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The Venice Rookery
Love is in the air at the Venice Rookery. The birds (and the bees) are there doing the thing they are so famous for, and you can take pictures of it! Seriously, though, the Venice Rookery is an ideal spot to photograph birds mating, building their nests, fighting for territory and feeding their chicks. It's a requisite for bird photographers, and sheer delight for the rest of us. A rookery is a breeding ground for certain birds and animals. At the Venice Rookery, you'll see snowy egret, great egret, anhinga, great blue heron, tricolor heron, night heron, and the like. Active during the months from November to April, the birds are most photogenic showing their breeding colors in February and March. HOW TO GET THERE The Venice Rookery is located in a Sarasota County park within the city of Venice, Florida, about half way between Tampa and Fort Myers on Florida's west coast. It is monitored by the Venice chapter of the Audubon Society. To get to the Rookery, take I-75 to Jacaranda Boulevard (Exit 193). Go right (north) on US Highway 41 until you see the State Highway Patrol Office located at 4000 S. Tamiami Trail. Turn left just past the Office, as if you were going there, but instead follow the road all of the way back until you reach the park in about a mile. Parking is to your left. It is free, plentiful and convenient to the Rookery on your right. There is no entrance fee. The Venice Rookery itself is a small island in a lake, which forms a natural barrier. The island is full of small trees and bushes where the birds build their nests. They fly to surrounding areas for the good nest-building sticks and food but soon return, giving plenty of opportunities for flight shots. When the chicks are born, you will view the wonders of nature as the parents work together to feed them. You also get to see some strange behavior when the anhinga chicks stick their heads all of the way down the throats of their parents to get food. HOW TO GET YOUR BEST SHOTS The best photography can be had during the morning light, when the sun is over your shoulder. The birds also tend to be more active in the morning. While you can hike around the perimeter of the pond for the afternoon light, the photography access is limited and difficult. Instead, stay on the shore next to the parking lot for dramatic silhouette shots in the afternoon. You don't need to worry about a blind at any time because the birds have become habituated to people, who are separated from the nests by the pond. All you need to do is stand on the shore along with the other photographers and birders, and fire away. Although the area is small, it hosts a variety and a tremendous amount of bird activity. For the best shots, you'll need big glass of 500mm or more to photograph the birds on the island, especially the chicks. You can get by with less for the flight shots or for the few times that the birds get close to shore. Discover the place where some of the greatest bird photographers go. If you have big glass, or just want to watch tons of great bird activity in one place that is easy to get to, the Venice Rookery is the spot for you. MISCELLANEOUS The park amenities are minimal. It consists of the parking lot, the pond and portable toilets. There are no food services or attendants. However, because the Rookery is in the town of Venice, there are plenty of facilities close by. A gas station with a mini-mart full of vital snacks is across the street from the Highway Patrol Office. Other restaurants and facilities can be found on US Highway 41, which is a main access road through the city. Some options are Applebee's Neighborhood Grill (4329 Tamiami Trail S.), Bob Evans Restaurant (4080 Tamiami Trail) and the Alpine Steak House (4520 S. Tamiami Trail). Because the Rookery is in the city, there are plenty of lodging options. Make your reservations in advance, especially during the spring break weeks. The entire west coast of Florida is a hot spot during that time. If you don't make your plans in advance, you may have to drive for hours to find a place to stay. Some options are the Days Inn (two miles away) http://www.daysinnvenice.com/, the Motel 6 (4 miles away) http://www.motel6.com/reservations/motel_detail.asp?MotelId=0364&state=FL&full=Florida&city=Venice, the Best Western Ambassador Suites (4 miles away) http://www.bestwesternflorida.com/details.cfm, and the Holiday Inn (4.5 miles away) http://www.ichotelsgroup.com/h/d/hi/1/en/hd/srqvn?irs=null. The area is not very well shaded, so bring your sun block lotion and a wide-brimmed hat. You also may want to bring a lawn chair to take a quick break and snacks to keep you shooting throughout the morning hours. The photographic opportunities are so great; you don't want to waste time with extraneous items. Another bonus of the Venice Rookery is its close proximity to many other prime places for bird photography. They include the Ding Darling National Wildlife Refuge