Wonn Magazine 16 - Josh Waterson

ISSUE NUMBER #1 04.03.2016

IN THIS ISSUE

Yes, dear readers, we are in the present with a brand new, free online nature photography magazine.

ALSO CONTAINS The animal kingdom and landscapes, together with technical information.

E D I TOR S N OT E

CONTENTS

We celebrate our second anniversary today with Issue #53, 104 weeks from our founding. It’s been a delightful run, and we’d like to thank those who have stuck with us all this time, those that came along for part of the ride, and those who joined us later and are with us still. We literally could not have done this without you: we’re funded entirely by subscribers, and we rose and fell on your interest. (See next item for more about that.)

EDITO R S NOT E INT RO DUCT IO N 4

As we did last year, we’re celebrating our anniversary by producing a full-color hardcover anthology, pulling from the best stories — determined by several measures — published during our second year.The Magazine:The Book (Year Two) will be a perfect match to the Year One collection: it will sport 216 pages, a dust jacket, and an embossed cloth cover. We plan to include 29 reported stories and essays from October 2013 to October 2014.

A BO UT JO SH WAT ER SO N 6 SECT IO N O NE EQUIPMENT Learn what you need to take IR photos.

I N T ROD U C T I ON

Are we in the present, or perhaps this is the future already? - We did ask ourselves in the editorial office. Yes, dear readers, we are in the present with a brand new, free online nature photography magazine.There are several reasons why we need to take the stage in an international setting in both Hungarian and English languages.

Our primary objective is to present to the reader Eastern Europe’s natural beauty, photographers and locations. But of course at the same time we do not exclude ourselves from exploring the treasures of Western Europe and the world at large. In the first issue you can find articles about the animal kingdom and landscapes, together with technical information. We have tried to introduce the nature photography vivid manner with our team. Our tricks and tips section could be useful for the novice photographers and for advanced artists as well, providing a form of traineeship and guidance. We have embraced both youth and photographers with compact cameras as well. And by way of speciality, representing a first in the world, we are going to start a series of astro-photography which will take the reader on a journey into the mysterious and unique way of photographing the stars and galaxies.

WONN 2

8 SECT IO N T WO BEFORE YOU GO Learn what to do before you head out

10 SECT IO N T H R EE HOW TO SHOOT IR Learn how to shoot in IR

12 SECT IO N FO UR C AMERAS Learn what cameras are good for IR photography

14

WONN 3

J osh Waterson

INT ERV EIW PetaPixel: Can you tell us a little bit about yourself and your background?

About I have done work experience at John Adams where I gained the knowledge of what a graphic designer has to do and the rest of the team, just to make one box or a logo. This was very exciting as you are also able to do field work where you can go out, take photos and see what the other competition is like.

I also took part in a competition to design a poster for the Arbury carnival, which I ended up winning with my entry, this was then advertised all over Arbury and around that area. Participating in this was very fun as you had to make a combination of hand-rendered and digital imagery.

I have also done a variety of photo shoots for various clients, where i either had to stand idle by a cat walk and shoot the models, travel to various cities around the world such as Tokyo and New York to take street photography. This was great as in both of these cities, and many alike, i was able to catch some interesting and sometimes somewhat strange photos.

I also do alot of digital art for various clients, this consists mainly of concept art for upcoming block buster films, or the next big thing in gameing. I love doing this as i can almost creat whatever comes to my mind, aslong as it fits in the world that i have be chosen to help create.

This is mainly why i love art, it gives you the ability and freedom of creating whatever you want, and then it’s up to you how to want to takej that further. For example a small doodle of a small character you have created, could star in the next Pixar or Dreamworks film. Then that has the possibility how becoming recognised from all over the world. Which is crazy considering it was only a small pencil drawing and a scrunched up piece of paper that you may have considered throwing away.

WONN 4

Josh Waterson: Hah, where to begin. I’m a 25-year-old Brit who’s been to thirteen different schools in three different countries, in three different languages. I grew up in a loving family that believed that experiencing the world was a must, i had the opportunity to try all sorts of things, from playing violin for 10 years, to getting a black belt in taekwondo, to graduating from Mining Engineering in 2020. I pick up hobbies sporadically, from parkour to bartending, painting to paintball. Photography is one of the more recent hobbies that I picked up that happened to stick just a little longer!

