Award Winning Bird Photography

Chronicles of Nature

Nathaniel Smalley speaking at Audubon Arizona in Phoenix on the topic of Award Winning Bird Photography.

Recently I was requested as the guest speaker at Audubon Arizona’s showcase event in November, featuring award winning images from the 2015 National Audubon Photography Competition. The event was very well attended and I enjoyed an engaged audience as I discussed the topic of award winning bird photography. Due to the popularity of the topic, I chose to compile some of my notes into a blog post here.

Though I haven’t personally invested a lot of time entering my work, I have been asked to be a judge for a number of different nature photography competitions including the distinguished Natures Best Photography – Africa (a division of Nature’s Best Photography), and others.

Birds were my door into photography way back in high school. These days I rarely go anywhere for the sole purpose of watching birds, but that hobby helped shape my career as a professional nature photographer, and as a result birds will always hold a special place in my heart. I now carry a camera in place of my binoculars when out looking for avian subjects. So you might ask, what am I looking for when I photograph birds? Creating successful bird photographs requires one or more different elements in our composition. Obviously there are many that could be listed, but for the sake of simplicity I’ve limited it to 10 elements. In the caption of each photo in this article I have detailed the main elements from this list have been utilized in my photographs. They are as follows:

– Action | Behavior | Humor | Personality | Friendship | Light | Perspective | Habitat | Depth of Field | Nostalgia –

Despite popular opinion, bird photography isn’t all about having a big lens. While it can certainly help achieve certain images, there are many creative ways to photograph birds that certainly require more effort, but produce great results. This image of a Great Blue Heron in flight was taken with my 70-200mm zoom lens and a teleconverter making it effectively a 400mm lens. Capturing this image came down to being prepared for the bird as it flew in front of me, as opposed to having a piece of high powered glass.

Great Blue Heron – This bird in flight image utilizes action. Camera: Nikon D700 & Nikon 70-200mm Lens w/ 2x Teleconverter – Iso 1,000 | f-5.6 | 1/1600 sec. @ 400mm

To further illustrate my point I want to show you the image below. This is perhaps the most popular photo I’ve ever taken. What camera was it taken with? My Sony Cybershot Point & Shoot, 8 megapixel camera! Sure, it’s not a bird photo, but it proves a point; Creativity and being passionate about your subject trumps expensive equipment every time.

  •  -This image was licensed by Nikon for a corporate presentation.
  •  -It has been shared to every corner of the world.
  •  -Published in international magazines and used in multiple articles.
  •  -Occupied 1st place on 500px ahead of over-saturated landscapes and photos of half-naked models.

Nathaniel’s infant son Dimitri at one week old – Iso 400 | f-2.8 | 1/25 sec. @ 6mm

So the next logical question then is how does one get close enough to these subjects without spooking them. Birds tend to be very skittish of humans, and for good reason, in fact I’m wary of humans at times myself! When we photograph birds and wildlife we want them to be relaxed and in their natural state. I’m strongly opposed to using bait to lure in wild subjects, but that’s a whole topic in and of itself. (If you would like to read more on the topic of baiting birds and wildlife click on this link)I also refrain from using calls and recordings. As much as possible I want my wild subjects to be acting out their normal behavior patterns as though I was not present. This is when I capture my best images. The longer we sit still and the more we blend into our surroundings the more comfortable birds become with our presence and the closer they will come to us. The clothing colors that we wear can effect how birds react to our presence. Stay away from whites, reds, yellows and other brightly colored clothing, these colors are often associated with danger in the natural world. Instead choose earth tones or even camouflage. Bird blinds are another option allowing us to photograph birds without being detected. Many species are much easier to photograph in the spring when they spend a majority of their time singing, displaying their bright breeding plumage and engaged in territorial disputes. Sometimes a bird will be all but oblivious to human presence during this time of the year as they’re so preoccupied with finding a mate and defending their turf. Below is an American Redstart singing his heart out at Magee Marsh, along the shores of Lake Erie in Ohio. Magee Marsh is a bird photographer’s paradise!

