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AND TALKING ABOUT VIDEO, WE HAVE THE CLASSES TO GET YOU UP TO SPEED ON HOW A VIDEO SHOULD BE SHOT AND EDITED. CHECK OUT OUR VIDEO CLASSES AND WORKSHOPS

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There have been video cameras in the market for a great many years, and each year they get better and better, have more features, and capture the memories of our lives in real-time motion.

There have been still cameras in the market place for a much longer period of time, and they have enabled us to freeze the motion, creating image stopped in time, to reflect the different points of our lives.

It was inevitable that the day would come that these two technologies which have been designed to capture our lives and the world around us, to come together in a single high quality imaging package. It is now a reality. Still camera manufacturers are now incorporating High Definition Video in some of their camera models and the list is growing.

HOWEVER, THESE HDSLR CAMERAS WHICH IS THE NAME THEY SEEM HAVE BEEN GIVEN ARE LIGHT YEARS AWAY FROM EQUALING A TRUE CAMCORDER. THERE ARE JUST SO MANY FEATURES AND POSSIBILITIES THAT CAMCORDERS OFFER THAT THE HDSLR DOES NOT AND AT THIS TIME AND PROBABLY FOR SOME TIME TO COME THE HDSLR CAMERAS WILL NOT BE ABLE TO PERFORM LIKE A TRUE CAMCORDER/VIDEO CAMERA.

That said, it is important whether you are using a camcorder or Hdslr camera, that you learn how to shoot, how to process, and how to put your total story together.

Still photographers, because of generations of use have developed different levels of expertise in dealing with still images. Some have not, but for the most part many have, and this has been possible in part because of all levels of photography and image processing education available today for digital imaging.

Video education has not been that accessible, and because of that most people using this form of media simply shoot the video, but have little experience in setting up the advanced story, little experience in processing and editing that video. A large percentage of people who shoot video do so without first planning out the STORY that the video is supposed to convey. This is where a big difference comes in between shooting a still and shooting a video. The methodology is very different and is something all of us have to take the time to learn.

Blue Ridge Workshops has recognized this need early on. That is why we have established a whole company division dedicated to the education of video and multimedia presentation. CLICK HERE . In order to do this we have brought Tom Sullivan, a well known video educator, to specifically deal with the education of video by providing in the field workshops. He will take you from the advanced class room studies and work with you to apply those studies to real life in the field situations. Learn the right way to either use these technologies by themselves or in combination to produce some incredible multimedia presentations. This in no way diminishes your still photography endeavors, but elevates your creative abilities with these combined technologies. It does not matter if you are only wanting to learn about camcorders. These workshops will get you through all the aspects of doing your video correctly.

So if you have a video camera, or the newer HDSLR cameras (as of this writing) such as Nikon D90, Nikon D300s,Nikon D5000, Olympus E-P1 OR E-P2 PEN CAMERAS, Panasonic GF1, GH1 or Canon 5D Mark II, Canon 7D, EOS Rebel T1i EF-S. While I may have left out a few models, and I apologize for that, these cameras mentioned are the most popular and are shooting either 720p or 1080p Hd video. Some are offering both.

What is important is to learn the technology early, now, and understand the differences between the resolution standards, the video formats and how to convert and edit different formats, how to prepare and tell the story you want to convey, how to edit a video, how to incorporate sound tracks and get the best SOUND quality when shooting a video, and the list goes on. GET READY NOW BY COMING TO OUR WORKSHOPS

GRAY CARDS STILL REQUIRE THE USE OF GRAY MATTER TO DETERMINE HOW GRAY YOUR 18% GRAY METER REALLY IS

The neutral gray of the meters in your cameras and for hand held meters has been spoken about for years and years as being 18% gray.

That fact has been engrained in our heads for a very long time, but in reality these meters are actually using approximately 12 to 13 percent as a neutral gray standard for a long time. But if you have ever used a KODAK 18% GRAY CARD, you will find that in the instructions that Kodak recommends you adjust your meter reading by approximatelky plus (+) by .5 stops 1/2 of a stop for proper exposure. That actually corresponds to what meters are actually reading.

So how did all the camera specs and information we have recieved over these many years get translated to 18 percent gray. Good question.

I think what is unfortunate is that a great many accept what a meter tells them as gospel, but like anything else let's consider that the 18 percent factor is a starting point, AND THE GRAY MATTER THAT WE ALL POSESS IS TILL BEST FOR THE ULTIMATE FINAL AND CORRECT DECISION.

DON'T LOSE SIGHT OF THE FACT THAT YOUR DIGITAL SLR CAMERAS AS WELL AS YOUR POINT AND SHOOT CAMERAS HAVE ADDITIONAL CAPABILITIES

I still find it incredible that some photographers and those who want to be involved in photography feel that the camera and camera system they own or are going to own can make the whole difference between excellent photography and so, so photography and that the camera even on its own can make the difference.

Not true, not true , not true. The camera and the lenses and all of the accessories are no more than tools and if you do not master those tools through use and through people who can teach you, then the camera in the long run will only provide you with mediocre results.