PP: How did you first get into photography?

JW: Well, believe it or not, it happened quite randomly. In the fall of 2017, I was working in a gold mine in the middle of the deserts of Nevada, and a girl broke up with me. I figured that if I didn’t find a new hobby I’d go mad. I decided that I wanted to learn how to take photographs of the stars, so I headed off to the closest Wal-Mart and bought my first point and shoot. That was in November 2017.

PP: You seem to use a lot of different equipment in your shoots.

Can you give us a rundown of the cameras, lenses and accessories you use the most?

JW: My main camera for the last two years has been my trusty Nikon D700. I still remember switching from a D300 to the full frame sensor of the D700… it was mind blowing. I look forward to one day having a medium format, but for now I’ve just received my D800E. On occasion, I will also use a D7000 for that extra 1.5x crop factor but for now the D7000 is mainly my video camera!

Lens-wise I use whichever lens happens to be the most appropriate for the given situation. I own a Nikkor 14-24 f/2.8, 24-70 f/2.8, 70-200 f/2.8 as well as the latest 85 f/1.4G (which I’ve had great fun using).

WONN 5

E QUI P MENT

HOW TO SHOOT INFRARED

Depending on your camera, you may need a few extras too. The main accessories for digital infrared photography are a Tripod with Panhead, and an INFRARED FILTER, that will block visible light but let the invisible infrared light pass through to the camera’s sensor

Infrared photos taken into photoshop to be edited into these images.

Colour, as we see it, is only a small part of the light spectrum.

Ranging from violet to deep red it occupies wavelengths from around 380 nanometres (nm) to 750nm; shorter wavelengths become Ultraviolet, while longer wavelengths are Infrared (IR).

Although these extremities of light cannot be seen with a naked eye, they can be picked up by our camera’s sensor. For conventional photography this can be detrimental, and so manufacturers equip their sensors with UV and infrared filters, to protect against them. However, for creative uses, infrared light especially can produce some stunning effects.

Infrared images are easily recognised by their radiant white trees and jet-black skies, either in black and white, or with strange colour casts. This is because objects respond differently to infrared light than they do to visible wavelengths: plants and trees reflect far more, making them appear to glow, while water and skies reflect very little. Traditionally infrared photography was a tricky business; infrared film was difficult to handle

– easily fogged in – and results were highly unpredictable but, thanks to the instant previews of digital cameras, the process is now much easier. daylight

In this feature we show you how to achieve eerie results like these from your camer WONN 6

Sed ut perspiciatis unde omnis iste natus error sit voluptatem accusantium doloremque laudantium, totam rem aperiam, eaque ipsa quae ab illo inventore veritatis et quasi architecto beatae vitae dicta sunt explicabo. Nemo enim ipsam voluptatem quia voluptas sit aspernatur aut odit aut fugit, sed quia consequuntur magni dolores eos qui

Preparing For Shooting wThe common solution is to use an infrared filterEven if you can see infrared light with your camera, without some additional preparation the chances are you won’t get very spectacular results. The common solution is to use an infrared filter on the front of your lens. These are very dark WONN 7

red in colour and block out all but the infrared light to your sensor. This causes one main problem for photographers, in that with the filter on you can’t see anything through the viewfinder. One solution to this is to compose first and add the filter at the last minute.

Some specialist companies offer a service to convert

your camera for infrared use.

The sensor can be filtered to allow just IR or IR and visible light, while leaving you with a regular view through your viewfinder. This is not easily reversible though, so it’s best not to use your brand new model. Choosing your subject For the best results from infrared you should aim to

include some foliage to give the trademark white glow. You don’t need bright sunlight – in fact a cloudy or overcast day can achieve the best results – but shooting in the summer provides more greenery and ensures there’s plenty of chlorophyll in the leaves. Try to contrast your greenery with something man-made:

BE FO RE YO U G O

Infrared image processed in photoshop and made into a black and white image.