on Sanibel Island http://dingdarling.fws.gov/, the Six Mile Cypress Slough in Ft. Myers http://www.captiva.com/stateparks/sixmilecypress.htm, the Corkscrew Swamp Preserve in Naples http://www.captiva.com/stateparks/corkscrew.htm, and Ft. Desoto Park in Tierra Verde http://www.pinellascounty.org/park/05_Ft_DeSoto.htm. All of these locations are so great for bird photography, they deserve their own article. Copyright 2005 Carolyn E. Wright --- ABOUT THE AUTHOR --- Carolyn Wright is a professional photographer with an active portrait, event and nature photography business. Shooting for 25 years, her award-winning images have been used in books and corporate marketing materials. Her wildlife photos will be included in the upcoming book, "Captivating Wildlife - Images from the Top Ten Emerging Wildlife Photographers" by Scott Bourne and David Middleton. She also is working with Scott Bourne on "Wolfscapes," a photo book documenting the beauty and strength of wolves. Her wildlife images can be viewed at http://www.vividwildlife.com.. On the faculty of Olympic Mountain School of Photography, Carolyn's passion is enhanced when teaching photography. She enjoys writing and speaking on the subject, as well, and is a regular columnist for PhotoFocus, an online magazine for serious photographers.
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The purpose of this document is to provide a basic digital work flow for working with RAW images that is camera and system independent. Most modern digital SLR cameras, and some point and shoot models, have the ability to record the RAW data from an exposure, allowing the photographer to process the images as they see fit. This can be a daunting task, especially for those who don't have a work flow in place to handle the images from the camera. The following steps will take you through the process of setting up your own RAW digital work flow. Work flow Step 1: Compose and Expose Your digital work flow begins before you ever sit down at your computer. One of the best things you can do to make your work flow more efficient is to get as much of your image perfect in the camera as possible. Many digital photographers have fallen into the "I can fix it on the computer" trap. This costs you time and money. The more time you spend "fixing" a photo after you've tripped the shutter, the less time you are spending with clients. Here are a few tips to help reduce your workload from the time you make your exposure: Set your white-balance to match your scene. If you get the proper white-balance in the camera, you won't have to adjust it later on the computer. See your camera documentation for how to set a custom white-balance. Remember to set your white balance whenever you change lenses, or the quality of light. If you change modifiers, or lenses, change your white-balance as well. Expose for the highlights. Since digital acts similar to slide film, its easy to accidentally blow your highlights. By exposing for the hot parts of the image, you'll save yourself some time in the long run. Scan your frame. Get in the habit of doing a top-to-bottom scan of your frame before you trip the shutter. This will help you avoid stray hairs, lights in your frame, reflectors being visible, and anything that you might have to clone out of the image later. Work flow Step 2: Importing and Backing Up Your Images There are many ways to get your images from your camera to your computer. Some people use a card reader that will read the images off the memory card from the camera. Others connect the camera directly to the computer and import the images directly. No matter how you get the images to the computer, your first step is to setup an organizational structure for the images and create a backup copy of the RAW files for safety. First, create a folder to store your image files. In our studio, we use the folder name to organize our images. For instance, let's say we are importing images from a portrait session with Jane Doe that took place on January 1st, 2005. Our folder name for this session would be P_2005_DoeJane_0101. If we also did a portrait session with John Doe on the same date, our folder would be named P_2005_DoeJohn_0101. This allows us to keep our images organized in a way that we are familiar with. Use whatever folder structure you like, as long as it helps you keep things organized. Next, we will create the folders under our P_2005_DoeJane_0101 folder that we will use during the course of processing the images. We create the following folders: RAW, WORK, and JPEG. The final file structure looks like this: -+P_2005_DoeJane_0101 -|-RAW -|-WORK -|-JPEG The RAW folder holds our RAW image files, the WORK directory holds the processed TIFF files where we will do all of our editing, and the JPEG folder holds the completed files, ready to be uploaded to the lab. Copy the images from your camera to the RAW folder using whichever method you prefer. As soon as this initial copy is complete, make a backup copy of these images. Some