Cameras today, coupled with very good optics provide the shooter with an incredible range of in camera adjustment and creative control, but most photographers generally never take the time to make use of what is directly in front of them.

Take a class. Get to a Blue Ridge Workshop and learn about what your equipment can do coupled with your own personal visions.

Hey Baby - THERE IS JUST THE RIGHT LENS BABY WAITING FOR YOU - ENHANCE YOUR OWN ARTISTIC TALENTS WITH THIS CREATIVE LENS SYSTEM

I have probably owned, no that is wrong. I have owned every lens baby device that has come to market in recent years, and have had them for several brands of cameras. I recenlty purchased their latest incarnation called the COMPOSER, which has really simplified the lens baby concept making it much more user friendly. I have everyone of their interchangeable optics including the new fisheye and softfocus lens and each of them represents a different creative direction.

I use the lenses on my Nikon D700 and D5000 with the composer / Nikon mount. But the real fun began for me when got the Olympus Penn E-P1 and now the E-P2. Here I am with these really compact interchangable lens cameras, with a MICRO FOUR THIRDS TO NIKON ADAPTER, mounting the COMPOSER lens holder, and working with the Live LCD and controling and watching the lens baby effects as they take place. I could go on and on about the lens baby system, but nothing works better than getting it right from the horses mouth.

THERE'S DEEP SNOW, BELOW FREEZING TEMPS. JUST REMEMBER, BEARS HYBRINATE, CAMERAS DON'T HAVE TOO AND NEITHER DO YOU

Yes of course it's wonderful to get out and shoot the glistening fresh snow in the city streets and mountainous landscapes but a great many people don't like the idea of freezing their buns off, are getting wet and chilled on below freezing winter days, but that should not keep you from expanding your creative photography aspirations.

Turn these cold and blue days into indoor sunshine. It's easy to set up a portable lighting studio to work on macro photography for thiings that around you.

THE LINKS BELOW WILL DIRECT YOU TO ARTICLES ON THE LUMINOUS LANDSCAPE WEB SITE AND WE HOPE YOU FIND SOME OF THEM USEFUL

THESE ARE ALL GREAT ARTICLES FROM THE LUMINOUS LANDSCAPE SITE. SOME ARE A LITTLE DATED BUT STILL CONTAIN VERY USEFUL INFORMATION

Understanding Graduated Neutral Density Filters – how to use them in the field. An alternative to HDR

Understanding Aspect Ratios and the Art of Cropping – squares or rectangles, the choice is yours

Understanding Soft Proofing – using your profiled monitor and printer to really see what you're going to get

Understanding Printer Colour Management — the proper settings for using profiles

Understanding Raw Files — whether to choose to shoot in raw or JPG format, and why

Understanding Local Contrast Enhancement — a simple technique for improving print contrast

Understanding Contrast Masking — a simple Photoshop technique for opening shadow areas and reducing contrast

Understanding Digital USM — what is the Unsharp Mask and what does it do?

Understanding MTF Charts — what is MTF, and how to read lens charts?

Understanding Histograms — how to read the digital camera's most useful exposure evaluation tool

Understanding Digital Sensor Cleaning — the why, how and tools required

Understanding Digital Workflow — suggested steps and settings to use when working with a digital SLR

Understanding Mirror Lock-Up — a technique for creating vibration-free sharp images

Understanding Medium Format — a primer on the jargon, and the equipment available

Understanding Depth of Field — a tutorial, including Hyperfocal Distance and the Circle of Confusion

Understanding Polarizers — a tutorial on how to use the most important filter for colour photography

Understanding Lens Contrast — an in-depth tutorial by Mike Johnston

Understanding Bokeh — an in depth technical explanation by Harold Merklinger

Understanding Bit Depth — a tutorial on hi-bit images and when and why to use them

Understanding Sharpness — a tutorial on resolution and acutance

Understanding Resolution — explores the basics of digital Input and Output

Understanding Camera Movements — the ins and outs of tilts and shifts

Understanding Colour Theory — academic colour theory applied to landscape photography

Understanding the DSLR Magnification Factor — removing the myths and misinformation

Understanding SLR Viewfinders — the variety and types of viewfinders found in various cameras

Understanding Exposure — the world's 10 stop range. Why it's so tough and how to handle it

Understanding Digital Blending — how to replace graduated ND filters and expand dynamic range

Understanding ProPhoto RGB – are you throwing away much of the colour gamut your DSLR is capable of?

Understanding Lens Diffraction – does stopping down a lens make it sharper, or not?

Understanding Panoramic Stitching — creating wide format panoramics using Photoshop

I GET A LOT OF QUESTIONS CONCERNING MY CAMERA FLAVOR OF THE MONTH BECAUSE I HAVE SHOT WITH SO MANY SYSTEMS - SO HERE IS A CLARIFICATION FOR THOSE WHO WANT TO KNOW WHAT I SHOOT WITH AND WHY I SHOOT WITH, WHAT I SHOOT WITH

Let start off by saying that while I am currently in two different systems, I have found, with today’s technologies, that there really is not a bad digital single lens reflex camera out there. You can own Nikon, Canon, Sony, Pentax, Olympus to name a few, and every one of them have superb sensor technology and software technology and feature technology. I also use only the best glass I can buy because without great glass most digital slr cameras today will not reach their full potential.

