Photographers@Google: Rick Sammon

Uploaded by AtGoogleTalks on 29.10.2010

>>Cliff: Good afternoon, everyone. I wanted to welcome you to another outstanding Authors@Google
Talk. Together with the Mountain View Google Photography Club, we are very pleased and
thrilled to welcome Rick Sammon into our midst. And Rick is an esteemed photographer and instructor
from his series on the DIY Network to his extensive library of over 21 books, Rick helps
make photography accessible to everyone. By removing technical barriers, he lets us focus
on the most important parts of the photography, which is the emotion and the image contained
therein and not worry too much about tools. Rick is also the most frequently published
photographer in the world, from based on his columns for The Associated Press and his other
writings as well. You can follow him on Twitter at @RickSammon and his website is
Today, Rick is going to talk to us in general about photography. He's gonna do some musings
on the art in general, specifically touch on a few of his most recent books. So, anything
from lighting to his new work in HDR photography. And looking at his work, as you can see even
on the screen here so far, it's no wonder that Canon dubbed him an official Painter
of Light. And, in that case, we also have a Q&A mic for questions at the end, but without
further ado, please join me in welcoming Rick to Google.
>>Rick: Thank you so much, Cliff.
>>Cliff: Thank you.
>>Rick: I am really, really happy to be here. This is an honor to be here at the Googleplex.
I'm happy to be, not only a Canon Painter of Light, but a Canon Explorer of Light. It's
a lot of fun. Well, I came here to do this presentation on HDR photography-- High Dynamic
Range imaging-- and this is a high dynamic range, the picture you see here, where I was
able to capture all the tones in the picture. Well, before I came here, I did a little search
on the Googleplex. This is a really cool place. I know a lot of photographers are, some really
big name photographers are invited to speak here, so I feel very, very proud once again
to be here. Then I did a search on myself. I got 80,000 results. Cliff, I have to tell
you, this is the first ever time I did a Google search on myself. I was surprised, actually,
at how many pictures. But anyway, so I came here to do this presentation on HDR photography,
high dynamic range photography, but then we're walking around the beautiful gardens around
here and we see all these statues of like these underwater luminaries, like Jacques
Cousteau and Lloyd Bridges. This is amazing. So, I thought I'd throw in some pictures.
I've scuba dived all over the world; the Maldives, Lake Baikal, the Galapagos, Fiji, Australia,
the Great Barrier Reef, Belize, Cocos Island, all over. This is actually one of the most
dangerous situations that I've been in. One of my good friends, Hal Schmidt, who teaches
down at the Life Photographic Workshops, speaks about situational awareness; how you really
have to be concerned what's going on around you. Well, I was actually on a scientific
trip. We were studying the fishes and here you can see one of my fish identification
cards. I wasn't paying attention to what was going on around me and all these sharks started
swimming. So, are there any scuba divers out here? Ok, so you have to be sure that, don't
get so concen-, don't get so focused on your photography or on the project that you forget
what's going on around you. Actually, this is a Photoshop trick. I think some people
in the front didn't notice that. Here's the original shot. I play a lot; I work a lot
in Photoshop so it's fun. I do work for my professional work, but I also like to have
fun. I love to have fun in photography and in Photoshop. And that's, I think, why everyone
got into photography; why everyone is here. You got into photography for the fun of it.
