My image on the cover of “Running on Empty”

Finally received my copy of Running On Empty by ultramarathoner Marshall Ulrich- can’t wait to read it.  For the cover, they used an image I captured of Marshall running in Death Valley National Park- a slow exposure with flash at dusk as the full moon rose over the sweltering California desert in mid July, temperatures well over 115°F.  When I shot this image, Marshall was roughly 20-25 miles into his epic record-setting pace of running 151 miles in 33 hours.

I photographed Marshall three times running in the Badwater 146, an amazing ultramarathon race from the lowest point in the 48 states (-282 feet below sea level, Badwater, Death Valley National Park) to the highest point in the lower 48 (14,505 feet above sea level, Mt Whitney, Sequoia National Park).  The race is run in mid-July when temperatures are at their hottest – the three years I covered the event, at 6pm, the start of the race, temperatures were recorded at 118°F, 121°F, and 126°F (note- temperatures are measured in shade or underground).  I didn’t think the human body was capable of completing a race like this, but a few dozen men and women proved it was possible.  

The year I shot this image, Marshall had a near death experience mid way through the race, and in talking to him as we hiked up the last 12 mile section toward the summit of Mt. Whitney, he described some of the hallucinations he was having as in came in and out of reality.  Most people think these athletes are out to kill themselves, but that is far from their goal – from my understanding, it’s about pushing their own limits, and finding a peace in that challenge.

I got to know Marshall over the years, covering him again in a few adventure races such as the Eco-Challenge.  I can truly say he’s a kind, caring, humble person who’s performed some of the most amazing feats of running by any human being – someone who should be a household name but isn’t – at least not yet.  This book covers the 52 days he ran across the United States – over 3000 miles, at the age of 57 – 52 days in a row that is- unbelievable.

Marshall live in Colorado and continues to run at the age of 62.  If you are into running or just looking for a good read, check his book out: http://marshallulrich.com/runningonempty.htm

On a side note, another great running book to consider is Martin Dugard’s To Be a Runner: http://www.martindugard.com/.  I traveled with Marty around the world a number of times covering some adventure races- he wrote about the events and I photographed them.  Another good guy as well as an experienced author.

Engadget Primed Article #2

Just wrote another feature article for Engadget Primed entitled “What is Aperture and How Does it Affect My Photos?“: 

http://www.engadget.com/2011/12/27/engadget-primed-what-is-aperture-and-how-does-it-affect-my-pho/#disqus_thread

Check it out- lots of solid info, links, diagrams, photos, and more – covers apertures, depth-of-field, hyper focal distance, how it relates to exposure, and so on.  Now I’m working on my third piece for Engadget- one of many to come.

Happy Shooting!

My new book, The Complete Guide to Nature Photography

My latest book came out today – online and in US bookstores.

The Complete Guide to Nature Photography: Professional Techniques for Capturing Digital Images of Nature and Wildlife

It’s available in paperback (10.8 x 8.5 inches) and electronic versions (iPad, Kindle, Nook, ebook, iPhone).  It will be in many countries as early as February 2012 as well- China, Denmark, France, Russia, the UK, and so on.

Published by Amphoto/ Crown Publishing, a division of Random House, the book is 240 pages long (~50,000 words), packed with roughly 240 images in 10 chapters covering the gamut of nature and outdoor photography. As I did with my last book, The BetterPhoto Guide to Exposure, I followed a step-by-step approach to the art in order to help readers move easily through the process, with a lot of freedom to create.  I have also included an ‘assignment’ in each chapter to give readers a task to follow, helping them improve through the book.

 

I am very proud of the book and feel there’s a ton of content, ideas, tips, and tricks on how to improve your nature, landscape, wildlife, outdoor photography.  You can’t go wrong picking up a copy.  My last book received five star reviews on Amazon, as well as many great reviews on photo blogs, magazines, etc.  Many use it as a reference for exposure, and with this new book, it’s a great reference for nature photography- for preparation, exposure, composition, lighting, macro, wildlife, creative techniques, and more.

No book signings are set up at the moment- the industry is changing and it seems like bookstores aren’t as interested (of course unless you are J.K. Rowling, James Patternson, or Stephen King – and I ain’t there yet!).  Lots of interviews however and solid press – a New York Times interview, promotion on Red Room, interview on Scott Kelby’s iPad magazine Light It, Think Tank Photo, Nik software, and more- good stuff.