Checking Your Camera for IR Filters The chances are your camera will have some form of infrared protection on its sensor, but depending on the model it should still let some IR light through. The easiest way to check is using your standard TV remote control. Almost every remote uses infrared to send signals back to the device, so by pointing it at your camera and pressing the buttons you can check if your camera can see it. If your camera has live view or you’re using a compact, simply watch the screen on the back and look for a red dot on the end of your remote. Otherwise, sit your camera on a tripod and take a picture while pointing and pressing the remote towards the camera. Try doing this in a darkened room for the best results – you may need to ramp up your ISO or use a slow shutter speed. If you can see a red dot, your camera can see infrared light, and you’re good to go.

Test your camera Can your camera see infrared light? Try the remote control test (see facing page), and for best results consider having an old camera converted or use the Sigma SD14.

Get an IR Filter To block out all visible light from your sensor, for true infrared results (unless your camera has been converted) you’ll need an IR filter over your lens – see next page.

Set white balance If you want your plant life to glow white in your image, set a manual white balance value before you start shooting by pointing at some green grass with the filter on.

Same image as the one above, but taken without the infrared filter and edited in camera to look more vibrant and saturated.

Removing the filter Removing the filterSigma’s SD14 has a removable infrared and dust blocking filter mounted right behind the lens mount. Simply remove the lens and push the filter up to release. Most other cameras need professional conversions to remove this filter.

Have your camera Converted If you’re serious about infrared and want to take more than the odd snap, you can always have your camera specially adapted to see more infrared light. ACS is currently the only company in the UK offering a service to convert your camera for infrared use.

Starting from just £290, the sensor can be filtered to allow just IR or IR and visible light using a clear Quartz filter. With the infrared WONN 10

filter on your sensor rather than the lens, you can then continue to use your viewfinder as normal, and exposure times remain short enough to handhold. This process means your camera will then only take infrared shots but if you have an old DSLR that you no longer use, sat in your draw at home, this could give it a new lease of life.

Dedicated IR cameras Not all cameras have been designed to resist infrared light. These three models (right) have been specially designed to include the longer wavelengths for specialist use such as astronomy and forensic work, making them ideal for IR fans. They all still allow visible light through, though, so you would still need to use an IR filter for true infrared results.

WONN 11

How To Shoot Infrared

Step One

Adjust in software

Adjust in software - Step One Your infrared image will look very red or pink to start with. First, open the image into your Raw converter and adjust the white balance to give you the most detail in the image. Here, 6300K was about right.

All digital infrared images will need a little bit of a tweak in editing software to give an effective result. Apart from adjustments to the white balance, images will normally need a boost in contrast which is best done using the Levels palette. To achieve a mono infrared, convert to black & white by desaturating the image and then adding contrast (see steps below), or a dedicated black & white conversion mode, as features in recent versions of Photoshop CS and Elements. If you want to keep your image in colour it can help to add some extra saturation to your colours, and some more contrast for an extra punch. For more surreal colours you can use the Channel Mixer in Photoshop and swap the Red and Blue channels by setting the Blue channel to 100% Red, and the Red channel to 100% Blue. Achieving colour results that you’re happy with can take time, and lots of experimentation with settings.There’s no right answer, and don’t be afraid to make mistakes – make notes though, as you may stumble on success.

Step Two Adjust in software - Step Two To remove the colour from your image do Image>Adjustments>Desaturate (or Ctrl+Shift+U on the keyboard). You will now have a rather lacklustre grey image but this can be easily addressed.

Step Three Adjust in software - Step Three To boost the contrast, go to Image>Adjustments>Levels (or Ctrl+L). Now drag the left and right sliders in to meet where the histogram starts to rise. Also move the centre slider slightly to your liking.

Faking Infrared with Software Where there’s a technique, there’s a trick, and most editing software provides a method of simulating an infrared effect by boosting the greens and yellows with a mono conversion to make any plant life appear to glow. Photoshop does this from its dropdown menu of presets in the Channel Mixer, while others, such as Corel Paint Shop Pro X2, feature it as a filter.

Step One Faking infrared with software - Step One To make the conversion, first go to Image>Adjustments>Black & White. If you have an older version of Photoshop, or alternate software, you can use your Channel Mixer for similar results.

Step Two Faking infrared with software - Step Two Select Infrared from the dropdown menu.This will give you a black & white conversion with boosted levels in the yellows and greens to give extra brightness and an apparent glow from any plant life.

Step Three Faking infrared with software - Step Three Now you can manually adjust the levels as done here to fine-tune your infrared effect. Boosting the Reds and lowering the Blues helps to darken the sky and whiten up the greens.