Songs Of Spring | American Redstart

American Redstart – This image illustrates behavior & action. Camera: Nikon D800e & Nikon 600mm Lens w/ 1.4x Teleconverter – Iso 1,250 | f-7.1 | 1/250 sec. @ 850mm

  Conversely, nesting season can be one of the most difficult times to photograph birds, as they are trying to be secretive and all their attention is consumed with feeding their young. While nest sites can be intriguing to photograph, one should take extreme caution to do so at a safe distance so as not to stress or make the birds feel threatened. No photograph is worth rising the welfare of the nestlings, regardless of how cute they are.

Even the most common species are popular as babies, like this pair of Herring Gull chicks (above right) navigating through a large patch of ice plant on the California coastline. For this image I climbed on top of a railing along the ocean cliff to get even higher perspective (see below). This allowed me to shoot down on my subjects and isolate them in the frame from one another. If I’d shot them straight on then they would have blended together into a fluffy blob with two heads.

Nathaniel on location at La Jolla Cove in San Diego, California © Laurie Rubin

Capturing fledglings in their natural element in great light can produce some really magical results. Below a baby Canada Goose is struggling to put down a large dandelion blossom. The early morning sun on the dew covered grass creates the perfect shooting conditions for an image like this. I got low to the ground on eye level with my subject to help put the size of the surroundings in perspective. Using a shallow depth of field helps to isolate the gosling from the habitat and draws the viewers attention directly to the subject.

Canada Goose – This image utilizes light (dramatic), perspective & depth of field. Camera: Nikon D800e & Nikon 600mm Lens – Iso 1,000 | f-6.3 | 1/2000 sec. @ 600mm

By getting very low to the ground when shooting this Golden Plover chick, the subject appears much smaller and more vulnerable in the overall scene, which is what I was going for. This impression is enhanced by the fact that I centered the subject and composed the bird low in the frame with lots of negative space above it. This image breaks one of the main rules of composition, known as ‘The Rule of Thirds.’ The rule of thirds states that: An image is most pleasing when its subjects or regions are composed along imaginary lines which divide the image into thirds – both vertically and horizontally . This just goes to show that all the ‘rules ‘ of photography are made to be broken.

Golden Plover chick – This image utilizes perspective & depth of field. Camera: Nikon D4s & Nikon 600mm Lens – Iso 1,000 | f-6.3 | 1/320 sec. @ 600mm

Unlike the previous example, this image below was composed following ‘The Rule of Thirds’. You can see the owl’s eyes, as the primary point of interest, are located right where the top left intersecting lines meet. This photo has nice balance to it with the double Aspens on the right offsetting the ‘weight ’ of the owl on the left. I’ve used depth of field to manage how much of the surrounding habitat is in focus.

Great Gray Owl – This image utilizes habitat, depth of field & perspective. Camera: Nikon D800e & Nikon 600mm Lens w/ 1.4x Teleconverter – Iso 400 | f-8 | 1/320 sec. @ 850mm

With bird photography almost every image will have more impact if you can get on eye level with your subject. Sometimes photographers don’t put a lot of thought into the angle at which an image is taken, but considering the role it plays in creating a successful image it aught to get far more attention. People are instinctively drawn to an photo taken from an unusual angle. For the image below I had my tripod in the water and was laying down with the upper half of my body stretched out over the edge of the bank to operate the camera and capture this shot. Needless to say that is not a comfortable position to be in, but often capturing the best shot requires a bit of physical discomfort to achieve the desired results.

