAW file.

The TIFF file can be uncompressed or compressed with a “lossless” (LZW) algorithm. A TIFF is smaller in file size than a RAW file of the same subject but still larger than a JPEG of the same subject.

A JPEG file can be saved lightly or heavily compressed. It is the format most commonly used on the Internet and is often the format used to deliver final images to clients. It can be opened by a wide variety of programs, including Internet browsers.

The one important thing to keep in mind about JPEG files is that, until they are opened and re-saved, their quality will NOT degrade. Image degradation in a JPEG only happens if you open a file and then save it during closing. No save, no image resampling. No image resampling, no quality degradation. A lot of people think that the simple process of opening the file causes a lowering of quality. That is not so — that happens during the process of saving/resampling.

Please share this info with your friends. The more you know about image file formats, the better. Incidentally, I didn’t know the info I just shared about JPEG files till about a year ago…and I had been working with JPEGs for years! Live and learn.

I posted a very successful item last year about how I shoot fireworks photos. That link is here. Before you run off to read that, I’d like to add a few more tips to try this year in your pursuit of the perfect fireworks photo.

• Do your homework. Scout out the location and get into position while it’s still light outside. Parking is always a nightmare. Go early. Take a book and some refreshments.
• Bring a flashlight. It will come in handy to find your stuff when you drop it during the frenzy of shooting. Believe me, after searching the ground on your hand and knees for ten minutes looking for your @#$%^ car keys in the middle of a pitch-dark field, you’ll remember to bring a flashlight next time! Also, tape a red gel filter to the front of it so you won’t ruin your “night vision” whenever you turn the flashlight on.
• Set the focus to “manual” and crank it out to the “infinity” setting (that’s the one you use to shoot mountains and other far away stuff).

That should freshen up my earlier post with some new bits for you to read and heed. Remember, if the fireworks are aimed at you, you’re probably in the wrong location! Be safe.

(Fireworks photo courtesy Scott Robinson)

Water. That’s right, a bottle of the wet, clear stuff has saved my bacon on more occasions than I care to mention. Most recently, a well-chilled bottle of water revitalized me in the middle of a marathon wedding shoot on a sweltering, 90-degree Virginia summer day.

Too many shooters get caught up with packing all the photo gear needed for a shoot and completely forget about bringing along the supplies needed to maintain themselves during the event. Weddings have a tendency to last a long time. That means you’ll be working hard without a break for most of your day (at least, if you’re giving the sort of event coverage I’m known for) and that’s a recipe for failure unless you’ve planned ahead. Toss a couple energy/granola bars in your bag and a couple bottles of water into a waterproof bag (and I don’t need to explain WHY a waterproof bag, do I?) for a quick snack and hydration throughout the day.  It’s amazing how invigorating a bite of granola bar and a slug of water can be during a long afternoon of runnin’ and gunnin’…. a refreshing pause that’ll help you to maintain your focus and energy till the bridal party, like Elvis, leaves the building.

I’m hosting my first big photo walk of the summer and wanted to go over a short checklist of things to take with you so you can devote all your energy toward making great photos. First, take care of yourself. Wear comfortable shoes, bring along sunscreen, water and a snack in case the munchies strike. Don’t forget the water, it’ll end up the most important thing in your photo walk inventory. Second, assess what sort of photography you’ll be doing and equip yourself appropriately. If you’re shooting wildlife, bring long glass, a monopod and leave the flash equipment at home. If you’re photo walk is geared more toward street shooting, bring an 80-200mm zoom and a wide angle. Leave the long stuff at home. Flowers=macro lenses and landscapes means bring out the wide stuff (and polarizers!)

The key here is to not bring so much gear that you can’t react quickly to photo possibilities. The last thing you want to happen is to become dehydrated and be preoccupied with finding water when you should be occupied with enjoying the photo walk! I’ve hosted many walks and can state with conviction that the better you feel, the better your work will be. So don’t rush out on your next photo walk without scanning this checklist first. Enjoy.