photographers backup to writable CD-ROM or DVD discs. Other photographers backup to a separate backup hard drive. No matter what method you choose for your backups, they are CRITICAL. Make sure you can recover your images if something should happen to your memory card. Work flow Step 3: Verify Your Backup Your backup copy of the RAW images files is important. Take a moment to verify that you can read the images you copied to your backup medium. Once you have verified your backup medium, you may proceed with the work flow. Work flow Step 4: Culling the Herd Converting the images you never want the client to see wastes time and money. Use your preferred image browser to go through the RAW images and delete any that you know you won't use. Don't worry about deleting the wrong file, that is why we made a backup. If you delete a file you wanted, just bring it back from your backup. Once you have selected your "keepers" from the RAW images, it is time to move on to the next step. Work flow Step 5: File Conversion Most cameras come with software specifically designed to convert the RAW image data from its native format into TIFF files, JPEG files, or some other format that is compatible with the popular image editing software. At our studio, we convert the RAW images into 16-bit TIFF files, because we like to have the maximum amount of data available for editing and processing. Your needs may vary. There are many articles on the Internet that deal with the different file formats and the pros and cons of each. For the purpose of this tutorial, we are going to assume that the files are being converted to 16-bit TIFF files. We now open the software that came with our camera and set it to convert our RAW image data to 16-bit TIFF files, and save them in the TIFF folder we created in Work flow Step 2. This step can be time consuming, so we often go out to eat while the images from a session are converting. Once the conversion is finished, you will have a folder of 16-bit TIFF files to do editing and retouching on. We use TIFF at our studio because it is a loss less format. That is, we can save the file as many times as we like without degrading the image quality. JPEG is a lossy format, every time you save a JPEG file, you lose a little more data to compression. Work flow Step 6: Editing and Retouching This step of our work flow is where the real work is done. You will open each TIFF file in the image editor of your choice and make sure your colors and exposure are correct, the crop is the way you want it, and the image is ready for printing. At this point you will make any edits to the image, such as changing the crop, converting it to black and white, or doing any needed retouching. If you use the TIFF file format, you can save as many times as you need to during this process without having to worry about losing image quality. Once editing and retouching is done, save your work file and move on to the next step. Work flow Step 7: Saving the Production File One of the cons to working with 16-bit TIFF files is that they take up an incredible amount of disk space. Once we have reviewed the images with the client and ensured that no further edits/retouching need to be made, we convert the TIFF file to a JPEG production file for archive purposes and sending to the lab. Open the TIFF file in your preferred image editor and save your file as a Baseline Level 10 JPEG in the JPEG folder we created earlier. Why not save as a Level 12 JPEG, you might ask. When printing your image, there is no discernible difference between a level 10 JPEG and a level 12 JPEG. Try it for yourself and see. Once your files are saved as JPEGs, move on the the next step. Work flow Step 8: Backup Your Production Files This is a good time to make a backup (either to CD/DVD, or to another hard disk) of your JPEG production files. This ensures that you have a copy of all your hard work and if something should happen to the original files, you know you have a good backup. Work flow Step 9: Cleaning Up the RAW and Work Files Once we know we have a good backup of our production JPEGs, we delete the entire WORK folder and the entire RAW. This frees up the large amount of space that TIFF files require and leaves us with a manageable set of files from the job. However, we have already made backup copies of the RAW files and the JPEG files, so if we ever need to re-edit an image, we have the materials to do so. Work flow Step 10: Final Touches At this point our production JPEG images are ready to print or send to the lab. Make any final adjustments to the image size and print or upload your images. Final Thoughts With an efficient digital work flow, handling large amounts of digital images is easy and relatively stress free. I hope this tutorial has given you some ideas on how to best setup your own RAW digital work flow. To Camcorder Enthusiasts: What Does Reality TV Really Mean? - Great News for the Camcorder User! Reality TV is experiencing an upsurge in popularity and its