So, I like to, when I teach photography, I like to say, "Let's keep the fun going." So,
I have dived all over the world. This was actually in Thailand. This is a whale shark;
the largest fish in the sea. It's about the size of a school bus. This is amazing. It
just floats gently through the water and eats plankton. So, it's a very, it's not harmless,
it's not frightening to man at all. And again, playing in Photoshop. This is a picture I
created one weekend; a 3-D image using one of the digital darkroom programs. But, again,
I came here to talk about HDR photography, but we're walking around and I see these meeting
rooms you guys have that look like yurts, right? So, I thought I'd throw in some pictures
from Mongolia. This is actually a yurt, or a ger, and again, I want to make this very
educational. I know all you guys are serious about photography. So, I thought I'd start
out with a basic tip about balancing the light from the flash to the available light. When
I take a flash picture, the last thing I want is for that flash picture to look like a flash
picture. I want it to look like a natural light picture. So, if you look here, you see
the scene is very evenly exposed. We have no deep shadows. It's the deep shadows that
give away, that give away the fact that the picture was taken with a flash. But when I
walked into this scene here, this was the lighting. At the top of these yurts, or gers,
there's an opening for the smoke to go out and for the light to come in. So, the contrast
range was really great. You see how overexposed this is? This is the average exposure. If
I just put the camera with no exposure compensation, this is the average exposure. All the stuff
on the table here is overexposed and washed out and the background's dark. So, what we
have to do in a situation like this is we have to learn how to balance the light from
the flash to the available light. So, what I did is I had the guide come in there, the
guide; she just popped in the scene. You can see it's about five to twelve. I bounced the
light, I had an on-camera flash; I bounced that flash onto the ceiling. Now, at that
point, the ceiling becomes the main light source. If you're just shooting with your
flash, which is about the size of this remote, you just shooting with that flash, that's
the size of your light source. So, if you bounce it off the ceiling, the ceiling becomes
this huge, big light source. And in lighting, the larger the light source, the softer the
light. And the closer the light, also, the softer the light. So, I had her come in here.
So, when the guy came in he got all dressed up, I carried my books with me-- you saw some
of my books in the back-- this is when we got in there. He's just dressed casually,
but he wanted a really dignified picture of himself. So, I go in there, again, test with
the guide. Whenever I travel, I don't, I never want to overstay my welcome. Never want to
overstay my welcome, so I'll either put one of the students who's traveling with me on
one of my workshops, or the guide or whatever in the scene. So, you see this beautiful,
soft even lighting. It doesn't look like a flash shot because I balanced the light from
the flash to the available light. And also, I think we have a question and answer mic,
well, question mic over there. I have the answers. I think we save these, Cliff, to
the end or can people ask questions during the thing?
Anytime. Just yell out the question. So, I was over in Mongolia, not only photographing
the yurts, but photographing this festival. This was magical. We lucked out. Once a year,
500 soldiers from the real Mongolian Army get dressed up like the soldiers from Genghis
Khan's time and put on this revival show. I mean, this is awesome. You could see, when
these guys are charging across the fields, screaming and yelling with their bows and
arrows and spears, you can see what Genghis Khan at one time, when he was 27-- 27, he
owned from Beijing, he ruled from Beijing all the way over to Europe-- this is amazing
this guy did this. You can take a look at his army and you'll see why he was able to
do this; very fierce warriors. From a typical standpoint, the first thing I do when I open
a picture in Photoshop is crop the picture. I want more attention to be drawn to the main
subject. So, in this picture, there was boring dirt on the bottom, there was boring sky.