Thanks!

Sean

SIGNED COPIES: Call us at nine-two-five-855-8060, or email: studio(at)seanarbabi(dot)com

FACEBOOK: “Like” our Facebook page for this book: https://www.facebook.com/pages/The-Complete-Guide-to-Nature-Photography/187535604629404GOOGLE+:  Join me: https://plus.google.com/116536901759330052053/posts

WHERE TO BUY     

ISBN-10: 0817400109     ISBN-13: 978-0817400101

Amazon (USA): http://www.amazon.com/Complete-Guide-Nature-Photography-Professional/dp/0817400109

Barnes & Noble: http://search.barnesandnoble.com/The-Complete-Guide-to-Nature-Photography/Sean-Arbabi/e/9780817400101

Random House: http://www.randomhouse.com/book/205038/the-complete-guide-to-nature-photography-by-sean-arbabi/9780817400101

Walmart: http://www.walmart.com/ip/16344511

Google eBook (for iPad, Android, iPhone, Nook, Sony, etc): http://books.google.com/ebooks?id=fHY6-tgeey0C&source=productsearch

Kindle version (Amazon): http://www.amazon.com/Complete-Guide-Nature-Photography-ebook/dp/B004SOQ0MQ

Amazon (UK): http://www.amazon.co.uk/Complete-Guide-Nature-Photography-Arbabi/dp/0817400109

Amazon (Japan): http://www.amazon.co.jp/Complete-Guide-Nature-Photography-Professional/dp/0817400109

Amazon (China): http://www.amazon.cn/The-Complete-Guide-to-Nature-Photography-Professional-Techniques-for-Capturing-Digital-Images-of-Nature-and-Wildlife-Arbabi-Sean/dp/0817400109

Amazon (France): http://www.amazon.fr/Complete-Guide-Nature-Photography-Professional/dp/0817400109

Powell’s Books: http://www.powells.com/biblio/9780817400101?campaign=RandomHouseOBL&PID=32442

Books a Million: http://www.booksamillion.com/p/Complete-Guide-Nature-Photography/Sean-Arbabi/9780817400101

uRead.com: http://www.uread.com/book/complete-guide-nature-photography-sean/9780817400101

Telegraph (UK): http://books.telegraph.co.uk/BerteShopWeb/viewProduct.do?ISBN=9780817400101

Fall Outdoor Photography Tips

I just loaded this tip on the Perfect Picture School of Photography (PPSOP), and wanted to share it with all of you as well…enjoy!

FALL OUTDOOR PHOTO TIPS

As we move through October, depending on where you live, the weather has begun to cool and dry out, leaves are slowing drifting off the trees, and the colors are changing into wonderful hues of yellow, orange, and red – whether in pumpkins or maple leaves- fall is everywhere. Here are a few tips toward better autumn photography:

#1) Easier or quicker usually doesn’t mean better

When you happen upon a nice fall landscape, don’t just settle for a photo from the spot you first noticed it. Move around to find a great foreground, search for that best angle, locate that optimal place to set your tripod down, wait for better light – as we say in the industry, work the scene. Subtle changes with light and location in your colorful compositions can make a huge difference.

#2) Exposure and Flash creates saturated color

If you underexpose red, it will become a deep maroon red – overexpose red and it will become pink. The same goes for colors like orange and yellow. If you don’t understand your meter and miss exposures on these colors, you will lose a big part of your autumn scene. Learn how to expose scenes like this and your autumn landscapes will improve. Another trick is using your strobe in shady situations. Light adds color, so if you capture wonderful warm autumn hues in the cool light of shade, these colors tend to cancel each other out – add flash to these scenes and the direct specular light brings that color back. My book, The BetterPhoto Guide to Exposure can help with this tip: http://www.amazon.com/dp/0817435549

without flash (above)

with flash (above)

#3) Make those colors pop

If you’ve ever scene a color wheel, you begin to understand the relationship of various hues and why they may or may not pop off an image. Red is close to being the opposite of green, yellow is the opposite of blue, and orange sits somewhere between – closer to cyan. If you are able to find subject matter to emphasize these differences, you can produce a fall image where the color jumps off the screen – it’s why a red tree among a row of evergreens, or a mix of fall colored-leaves lying in a puddle with the reflection of the blue sky has so much impact.