Brown Pelican - This image utilizes fine art & behavior. Camera: Nikon D4s & Nikon 600mm Lens - Iso 1,250 | f-7.1 | 1/100 sec. @ 600mm

Brown Pelican – This image utilizes fine art & behavior. Camera: Nikon D4s & Nikon 600mm Lens – Iso 1,250 | f-7.1 | 1/100 sec. @ 600mm

A fine art photograph is taken with the goal of creating a work of art. It goes beyond the literal aspect of the scene or the subject photographed and creates an image that shares the photographer’s personal vision, a metaphorical aspect or message. This type of photography is more about making a photograph, not just taking a photograph. Documentation is great for certain types of photography, such as forensics where the purpose is to record the scene in the most literal and factual manner possible, but fine art photography is is about more than just creating a documentary image. While defining exactly what constitutes fine art photography may be impossible, here are a few points to consider in describing it:

  • 1). What a fine art photograph illustrates must be different from what is observed when the shot is taken.
  • 2). The purpose of a fine art photograph is to share the photographer’s personal vision of the scene or subject.
  • 3). When looking at a fine art photograph it’s clear that the photograph was created by an artist and not just by a camera.

Sunset Salute | Great Blue Heron

Green Heron – This image utilizes action & behavior. Camera: Nikon D4s & Nikon 600mm Lens w/ 1.4x Teleconverter – Iso 640 | f-7.1 | 1/800 sec. @ 850mm

Often after catching and swallowing a large fish a heron will open and close its beak activating its throat muscles and helping it to fully swallow its meal. Knowing of this behavior and watching for it allows you to capture a shot like this one of the Great Blue Heron on the right and gives the impression of a loud audible call from your subject.

That is exactly what I was going for when I took the image below of this Green Heron. It looks as though the heron is screaming at the top of its lungs, when in reality it was simply trying to work down its morning meal.

Sunset Magic | Arctic Terns

Arctic Terns – This image utilizes action & light (dramatic). Camera: Nikon D700 & Nikon 70-200mm Lens w/ 1.4x Teleconverter – Iso 500 | f-14 | 1/200 sec. @ 220mm

Shooting into a glowing sunset certainly has its challenges as images can easily end up over-exposed. Be sure to take care not to look through the viewfinder when shooting directly towards the sun, use the live view function on your camera if possible. You’ll notice that I’ve composed this image with the sun just to the left of the frame to allow me to shoot while looking through the viewfinder. When the sun is still above the horizon, sunrise and sunset can provide photographers lots of light to work with, and as a result you are able to shoot at faster shutter speeds and freeze motion or smaller apertures for greater depth of field. That is exactly what I’ve done here with this flock of Arctic Terns over the coast of Iceland. In the image below I have taken advantage of the extra light to shoot at f-14 giving me more depth of field in the image and showing more of the layers in the distant hills.

Back light can give an photo a very special effect and enhance shapes and forms. Back lighting works best when the details on the edges are more important than the colors of the subject. Here a Snowy Egret is beautifully illuminated by an early morning beam of light that perfectly highlights a stray feather on its chest. In a shot like this I’m adjusting my camera settings based on the reading from my camera’s light meter is giving me for the brightest parts in the image. By doing this most (if not all) of the distracting back ground elements fall off into the shadows and help to further isolate and emphasize the subject.

Snowy Egret – This image utilizes light (dramatic). Camera: Nikon D4s & Nikon 600mm Lens – Iso 100 | f-8 | 1/1000 sec. @ 600mm

When seeking bird subjects to photograph there are a few questions we can ask ourselves  that will aid us in finding them in the best conditions. What is the dominant habitat for the location you are photographing? Researching the region and knowing the geography will aid you in being better prepared for the type of vegetation and/or terrain you’ll be working in. For most bird species the year is divided into different activities (migration, nesting etc.). Understanding what birds are doing at different times of the year will help you learn when is the best time to photograph them. Where do the birds in your part of the world like to nest and feed? Discovering where their food sources are will lead you to the birds. In the image below a Northern Parula Warbler feeds on small insects inside the seed heads of an Alder Tree, knowing this information makes locating my subject more predictable.