So I cropped this picture in like the HD format, maybe even almost a panorama format, to draw
more attention to the scene. Never underestimate the importance of good [coughs], excuse me,
of good cropping. It will give your pictures more impact. Also, if you're playing in Photoshop,
Lightroom, Aperture, whatever, if you don't crop out that area, those areas that you might
eventually crop out will affect your judgment as to what the right exposure is of the main
subject. So I recommend cropping first. I have friends who say, "You have to get it
right in camera, no cropping." But I think if you crop your pictures, you'll see a big
difference. Also, try to look for pictures within pictures. We could just crop this picture
so we have the lead soldier in the frame. Go back and look at some of your pictures
and see how you can crop them, again, to get more impact. Also, from a technical standpoint,
I'm setting my camera on AI Servo focus. And cameras basically have two modes, some have
more, but one is AI Servo focus, which it tracks the subject or AI Servo, tracks the
subject during the motion so when you take the shot, you get a sharp shot. The other
mode is One Shot. If the subject's not moving, leave it on One Shot. If the subject's moving
like this, you want that focus tracking mode. It really helps to ensure a sharp shot. So
we get there, I was teaching a workshop, and the guys with me said, "Aw, man. Its overcast,
it's dusty. We're not gonna get any great pictures." Well, the thing is the overcast
sky and the dust really added a lot to this scene. You can see, if you were shooting a
movie over there, you'd be, you'd shoot before dawn or you would shoot after sunset and you
would stir up some dust to create-- to create this feeling. The most important thing, as
Cliff was saying, that I try to stress in my talks is the most important thing is a
picture, in a picture, is the mood; it's the feeling, the emotion. It's the idea behind
the photograph. We could get so bogged down in all this technical stuff, but think about
the mood that you're trying to create or the idea that you're trying to create. So, the
mood of this was just enhanced due to this dust. Just another tip here: when you're photographing
subjects moving across the frame-- you see this horse on the left-- I left a little space
over there. What you wanna do is you wanna leave some space when a subject is moving
for the animal to seem like it's running into, or the person or the sports car or the person
on one of the cool Google bikes outside, is running into the scene. If I just cropped
it right up to the nose, the picture would look funny. The animal or the subject would
have nowhere to go. So, think about that. One of my tips-- I have a lot of number one
tips-- one is the name of the game is to fill the frame. Well, here you don't always want
to fill the frame. You don't always want to shoot tight. You wanna leave some breathing
room for the subject. Here you see the sun came out. You can see the difference in the
contrast range. Here, we can't see the soldier on the left. We can't see his face anymore
because the sun came out; the contrast range has been increased. In photography, it's all
about seeing the light. Every picture that I'm gonna show you today has the same, basic,
main subject. All these beautiful pictures that I saw on the wall during my quick tour
of this totally cool location have the same main subject: Light. We have to learn how
to see things first, the contrast range in this scene. Here, this scene has a lot more
contrast than this. When I'm photographing festivals or when you're photographing a football
game in your local neighborhood, or a baseball game, pray for overcast skies because the
contrast range is less than on sunny days. So, the first thing is we have to learn how
to see the light. The next thing is we have to know how to control the light. We can control
the light with a flash, we can control the light with a reflector, we can control the
light with a diffuser, we can control the light by moving the subject into the shade.
So, seeing the light is the first thing, controlling the light is the second thing and the last
thing is working, or playing, with the light in the digital darkroom. It's all about light.
And if you look at your pictures that way, that it's all about light, you'll start to
really, you'll probably get a higher percentage of pictures that you like without underexposed,
deep shadows, underexposed areas or blown out highlights. So, again, here we have a
scene with a lot of contrast. When I'm photographing and when I teach a workshop, I'm thinking
about this and I try to convey this to the students that the background is just as important
as the main subject. So here, I'm trying to isolate this group of soldiers. If you look
at the group of soldiers on the right and the group of soldiers on the left, you'll
see they're not interfering at all with these soldiers in the middle. Think about the background.
And there's another tip, actually, that will help you see what's going on in the frame.
I'm gonna ask everyone in the audience here a question and again, I thank you for coming.
This is just so cool being here at the Googleplex. How many people, when they take a picture,
go like this-- have their left eye closed-- I'm gonna ask, how many have their right eye
closed? So, how many shoot like this with their left eye closed? Ok, about half. How
about the right eye? Ok, Jim, Rose, Buchannan, what do you shoot with?
He shoots with the right eye. Well, sports photographers, and if you're shooting action
like this, what you wanna do is you really wanna learn how to shoot with both eyes open.
It takes a little while to do this. So, you have your camera up like this and you have
the other eye open, I'm sure it looks a little weird on camera, here. But if you do that,
then you're looking at the action in the viewfinder and with the other eye you can see if some
soldiers or whatever's gonna come into the frame. Try this, but if you're going to an
event for the first time and you really wanna get the shots, don't try it the first time.