#4) Use the weather and the season to your advantage

When the season changes, so does the weather, and consequently the environment as well. As leaves fall from trees, they begin to thin out and new views emerge, nonexistent when the tree was full during summer months. New scenery opening up like this can create window-light framing for backgrounds. If the wrong weather rolls in covering a blue sky, consider shooting scenes that don’t include it. Snow-fed rivers once raging during spring and early summer months have less water passing through them, allowing you to capture still water moments or crisp reflections. When working with translucent subjects like leaves, consider backlighting them in order for the light to shine through – this brings out those wonderful tones and intricate shapes and details.

But the best tip I could give is to simply make the effort to get out there with your camera – the beauty of nature is powerful, and the changing of a season is magical.

PLEASE NOTE:

My new book, The Complete Guide to Nature Photography, comes out in less than two months (December 6th)- I received an advance copy last week and it looks amazing. Pre-orders are available online at a number of stores including Amazon: http://www.amazon.com/Complete-Guide-Nature-Photography-Professional/dp/0817400109

If you are interested in taking an online workshop with me, you can be anywhere in the world, read the lessons at your leisure, shoot what you want when you want, and receive solid feedback. Join me on PPSOP sometime for four weeks of fun! Nature and Landscape Photography online course: http://www.ppsop.net/land.aspx

Aperture vs. Lightroom – a quick response

Had a friend ask me today about Lightroom vs. Aperture- here was my response:

When it comes to digital workflow, you can’t go wrong with either.

Apple makes a solid program that works great, and as they are with everything, Aperture will continue to be integrated into more and more of their products most likely (not that you need it, but it’s nice to know).

Lightroom is fantastic. Having both programs, I probably use it more because of the seamless flow with Photoshop. I say that, but Aperture has enough plug-ins (i.e. Nik software, Photomatix, etc) and menus, and can link up to Photoshop if necessary (you just have to set that up in Preferences with Aperture, choosing your external editing program like Photoshop).

Again, oranges vs oranges. Lay outs are a bit different, but both are extremely user friendly- I tend to jump between the two depending on the project I’m working on. Both have tons of menus, sliders, etc. to correct color shifts, adjust a number of images through batch processing, fix exposure, contrast, saturation, etc.

If possible, download both trail versions (not sure if Aperture has one) and test ‘em to see what you like- if Apple doesn’t have one, I’m sure you can review it at a store.

Here’s two screenshots of both programs in one of my Facebook albums (similar to the ones I loaded in this blog): https://www.facebook.com/media/set/?set=a.220105390806.143046.122003760806&type=1

BTW, I should have a Digital Workflow workshop coming up sometime later this year where I cover both of these programs, and how I handle my image workflow and cataloging- I’ll update you all when that happens (whether at Camera West, Calumet, Point Reyes, online with PPSOP.com, or another workshop company).

Wish I could answer everyone’s personal email questions, but this might be an easier way to spread the word.

Have a great weekend all!

Contracts, ugh….I miss the days of hand shakes

After reviewing a very cool photo contest (sponsored by a leading camera company and a top producer/director), I was disappointed to see a statement in their rules – one I’ve seen so many times in client contracts and contest rules:

“…grant of permission to Sponsor and its parent companies, affiliates, subsidiaries, promotional partners, contractors, agents, …. to use the entrant’s name, likeness, voice and biographical information, and the Photograph submitted … for purposes of trade, publicity or promotion and any other purpose, in all media and formats whether now known or later developed, throughout the world in perpetuity, without any notice, permission or compensation”.

So they can use your photograph in any way, as many times as they wish, now and in the future, forever and forever (throughout the world in perpetuity) without paying you in any way – well, maybe you’ll get a prize valued worth a few hundred bucks. Unfortunately this personifies some much of art in the past, present, and maybe the future- and that is that others make more money off of the art than the artist does.

All I can say is contracts should be beneficial for both sides. Don’t sign one if you don’t think you are getting a fair shake. I know it’s hard to do, it’s just as tough for me, but I try to cross out as much as I can get away with, use my contracts (which are fair and easy to understand), and educate my clients (and their counsel) about the contracts they are presenting. Stand strong and value your work and others will too.

And btw, these type of contract rules are why I rarely enter a contest.

Nature tip: Removing Flare from your outdoor shots

As I get my new online workshop class started this Friday, March 4th, through PPSOP.com (Perfect Picture School of Photography), I wanted to add a nice outdoor tip for everyone.