Seeds Of Spring | Northen Parula Warbler

Northern Parula Warbler – This image utilizes habitat & light (soft). Camera: Nikon D800e & Nikon 600mm Lens w/ 1.4x Teleconverter – Iso 800 | f-6.3 | 1/1250 sec. @ 850mm

Depending on what part of the world you grew up in, seeing a Robin in a blooming Crab Apple Tree can be synonymous with spring and feelings of happiness. Having grown up in New England shots like this one of an American Robin bring back great memories for me personally. Capturing a familiar subject in an identifiable scene often takes a bit of planning, but when it is done right you can create a heartwarming photo that has a lot of appeal in front of the right audience. Photos that resonate with a viewer often do so because there is some nostalgic connection that they have with the image. I can’t track how many times I’ve been told by clients purchasing a print that they were ‘buying a hummingbird photo because their mom loved hummingbirds and the photo reminds them of their mother’, or they simply ‘had to have that print of the ocean because they grew up on the coast and the photo reminded them of home’.

American Robin – This image utilizes nostalgia & habitat. Camera: Nikon D800e & Nikon 600mm Lens – Iso 800 | f-8 | 1/200 sec. @ 600mm

This look of a Burrowing Owl in the image below is achieved by photographing it from just the right angle and produces the look of a stern school master (or perhaps your father when he’s angry at you). Capturing birds from the best angle and at the perfect moment can yield exceptional results that give your subject a personality all its own. Photos of birds and wildlife that show a recognizable personality immediately resonate with the viewer and tend to be very popular.

Burrowing Owl – This image utilizes personality & behavior. Camera: Nikon D4s & Nikon 600mm Lens – Iso 200 | f-6.3 | 1/3200 sec. @ 600mm

Images that illustrate friendship between two wild subjects (whether actual or perceived), always evoke positive responses. Places where birds and wildlife both find food sources together are great locations to look for this kind of interaction and capture these types of shots. I found this sea lion and cormorant sunning themselves together on a rock along the coastline of California.

Sea Lion & Cormorant – This image utilizes friendship & habitat. Camera: Nikon D4s & Nikon 600mm Lens – Iso 800 | f-8 | 1/320 sec. @ 600mm

The Height Of Audacity | Elk and Magpie

Elk & Magpie – This image utilizes friendship & humor. Camera: Nikon D700 & Nikon 600mm Lens – Iso 400 | f-4| 1/350 sec. @ 600mm

I can’t emphasize enough the importance of studying bird behavior in the field. That’s how I was able to be prepared for a shot like the one to the right of the elk and magpie. I watched this magpie that was hanging out with a herd of Elk, eating parasites out of their fur and foraging underneath their feet. I witnessed it fly up and land on this one elk’s back numerous times before I got the opportunity to capture this shot. Anticipating bird behavior is absolutely essential for capturing winning bird photographs. Also be sure to read up in your bird field guide. There have been numerous birds that seeing them for the first time I immediately knew what they were just from having looked at them in my bird field guides or having read about their behaviors so many times in the past.

The final image I’ll discuss is by far the most comical image I’ve ever captured. This photo below of a Sandhill Crane was taken before I’d really gone full time with my photography, but it is consistently one of my best selling photographs. This image is also one of the few images of mine that I’ve entered into a photography competition. However, when I did in 2012, it took home Honorable Mention from the National Wildlife Federation Nature Photography Competition. People love humorous images of birds and wildlife so I jump at the opportunity to capture a photograph like this. It’s also the only image from my bird portfolio that was taken in captivity. This photo was shot on an a family outing there with my children at the Sandhill Crane exhibit in the Phoenix Zoo. Since beginning to work as a professional photographer I no longer take photographs of captive subjects. All the photos that you’ll see on my website were taken in the wild.

Sandhill Crane -

Sandhill Crane – This image utilizes humor & personality. Camera: Nikon D700 & Nikon 70-200mm Lens w/ 2x Teleconverter – Iso 200 | f-5.6 | 1/640 sec. @ 400mm

In conclusion I’ll say that the absolute best way to produce award winning images is to get outdoors with your camera. The more you’re out in the wild looking for avian subjects and watching bird behavior, the greater your odds are of seeing and capturing an exceptional image.  After all, even if you don’t get the image you’re chasing after, I can’t think of a better way to spend the day than being outside surrounded by your feathered friends. So boost your award winning potential, and grab your camera… the birds are calling.