presence has conditioned the public's acceptance of a number of things: Travel and Scenic Photography 101 When you're driving through the mountains somewhere, and you notice a car parked half off the road and some guy leaning to the left to avoid a branch with his Rebel 2000 camera in the act of focusing, you've met me. I do this because, to me, a trip isn't fulfilling unless I've preserved that beauty for posterity. I'd like to share some of the techniques that make scenic photography such a wonderful artform - simple, yet elegant. First off, equipment. As much as the cheapo disposable camera beckons, get real. These cameras have fisheye lenses which I call "spam" lenses. They cram everything in, with equal blurriness and boringness. Good photos are sharp, unless you use blur for artistic effect. Sharp comes from an adjustable lens. It can be a fixed lens or a zoom, but it must focus specially for each picture. Fixed lenses are limiting for scenic pictures, where to frame the shot you may need to move long distances. Imagine using a fixed lens on the Washington Monument, when you're half a block away! Zooms get my vote, even though they often don't have as wide an aperture, which limits their capabilities in low light situations. Practically speaking, an SLR is the absolute best. They are lightweight, and can be used with top quality lenses. Film SLRs tend to be less expensive, but have the limitations of film, meaning you have to get it developed and so forth. Digital SLRs are VERY expensive, so for the budget conscious either go with a film SLR or a high quality basic digital camera. With digital, resolution is also a critical factor, so look at the specs before you buy. OK, we've got the camera, emotions are running high, and that's great, but not too great! Sometimes I find a spot that is so wonderful, I start shooting like a madman, only to be disappointed by the pictures. What happened? Emotions. When you experience a place, there are sounds, aromas and breezes as well as the visuals of the spot. Needless to say, you can't photograph all of these elements, only the visual. When overwhelmed by the spectacle of a scenic hotspot, we are often overwhelmed by all of these elements. So what to do? Look through your camera. The viewfinder does not lie (usually). Try to see what you are looking at as the finished picture. Most people perfunctorily take pictures, hoping that somehow the shot will come out great. If you wonder how the pictures came out when you are on the way to the drug store to get them, you're doing something wrong. At the moment you click the pic, you should know exactly what you will get. (Of course with digital, that's not a trick!). Now, I was a tad dishonest in saying that you can't capture all of the elements of a scene. You can hint at them. For starters, motion. Yes, even in a still picture, there is motion. Something happened before, during and after your picture. In a mountain vista scene, you may find something that hints at motion, whether it be a branch of a tree that has been swaying in the breeze, or a river flowing through the valley below. These add a sense of motion. Then there's the "rule of thirds." When you place the main object of the picture smack-dab in the middle, it is static and boring. Place it one third of the way from either side, and you IMPLY motion. Put the horizon in a landscape photo a third of the way up or down, not across the middle. Remember, when a person looks at a picture, their eyes move. You want to frame your photo to help that movement. If you can find some lines in the scene, such as a skyline, cloud formation, path through the forest, etcetera, use it interestingly, and with the rule of thirds to draw your viewer's eyes into the picture. Avoid "summit syndrome." You get to the top of Mount Washington and shoot the majestic vista. Great. The pictures come out ... boring! How? No PERSPECTIVE. Big vistas will be flat unless you have an object in the foreground, such as a rock or a tree, to give them perspective. Then the eye really grasps how big this scene is. People enjoying the view is a real winner, because the viewer may identify with their emotions, giving the image real impact. Cheese! Yes, you do have to take the family photos. It's obligatory. But when you do, make sure that they show the LOCATION of the photo. Otherwise, you might as well do it on your driveway. Frame the scene in context, with landmarks as part of the picture. Find a way to tell as story in the picture, such as little Sara climbing up the rocks by the waterfall. Finally, any element in the picture that hints at more senses than just the visual will make it remarkable. Actor headshots for example, tell a story about the subject. You can almost hear them saying their next lines. If you photograph a garden, the viewer may experience the aroma of the flowers. A tourist street with an accordion player on the corner may have your amazed friends whistling "Dixie." In summation, picture taking on