Practice this, perfect it. Because after you do, again, you'll see what might come into
the frame and ruin the shot, or you might see what's gonna come into the frame and make
the shot like really, really cool. So learn how to shoot with both eyes open. One of the
things I talk about in my workshops is when you go to a location, whether it's a festival
in Mongolia, or walking around the Googleplex, I'm gonna go back here. One of the things
that will help you get good pictures is to try to tell the story. Try to tell the whole
story. So, here I'm taking the wide angle shots. I'm moving in, I'm taking is-, pictures
of the soldiers moving in closer. Here, I'm taking a shot of the soldiers during a break,
when they were relaxing cause this is an all day festival. Try to tell the whole story
and we can do this by moving in, zooming in closer, taking wide angle shots, taking telephoto
shots. If you're gonna put together a gallery on your website or wherever, what you wanna
do is you wanna tell the whole story. And don't forget the details. Details are very,
very important, so you may wanna come in and photograph one of the soldier's swords in
this case. And then again, I'm telling the story. Now I'm doing the individual soldiers.
This actually, is a daylight fill-in flash shot. Once again, it doesn't look like a daylight
fill-in flash shot because I balanced the light from the flash to the available light.
I could tell you how to do it, but it's much easier if you just go to my website,,
I have an articles page there. If you go to the articles page, the first article on the
left-hand side is exactly about this: daylight fill-in flash photography. If you learn how
to do this, your pictures will look very professional. I mentioned before that I like to have fun.
I see a couple of smiles here in the audience. I do like to have fun because the more fun,
the more fun that I have, the more fun the subjects gonna have, so I like to get involved
in the situation. So, what I did here is I popped on one of these ponies, I got myself
a little helmet, actually, I cloned it, you can see it's exactly the helmet I cloned the
helmet in Photoshop. And then I mentioned that Genghis Khan was 27 years old when he
owned from Beijing, when he ruled Beijing over to all Europe. I figured, hey, I'm there.
I was 57 when I was there. I'll try to take over Mongolia. Well, I got dressed up like
Genghis Khan, but it didn't work. And as Cliff had noticed there, I was showing him the pictures
before, they actually, he noticed me riding. They actually let me ride with them. So I
do-- no? You don't believe that? Ok, this is the most important thing I talk about when
I teach photography. Setting goals in your life is very important and setting goals in
photography is very important. We went over there. Actually, before I tell you this story,
I was teaching a workshop in Botswana. There's a guy comes up to me the first day, he says,
"I'm really excited about this trip." I say, "What's your goal?" He said, "Well, my goal
was to shoot 700 pictures a day." I said to him, "What?" I said, "I can't believe that
your goal to shoot 700 pictures a day." My goal was to walk away from this two week trip
with maybe 18, 22, 24 pictures. Some really great shots. So, his approach was to use the
machine gun approach. Just shoot as much as possible and hope for the best. My approach
is what I encourage people to do is to use the bow and arrow approach. Even if you're
photographing action like this, use that bow and arrow approach and go for the shot that
you want. And setting a goal for the shot you want, again, is very important. So, going
over to Mongolia, I wanted to get this shot. Everyone who photographs running horses wants
to get this shot; all the hooves off the ground, right? So that was my goal. So, knowing that's
my goal, I had to ask myself before this, "What did I have to do?" Well, I had to set
my camera on AI Servo, that focus tracking mode I talked about, I had to set the camera
on rapid frame advance so I could take a lot of shots, I had to find a subject where it
had a lot of space around it, I had to set the exposure before the horse was running
into the scene so I'm just testing exposures all around. So, knowing that I had to do all
these things, in my mind said, "Ok, I have this goal. Now I know what to do." So when
I got on site, it becomes, it became my point and shoot photography. It wasn't that hard
because I set that goal. If I just went and, "Oh, I'm just gonna get a shot of this." So
the point is, if you set goals, if you wanna do a beautiful landscape, some of the things
that help with landscape photography is tremendous depth of field. So you would wanna use a wide
angle lens, a small aperture and set the focus--this is gonna sound backwards-- set the focus one-third
into the scene. Lock the focus one-third into the scene. So to get a tremendous depth of
field, again, wide angle lens, small aperture and focus one-third into the scene. You also
wanna get up early in the morning and stay out late at night. Another one of my photography
tips is you snooze, you lose. You wanna capture that beautiful, golden light of early morning
and late afternoon and also, you want to capture the shadows. Shadows add incredible sense
of depth and dimension to our pictures. We see the world in three dimensions; height,
width and depth. Our cameras only see two. So it's part of our job, as a photographer,
to try to create this sense of depth and dimension in our pictures. Ok, so getting back to this.