Your thoughts and comments are always welcome.

– Nathaniel

Nathaniel on location in the Himalayas photographing raptors. – India, 2015

Adobe Creative Cloud – The Perfect Storm

Chronicles of Nature

June 17th, 2013 marks the date of perhaps one of the most significant events to affect the photographic industry since the dawn of the digital age. On this date Adobe announced that new releases of their flagship image editing software ‘Photoshop’ would only be available through their ‘Creative Cloud’ as subscription based software with a monthly fee. If you’ve been living under a rock for the past three months this may come as quite a shock. Most photographers have been considering their options for the past ninety days since the announcement, and it has created quite a divide. A large number of top level professionals have turned their backs on Adobe, walking away with no intentions of ever returning; others have not been dissuaded by the announcement, and promptly subscribed to the Creative Cloud. This is a vast topic and as this situation is still evolving I would encourage you to continue to monitor it as it develops.

 Why did they do it? Well, from a business perspective the idea is potentially ingenious. Changing the software to a monthly subscription as opposed to a one time download essentially guarantees Adobe a constant revenue stream from their customer base. Up to this point a user could purchase Adobe Photoshop once and continue to use it as long as they wanted without paying for the latest updates. At the time of the release of Photoshop Creative Cloud the monthly subscription fee for current CS6 users was set at $19.99 per month ($29.99 per month for CS3, CS4 and CS5 users). Presumably due to the public outcry, this price was recently reduced to $9.99 per month with a twelve month subscription contract and includes Photoshop CC, Lightroom, Behance Membership with ProSite and 20GB of Cloud Storage. This package is being marketed as Adobe’s Photoshop Photography Program and will be available starting September 17th, 2013. The $9.99 price will only be available to those who already own a version of CS3 (or more a recent release up to and including CS6). This reduced price will only being offered until December 31st, 2013. The monthly subscription fee will cover any updates or new releases to the software and allows the user to access the software on up to two devices. Oddly enough Lightroom is also available outside the Creative Cloud as a one time fee, perpetual license version, as it has always been. Adobe Bridge is a separate item and can be acquired free of charge by Photoshop Creative Cloud subscribers. Bear in mind that this is just the hook… after your first year’s contract there’s no price guarantee. Adobe states that, “The cost of an annual membership will not go up during the first 12 months of your membership. It is possible that the cost of the month-to-month membership will increase, but if it does, you will be notified and given the opportunity to cancel.”  Those are not exactly comforting words from Adobe…

 Ultimately we are left with three choices:

 1).* Subscribe to the Creative Cloud and find a way to include an additional cost into your annual budget, while hoping that Adobe doesn’t put the price out of reach in the future. (This may not be such a big deal to the high volume professional, but to the hobbyist or casual photographer this could exclude them from continuing to use Adobe products).

 2).* Choose a different processing software to edit your files with such as Elements, Capture One Pro, Pixelmator, Gimp, etc.

 3).* Continue to use your current version of Photoshop and/or Lightroom until Adobe no longer offers support on that version.

 * 1). I have some major reservations about option one… Unfortunately I believe this move by Adobe is just the tip of the iceberg. In taking this route I believe Adobe has paved a way for all other software companies to take this step at some point in the future. We see already that Microsoft has a similar option with their Office 365 subscription. Granted you can still purchase Microsoft’s software as a one time fee, perpetual license version, but how much longer will this last? In fact, in May of this year Microsoft Office Director of Communications Clint Patterson wrote in a blog entry that though he agrees with Adobe that subscription software is imminent, Microsoft won’t discontinue packaged software in the near future. Patterson wrote, “Unlike Adobe, we think people’s shift from packaged software to subscription services will take time.”