The camera system I shoot the most with is the MICRO FOUR THIRDS SYSTEM. I use an Olympus PENN EP-1 AND AN OLYMPUS PENN EP-2 WITH ELECTRONIC VIEWFINDER AND A PANASONIC LUMIX GH-1 MICRO FOUR THIRDS CAMERA. They are ALL 12mp cameras, but are very small and light, very well built, and produce incredible images. I use a variety of optics including Olympus Micro Four third lenses, Panasonic Micro Four Thirds lenses, and via adapters for the Micro Four Thirds I can use Nikkor lenses, Leica lenses, Zeiss Lenses, and more. You can also use Canon lenses, Pentax lenses.

The question as to why I am shooting with such small cameras and lenses? Can these cameras really produce images equal in quality to the bigger and heavier cameras?

The why is simple. THE MICRO FOUR THIRDS SYSTEM IS SMALLER AND LIGHTER. That means it’s easier to carry and because of the size it is always with me. One or two bodies, usually one and three lenses and I am set for a full range of shooting possibilities without screwing a variety of body parts. THE CAMERA AND LENSES YOU CARRY ARE THE ONES THAT WILL ALWAYS GET THE PICTURE.

My other system is a Nikon D700, 70-200mm 2.8, 14-24mm 2.8, 24.70mm 2.8, 150mm sigma macro lens.

Is it a great system? You bet it is. Is it one of the best in the world? I think so! How much do I use it? Not a lot. Why not? Because it is simply heavy gear and for most of my type of shooting it is much to heavy to carry around. I think it all depends what you want to accomplish. If I was photographing birds in flight, sports, and like subjects, I would want to use my bigger and heavier gear. But my type of photography is geared more towards, architecture, street, macro and the like.

BY CARRYING SMALL CAMERAS AND LENSES, I FIND I AM TAKING MORE PICTURES MORE OFTEN AT THE SPUR OF THE MOMENT. IT IS WHAT I LOVE TO DO.

Bill Wallen was at a special NIKON presentation on HDSLR products from Nikon and what they are capable of and he share this experience with you.

Nikon Professional Services presented a special seminar for professional photographers featuring award winning photographer and educator Bill Frakes with pioneering visual storyteller Laura Heald. During this two hour seminar, held on Friday December 11 at the Washington Post, they discussed using the latest in high definition video equipment (Dslr’s Nikon D90, D300s, D3s) to take storytelling to new heights.

Frakes, a staff photographer at SPORTS ILLUSTRATED, has won many awards including a Pulitzer Prize while on staff at the MIAMI HERALD. His commercial clients include Apple, Nikon, Coca Cola, Nike, and many more.

Heald is a versatile, multifaceted story-teller who co-founded Straw hat Visuals, a media company based in Jacksonville, Florida.

Mixing still photography with video capture and editing was the main topic of the evening. Techniques used by Bill and Laura to create and publish still, audio, and video driven content for multi-media presentations using the latest Nikon digital single reflex cameras was presented along with techniques for audio recording (microphones and Beachtek black boxes) and lighting the scenes. They also went through a lengthy discussion of their post-production process, transferring content, rendering, editing software and actual editing of content, and outputting for different uses including Web, High Definition, and Blue-Ray formats.

This is a new and exciting technology that will afford photographers a new method of storytelling in a multimedia world that is evolving before us at a increasing pace.

WHAT MAKES A BLACK AND WHITE PHOTOGRAPH SO DRAMATIC? WHY DOES IT DRAW YOU IN AND MAKE YOU A PART OF THE STORY IT TELLS?

Color photographs are beautiful and record in details all of the spectacular colors that are around us. I always find it interesting however, that quite often, the first words that come from someone about the image "look at that incredible color." Nothing about the subject, nothing about how the shadows, depth, tones, nothing but the color.

Having come from a generation far far away where the smell of darkroom chemicals and the glow of a red light surrounded me as I nurtured the black and white image that was appearing in the developer solution, black and white imaging was a way of life. I would spend hours getting the print just right and when it was finally washed and dried and laid flat with weights, I was in awe because the tones, textures and shades of grey blended in such a way to draw my eye to the primary subject.

There has been a resurgence of the black and white print simply because of the overall aesthetics of the look. New ink jet papers have come out to mimic the process of years ago and new software has come out to emulate the chemical processes that we used oh so many years ago. Inkjet printers have become so much better in produces the proper textures and tones that black and white images give you. We have come almost full circle, from the darkroom, to the lightroom, from liquid smelly chemicals (((which I loved))) to the clean process of an inkjet printer.

It is for this reason that we have developed our BLACK AND WHITE WORKSHOP. A workshop that will not only take you through understanding how to shoot for black and white, but how to process your black and white in the digital age.

This will prove to be one of the most artistic and educational experiences you will have in dealing with photography. It will expand your base of information and make you look at subjects in very different ways.