Where there’s a technique, there’s a trick, and most editing software provides a method of simulating an infrared effect by boosting the greens and yellows with a mono conversion

Where there’s a technique, there’s a trick, and most editing software provides a method of simulating an infrared effect by boosting the greens and yellows with a mono conversion

WONN 10

WONN 11

3. How To Shoot Infrared - Before You Go 5. How To Shoot Infrared - Infrared Photography Equipment Page 4 of 5 - Show Full List

Hoya R72

C ameras to C onsider £25 This is the filter of choice for most infrared shooters. It’s cheap, with prices starting at just £25 for the 52mm, and it delivers impressive results. However, as it allows light with wavelengths from 720nm some claim it’s not a true infrared filter and you should use the more extreme R90 (starting at 900nm) but this requires even longer exposure times.

Tiffen 87 £75 The Tiffen 87 filter claims total visible light absorption – only letting infrared through – and comes in a range of sizes from 49mm to 77mm threads. Prices for this filter are, however, significantly higher than the Hoya R72.

Manfrotto 190XProB

Fujifilm IS-1 Infrared Photography - Fujifilm IS 1Based on the popular bridge camera, the FinePix 9600, the nine-million-pixel sensor in the IS-1 records both visible and infrared light.

Designed for forensic and scientific uses, it includes an

Fujifilm IS Pro Infrared Photography - Fujifilm IS ProThe IS Pro is a modified version of the Fujifilm S5 Pro DSLR and offers an extended range of light sensitivity that spans into both ultraviolet (UV) and infrared (IR) wavelengths, covering roughly 380nm to 1000nm.

This is a tool designed mainly for professional scientific use and the relatively high price for this model may put off amateur users.

The technology in this camera is now looking pretty.

WONN 12

Sed ut perspiciatis unde omnis iste natus error sit voluptatem accusantium doloremque laudantium, totam rem aperiam, eaque ipsa quae ab illo inventore veritatis et quasi architecto beatae vitae dicta sunt explicabo. Nemo enim ipsam voluptatem quia voluptas sit aspernatur aut

Canon EOS 20Da Infrared Photography - Canon 20DA(RRP in 2005) This variation on the popular EOS 20D was released back in 2005 specifically for astro-photography. The removal of the low pass filter increased the transmission of light at the wavelength 656nm to improve capture of astronomical features such as the reddish nebulae, though, according to Canon, not the wider IR wavelengths. The technology in this camera is now looking pretty

Sigma SD14 Infrared Photography - Sigma SD14Even if you’ve never considered one of Sigma’s DSLR bodies before, you may be interested to know that this, now budget-priced, model has its IR filter mounted at the WONN 13

Accessories If you’re using an infrared filter on your lens you’ll need a much slower exposure. It’s not uncommon to have shutter speeds of over eight seconds, so handholding is out of the question. To ensure a sharp

Hoya / Tiffen Infrared Photography - Infrared FilterFrom £25 Filters are the traditional and still easiest way to achieve infrared effects.

Placed in front of the lens they block out all but infrared wavelengths, to achieve a pure

Infrared Photography Manfrotto 90 XB£82.50 (plus head) The 190 is a sturdy and affordable series of tripods that have recently been redesigned to allow the centre column to be swung round into a horizontal position without the need to dismantle or remove it first. Add the 486RC2 ball head (£43) for a perfect combination.

Hama Remote £20 This simple wired remote offers an affordable alternative to manufacturers’ own brand models and comes in fittings for almost every DSLR. It features a two-stage press for focusing and shutter release and can be locked down for long bulb exposures. The technology in this camera.

C L O SI N G N OT E I would like to send great thanks to all the contributors of this month’s photography issue who’s thoughts and wise words helped illuminate the capabilities and opportunities within our community. We are a nation buzzing with intellect, potentials, and resources. We seize the available prospects and excel.

All of us, young and old, face every occasion with vitality, strive for success and look opportunity in the face for it only comes knocking once. Your views and opinions on our “Think Aloud” topic; pertaining to the notion of fixed working hours alongside the other subject matters are dear to us.

WONN magazine is your magazine; so once again, this is your project, your business, your life. Take charge and own it!

WONN 14