 Adobe states that you don’t need an internet connection to access your Creative Cloud software every day. Members who subscribe on a month to month basis will need to connect with Adobe’s servers every 30 days to “validate their software license”, and every 99 days for annual subscriptions. However, fellow professional photographers that I’ve spoken with who have signed up for the Creative Cloud tell me that they’ve been required to login and validate their software license much more frequently than this. This is a cause of great concern for me as a professional Nature Photographer. I do a great deal of my work in National Parks and remote locations, far from the range of an internet signal for extended periods of time. Often I have my laptop with me on these trips to review and process files in the evening hours. If I’m out on the road and can’t get an internet signal on the day that I’m prompted to connect to Adobe’s servers and ‘verify my software’, am I just not going to be able to access Photoshop until I get somewhere that I can login?

 You may have noticed that Adobe offers 20GB of storage in the Cloud with your subscription. What you probably didn’t notice, (unless you read every word in their ‘Terms of Use’ statement), is that by uploading to the Creative Cloud and opting to have your content displayed as ‘Shared Material’ your content becomes their content. Quoting from Adobe’s website it reads: “You grant Adobe a worldwide, royalty-free, non-exclusive, transferable, and sublicensable license to adapt, display, distribute, modify, perform, publish, reproduce, translate, and use Your Shared Material for the purpose of operating and improving the Services and enabling your use of the Services.”  While you are not required to use the Creative Cloud storage, (and even if you do you have the option to not share your files), this is a slippery slope and one that I’m afraid far too many will fall prey to due to being uninformed. If you have not reviewed this language I strongly suggest you review sections 9. ‘Your Material’ and 10. ‘Shared Material’ before uploading any images into their Cloud Storage. I’m not accusing Adobe of malicious intent here, but all users should be aware of this agreement before adding their images to the Cloud. If you are interested in reading it you can find their ‘Terms of Use’ here.

 * 2). Option two is difficult in that one is faced with learning a whole new image editing software. However the competition is trying to make this an easier transition. Companies like Corel, Xara, Nitro, Nuance, and Pixelmator are taking advantage of the disenchantment Adobe’s customers are feeling since this change from selling Creative Suite perpetual licenses to Creative Cloud subscriptions has been foisted upon them. Corel went so far as to offer a promotion that lets Adobe CS4, CS5, and CS6 users buy Corel software for the ‘upgrade price’ instead of the full price. Many pro photographers speculate that this is a perfect opportunity for a company to come in and sweep up a lions share of the market from Adobe. Google having recently acquired the Nik Software Suite of products is one player that comes to mind as a powerhouse that could challenge for this market if they chose to invest in the process. Nikon’s NX2 editing software give Nikon users the ability to edit RAW files without the use of Adobe products, while Canon offers their users Canon Digital Photo Pro. Topaz also offers an image editing software suite that is popular with some photographers. It should be noted that as of the writing of this article Gimp ( a free image editing software) will open PSD files. Also please note that any image files you’ve edited in Photoshop or Lightroom up to this point, that have been flattened and saved as a TIFF or JPEG file, will be able to be opened by any software that supports those formats.

 * 3). As for option three you can continue using Creative Suite products indefinitely, however they will not be eligible for future software updates. Eventually Adobe will no longer offer support for these products. How long will they be supported no one can say. It could be five years, it could be ten years or it could stop tomorrow. Ultimately this option will fail you when the device that is currently running your copy of CS6, for example, dies and you purchase a computer with Windows 9 on it. When you go to download your copy of Photoshop onto your new device you will be told it does not support it. As of right now all previous versions of Adobe Photoshop and Lightroom work with Windows 7 and 8. At that point you will be left with only choices one or two listed above. Lightroom currently continues to be sold outside the Creative Cloud subscription, but odds are this too will go away in the near future and will be only available through the Creative Cloud.  Clearly this is the intended future of Adobe’s sales approach.