I often have people ask about how my photographs come out so crisp, so colorful, so clear, and often it’s from simply doing one thing; keeping flare out of my lens.

Flare is when the Sun, or any other light source, creeps into your camera through the front element of your lens, usually when you are pointing toward the light. I can happen with any lens although wide-angles can be more susceptible since they cover a wider field of view. We see flare in still images and video, digital or film-based. The visible artifacts from flare can cause your images to look hazy, lose color and contrast, or add hexagon or octagon-shaped rings resulting in a less than desirable outdoor photograph.

How do you know if you have flare? On occasion, you can see it through your camera’s viewfinder, easiest by toggling your hand in front of the Sun, then out, then blocking it again, to see if you notice a change in the scene. However, the best or most accurate way to see if you are you getting flare is to mount your camera on a tripod, then walk around the front to see if you notice the reflection of the Sun in the front of your lens. If you see the bright white specular source shining in your lens, you have some type of flare.

Can you simply shoot away from the Sun to avoid flare? You can, but it’s not always the best alternative to create a great shot. Here is a list of five ways to shoot toward the light while keeping flare out of your shots:

1) Don your Lens Hoods: Use your lens hoods whenever possible; I leave mine on most of my lenses almost permanently. This adds some protection to the front of the lens, shading it from the Sun.

2) Be Handy: One of the best methods of blocking any light from hitting the front element of your lens is your hand. Yes, you have to be careful from having it show up in your shots (one great way is to preview the photo on your back LCD screen after you capture it), but it can be highly effective. In fact, for some scenes where I’m shooting almost straight into the Sun, a long lens hood (such as the one I have on my 300mm lens) still doesn’t block the Sun; but extend my arm out and shade the lens with my hand and the color and contrast noticeably increases when looking through the viewfinder.

3) Take advantage of natural gobos: A gobo (as they are often referred to in most studio photography) is any object a photographer may use to block a light source from causing flare. I use black cards in the studio, but in the outdoors I will use a tree, a branch, a flower, a mountain, a rock, a cloud, a hiker, anything I can to block a large portion of the Sun. Another way to insure this is to make sure your camera is placed in the shadow of an object.

4) Avoid too many filters: The more external glass (filters) you add to your lens, the more chance you have of degradation or flare to your images. Filters can also stick out farther causing the lens hood to be less effective.

5) Purchase high-quality glass: This is a bit tougher since it truly deals with buying high-quality lenses, which in turn usually means a big dent in your wallet. But it’s true- the finer the glass, the less flare your will obtain. Sometimes, depending on the final scene you desire, they may be no way to avoid flare, for example, in the case where you may want the Sun in your composition. With some top-notch lenses, you can shoot straight into the Sun without hardly noticing flare, but those are rare and expensive pieces of gear.

Finally let me say sometimes deliberate use of flare can be okay. It takes some time and experience knowing when to leave it in and when to remove it, but flare can create a mood and a feel, so a potential mistake can be a welcome addition to a scene!

Join me for my new 4-week course on PPSOP.com called “Nature and Landscape photography“: http://www.ppsop.net/land.aspx
- 4 weeks
- 4 lessons
- 4 assignments
- 4 critiques
- along with Q&A, all leading to producing better nature and landscape images!

Happy shooting!

Sean

My Facebook fan page

Hey everyone- after writing 60,000 words for my second book last year (The Complete Guide to Nature Photography - coming out this fall), as well as a few articles (Outdoor Photographer – November 2010 - on Point Reyes), and typing many many paragraphs for online critiques, I haven’t been able to blog much.

But I always add my photos, happenings, fun photo links, etc to my Facebook fan page. Check it out – “like” it – invite your photo friends!

https://www.facebook.com/mrphotoguru

Happy Shooting!

Join me on a nature shoot- December in the Sierras

For anyone interested, I’m planning to capture winter scenes in Yosemite National Park, the Alabama Hills (outside of Lone Pine) and in Death Valley sometime in December – creating new images and research for a few upcoming books and workshops.

If you are interested in joining me for three days of shooting, sunrises and sunsets, for a small fee ($250/person – 10 person limit) contact me via email.