travel is recording the experience in a satisfying way. Use motion, perspective, sensory, storytelling and so forth, to bring your photos to life. Oh, and needless to say, make your job easy and go to great places! See you at the overlook! Wedding Photography: How to Become a Successful Wedding Photographer Once in while I receive e-mails or phone calls from aspiring or beginner wedding photographers asking me for advise on how to become successful in the wedding field. My first question is always what their motivation is to become a wedding photographer. Some will reply that they heard from somebody that it is easy money, or that they got a cool camera that takes great photos or that they would like to make some money on the side etc. While it is true that wedding photography can be a very profitable business achieving success in the wedding industry is not just a matter of getting a camera and start shooting. Wedding photography involves artistic talent, human sense, complete mastery of photographic techniques, business knowledge, and a strong desire to learn and deliver the best to the wedding couple. A Guide to Disposable Digital Cameras Disposable Cameras (also called single-use cameras) first came on the market as film cameras. You would take the entire camera back where you bought it and they would crack it open, take out the film and process it, resulting in photos that were virtually indistinguishable from photos taken with a more conventional camera. Now, following the trends in conventional cameras, there is a choice between using film or digital disposable cameras. Safari Wildlife Photography Top Four Tips I've been practising wildlife photography on safari for over twenty years now in places like the Kruger National Park, Chobe, Okavango Delta, and Hwange game reserves and these four tips have been indispensable in making sure that I get some decent wildlife photographs. Guidelines for Printing Great Photos at Home So you have this great digital camera and you've taken lots of great photos. Now what? Well you could go to a store and have them print your images for you, but isn't that what you did with film? The point of all this great digital technology is that you can print your own photos at home without having to pay someone else to do it. Here are some tips to help you get started: Get Closer to Your Subject Almost any shot will look better if you take two or three steps closer to your subject. Filling the frame entirely with your subject will make a terrific difference to your photos. Underwater Photography: The Wonders Under the Sea The world of photography is an amazing one. It's been with us for quite a while now but it is constantly changing. Cameras are changing and improving. Methods of developing are changing and improving as well. We have digital cameras that allow people to take a view of their pictures immediately without traditional developing. Another change in the world of photography is underwater photography. How To Avoid Or Reduce Red-Eye Photography with the aid of a digital camera is beyond doubt very fascinating. However, it also has many a nooks that the users of the digital camera must be aware of and also must be well educated to deal with in order to produce good photographs worth the most prized digital camera. Such a concept is that of the red eye! In order to understand what this red eye actually is, a little detailed introspection is necessary. Basically speaking red-eye is a function of at least three things, they are firstly, ambient level of light because stumpy light level causes the retina of the person to be photographed to open wider to admit more light thereby divulging open the iris, which is the primary part that reflects the red light hence giving the appearance of red eyes for the subjects. Also secondly the younger the person being photographed the wider remains the retina and hence the greater the effect of red eye in the picture. Thirdly, the reflection angle of the flash plays a vital role, as the light is recoiled back to the digital camera and the closer the incident light beam is to this reflected light beam, the greater becomes the red eye effect. To prevent this instruments such as flash brackets are useful to make the flash a bit removed from the propinquity of the lens. Thus the red eye effect is somewhat revealed till this part of this discussion. Now is the time to look into a greater detail in order to analyze the various aspects of the red eye effect and also find out ways of reducing the problem as far as possible. The Arizona Desert Museum The vast beauty and richness of the desert can be easily seen in one place in Tucson, Arizona. Known as the Arizona Sonora Desert Museum ["Desert Museum"], this gorgeous and convenient site is host to a cornucopia of plants, birds and animals native to the desert. Home to more than 300 animal species and 1200 plants in natural settings, it is a photographer's paradise.
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