In conclusion all one can do is make an educated decision that works best for their individual situation, these circumstances are different for each of us. I have worked to compile this information to help you decide what is best for you personally. My hope is that this post helps you to see through the storm created by Adobe Creative Cloud and provides some clarity in this decision making process. Remember, the way we speak the loudest is with our wallets.

Your thoughts and comments are always welcome.

 – Nathaniel Smalley

‘Photoshopped’ – The Great Misconception

Chronicles of Nature

No doubt most of you have heard it before and in all likelihood will hear it again, “Yeah, that’s a great shot, but you ‘Photoshopped’ the image to make it look like that”. In most cases, when ‘Photoshopped’ is used as a verb, the implicit accusation is that something unfair, devious or amiss is at play. These unsolicited accusations from the uninformed observer create a delicate situation. Acknowledging that you used image processing software in their mind only confirms their erroneous perception, but to deny the use of it is rarely accurate either. What they fail to understand is the difference between the JPEG files that their Point & Shoot camera records, and the RAW files captured by the vast majority of professional photographers today.

I’ve had multiple people accuse me of ‘Photoshopping’ the Blue/Green color into the wings of this Magpie. Under most light Magpies appear Black & White in color, however when lighting conditions are just right these iridescent feathers become washed with color. The wing colors you see represented in this JPEG file are just as vibrant in the RAW file from when I captured this image.

JPEG files were named after the committee that created them in the mid 1980’s, known as the ‘Joint Photographic Experts Group’ (JPEG). This group was given the task of creating standardized image coding that would allow photo quality graphics to be displayed on computer text terminals. When an image is captured in a JPEG file format the settings selected by the user on the camera (and/or those that the camera has selected in one of the ‘auto modes’) are in a sense processed and rendered, but defined by the restricted number of colors of an RGB color space. This color space is greatly limited when compared to the full spectrum of colors seen by the naked eye. With a RAW file there is minimal processing in camera. The camera simply stores the data allowing the photographer to process the image at a later time. This allows the photographers of today the same ability to develop their digital files as was possible when working with film negatives, but with even greater and more dynamic control as RAW is in a digital format. One could in essence think of RAW as the digital negative and JEPG’s as the print or ‘finished product’.  The only way to process the information captured when shooting images in RAW is to use image processing software such as Lightroom or Photoshop. Just because a photographer’s work stands out as spectacular certainly doesn’t mean that there is trickery being employed or that images are being altered with software. In understanding digital photography, one realizes that there is no camera or equipment that is capable of duplicating the myriad of colors, tones, hues and detail that the human eye can see. A photographer goes through all the post process work to bring out in their digital image files the elements that they saw when they clicked the shutter, elements that the camera cannot record. Granted, some photographers go way overboard in their post processing work, overusing color saturation and creating an image that does not accurately reflect the original scene. Sometimes this may be done as an artistic rendering of a shot they captured, however I’m pretty sure we’ve all seen an image before and thought to ourselves that the color intensity looked as though a bag of skittles and a box of popsicles had a baby! As a photographer I view it as my personal responsibility to process my RAW files as close as I can to represent what the scene looked like at the time I captured the image. Often the most beautiful spectrum of colors is able to be seen during the ‘The Golden Hour’. Sometimes when we see images with spectacular soft light and colors this was achieved by capturing the image in the proper lighting conditions. At the end of the day the decision is quite simple really, do you want a machine (the camera) responsible for rendering the scene as it was, or the photographer who was there and captured the image? This is typically (but not always) achieved by the photographer getting to their location before the sun comes up (or sets) or even sleeping at the shooting location the night before, both of which require a lot of work and planning. The next time someone criticizes your hard earned image by telling you it was faked with processing software, smile and remind yourself that unfortunately they’ve probably never been awake to witness that kind of light before.

Your thoughts and comments are always welcome.

Nathaniel Smalley

One of my images that I am repeatedly told “must have been Photoshopped”. I took this sunset image in the Lofoten Islands of Norway. This image accurately reflects the colors I witnessed that evening and captured in my RAW file.