This isn’t a planned event or workshop with a specific agenda. I’ll simply share my thoughts on photographing the outdoors while we shoot, talk about equipment tips, and so on. We’ll capture images together, you can watch how I work if you wish, see the gear I carry, and talk all about photography. I’ll also sign my Exposure book (if you bought one of my books, bring it along & I’ll sign it- and I’ll have copies with me).

We’ll have a great time in some beautiful locations.

This is something I did last January. I invited a group to join me in Yosemite to photograph for a day while I captured images for my new book on nature photography. They paid a $100 fee to join me that day, I had eight people, and they all loved the experience (thankfully)- said it was well worth it. I shared a ton on photography, but it’s a bit different since I’m shooting images (instead of a workshop where I would focus more on students and their equipment and needs).

So here’s the plan this time around. I envisioned a 3-day road trip photo shoot – first in Yosemite, then off to Lone Pine (Alabama Hills), then finally in Death Valley – one day in each (and some travel of course between locations). We could all shoot together and learn from me, just as long as the group knows I’ll be shooting as well most of the time (I reiterate this only because some think I’m solely there for them). It’s actually a great way to learn, and a way preferred by many, but again different from my normal workshops.

SCHEDULE (somewhat flexible depending on weather & how tired we all might be)

Day 1: We’d meet in Yosemite on the first day at sunrise, shoot all day ’til sunset, have dinner together & spend the night, then head off to Lone Pine (probably the next morning).

Day 2: Shoot sunrise again, drive to Lone Pine/ Alabama Hills, shoot sunset in Lone Pine/ Alabama Hills, spend the night.

Day 3: Shoot sunrise in Lone Pine/ Alabama Hills, then head off to Death Valley, shoot sunset

Day 4: Shoot sunrise, drive home

COST:

$250 per person (not including travel/ gas/ food/ car, etc) and I’d need a group of at least eight, ideally ten.

DATES:

Haven’t decided on specific dates yet, but thinking sometime around December 15th. I’m flexible – if dates worked for the majority of the group, then I’d try to work around that.

If you’re interested, contact me at:

workshops@seanarbabi.com

Thank you and Happy early Thanksgiving!

A veteran I met in my travels

A few years ago while on assignment in Southwest Florida, I wandered around Sanibel Island and J. N. “Ding” Darling National Wildlife Refuge one morning, in search of some images, and met an older gentlemen fishing. I thought he might make a nice subject fishing in the mangrove-lined refuge, and approached him.

Lee McMichen was in his early eighties, open to chat since he had been fishing for three days, casting his net without a catch. We talked a bit as I tried to figure out how I could capture a decent photograph in the harsh mid-day light. My first thoughts were all about creating an image, but as we spoke more, he shared a few stories of his life, and it became more about our personal interaction instead of producing an environmental portrait.

Sometimes, even when I’m on assignment, I stop, put down the camera, and listen. Although I might not create photos at those moments, and maybe miss memorable scenes, I believe this process brings me closer to the area I’m documenting, and in an indirect way helps me produce better overall images.

As we continued our conversation, he began to tell me about his experiences in war, and his time stationed in Pearl Harbor. You see he was on one of the four battleships bombed that morning, Lee deep in the hull when the explosions crippled the ships and the alarms to abandon ship sounded. He described his rush to escape from down below, only to have the main hatch be closed off in front of him and three others. Panic ensued as all four seamen realized the fate had been sealed, yet only seconds after the hatch closed, it reopened, and they were able to get out before the ship sunk.

After sharing this information, he didn’t talk of the joy he had at that moment, his life saved. He only spoke of all the others who weren’t able to get out. Yet because of the few seconds in his life where one sailor saved four others, he was given over sixty more years on this earth.

As we stood along Wildlife Drive, me fumbling through my camera bag, I heard him yell out – he had caught a large mullet, the first of his trip. “Looks like you are my good luck charm young man”, he said to me. I smiled, yet could only think of who his real good luck charm had been years before. You see, it’s not always the locations you dream of visiting, the adventures you hope to take, or even the images you produce as a travel photographer – it’s really about the people you meet.

Here’s to the men and women who served our country in all of our wars on Veteran’s Day. Although I prefer to follow the anti-war beliefs of many leaders such as the Daila Lama or Mahatma Gandhi, I will always honor and support our troops – those who do a job where so many lives are lost. To those who weren’t able to be saved, rest in peace, and thank you for your ultimate sacrifice.