Setting goals in photography is really important. So I was teaching down at the Life Photographic
Institute down in Los Osos, California a couple of years ago and I told them this story. I
told all the students this story the night before. We go out to photograph the horses.
These are my shots, but everybody got the shots. Everybody on the workshop got the shots
because they set the goal. I was there just a few days ago, told the same story and everyone
got the shot. Again, here we have all the hooves off the ground; we have nice composition,
a good exposure. So set goals. And I tell my son this all the time, too. He's 19 and
he's in college. I say, "It's really, really important to set goals." In photography, if
you just go out and say,"Oh, I'm gonna go to the Golden Gate Bridge. I'm gonna get a
nice shot." Well, what kind of shot do you wanna get? Do you wanna get a night time shot?
How many people here would have a great night time shot of the Golden Gate Bridge? How many
people would like to get one? Ok, a lot of people raised their hand. Well guess what?
The best time to take night time pictures is not at night. It's at dusk when there's
that little bit of glow, that afterglow in the sky; that blue glow. On my website, by
the way, on that articles page, I have an article on night time photography. So I do
like to have a lot of fun with my photography. I don't take myself very seriously, but I
take my work very seriously. And this is probably the, one of the, again, a very important thing
that you want to think about when you're, when you get into photography. So, these are
the four levels of learning. We only have three on the screen. So the first level is
the unconscious incompetence. We don't know we're not that good. We get a little digital
camera, we play around in Photoshop or Lightroom or Aperture or wherever and we're having a
lot of fun. We don't know we're not that good, right? Then, we start to look at other people's
pictures, right? And this is the second stage, the conscious incompetence. We know we need
help. So my guess is that's why some of you came to the-- actually, there's a lot of smiles
in the room right now-- so I think there's a lot of people. How many people feel they're
at stage number two? Ok, just about probably 90%. So that's a cool stage, we know we need
help. Number three, the conscious competence. We know we're good. We go out to photograph
the Golden Gate Bridge at night. You follow this tip that the best time to take a night
time picture is not at night. You capture the afterglow. You have a tripod to steady
the camera. You compose your picture so the bridge isn't cutting the scene in half. That's
one of the things in landscape photography; you don't wanna cut the scene in half with
the horizon line. So, this is good. We know we're good, but the fourth stage is the coolest,
is the coolest stage. Before I tell you what that stage is, imagine this. How many people
here like Carlos Santana playing guitar? Ok, Clapton? Ok, name another great guitar player.
Who? John McLaughlin? Amazing guy. I saw him in 1974 with John Luponte, remember him? On
the, right? He's going like this. He was amazing. Anyway, let's go to John Luponte. He was a
jazz violin player. When he's playing those notes, he's not thinking about what note he
played, what note he's playing, what note he's going to play, he's not thinking about
what key he's in. He's not thinking what John McLaughlin's doing on the guitar. And who's
the drummer? I forget the drummer's name. But he's not thinking about what the other
band members are doing. He's just doing it. And that's the fourth stage where you do this
enough so all this becomes just natural. And that's really the level we wanna reach to
where we're just doing it. We don't have to think. And there's only one way to get there
and guess what that way is? Practice. How many people here have read the book "Outliers"?
Check out this book, Outliers. Basically, what they guy says is that people who are
really good at things, including The Beatles, he mentions The Beatles in there, the people
who are really good at things have practiced for 10,000 hours. So, the more you practice,
and he does a lot of comparisons in the book. He says the people who are successful have
practiced for ten thousand hours. So you think The Beatles were lucky? Well, he talks in
this book about how The Beatles went to Hamburg in that cellar or whatever it was called and
they played every weekend from 8 o'clock at night to 4 o'clock in the morning. And they
had to come up with all this, all these different things. And that's, that really helped The
Beatles. Perfect their creativity and you get involved and learn how to play together,
so they were at this fourth level of learning; this unconscious competence. So I really encourage
all of you to go out there and practice. Again, I came here to talk about HDR photography,
but I saw some really cool people pictures in the lobby when I was walking around. Not
only that, I saw some really cool people and this is actually kind of an honor for me cause,
Cliff, I think I might be like one of the oldest people here at Google. He's going,
"Yeah, that's probably right." So it is an honor, but I love, I love talking to people,
I love meeting people. And when it comes down to it, I love, I think I love photographing
the people and people the most. I tell people that my specialty is not specializing because,
as you saw, I do aerial photography, I do action photography, I do wildlife photography,
I do all these different types of photography. But when it comes down to it, I really do
love photographing people. So what I thought I'd do is share with you my ten key ingredients
for cooking digital photographs of people. And all these pictures were taken in Papua
New Guinea two years ago on one of the workshops that I was giving. Number one, these are on
my website, too, you don't have to write them down. Number one, an interesting subject.
Never underestimate the importance of an interesting subject. We were over in Papua New Guinea.
This guy is actually the security guard at our hotel. This is up in the highlands in
Papua New Guinea, but I had seen this waterfall in the brochure and they were saying go down
and take a swim. I thought it would be really cool to put these two elements together. I'm
a travel photographer and one of the things I like to do is make pictures. There's a big
difference between taking a picture and making a picture. A photojournalist goes out there
and he or she just takes the picture. But I'm a travel photographer, so I'm allowed
to make pictures. And think about that. When you're out there with your cameras, think
about making pictures. You're like Francis Ford Copolla. You're the director of the scene.
If you put elements together and rearrange elements, even if you're doing a landscape
and you move over a little to the right or left and you're framing the scene with a tree,
you're making the picture. So think about that; the difference between taking a picture
and making a picture. So an interesting subject is really-- never underestimate that-- that's
the most important thing, which is why I have it up there first. Also, you see I have this
beautiful blur to the water in the background. When you're photographing moving water and
moving clouds, use a slow shutter speed. Put your camera on a tripod. Here, I'm shooting
at probably a 15th or a 30th of a second. So, I'm using my Canon image stabilization
lens so I can hand hold this without setting up a tripod. When I'm photographing people,
most of the time, 98% of the time, maybe 99% of the time, I'm not using a tripod. So, what
I'm doing is I'm moving all around, up and down. Speaking of which, one of my really
good friends, Dr. Dick Zakia, wrote this wonderful book, Perception and Imaging. There's nothing
about log, jpegs, white balance, AI Servo focus, ISO, anything like that in the book.
He talks about why we like pictures; perception and imaging. And one of the tips he gives
in that book is to use your camera as a spaceship. In other words, just going back to the workshop
I was just teaching, we had that horse shooting the--, that horse and rider shoot on the beach,
right? Say, "Ok, let's try to get this shot." Well, everyone stands like this holding their
camera like this; just straight like this. I said, "Hey, listen. Use your camera like
a spaceship. Follow Dr. Dick Zakia's advice. Move it up, move it down, tilt it to the left,
tilt it to the right." Again, another way, a simple way to get more creative pictures.
So, here what I'm doing is I'm getting down. Just another tip here that actually applies
to the next image, too. When you're photographing a person, try to see eye to eye, try to shoot
eye to eye. When you do that, what happens is the person looking at your picture can
identify more with the subject. You know, I don't know if you have kids, but the kid
may be running around on the floor or crawling around on the floor on a little bike and he
maybe standing up like this taking the snapshot looking down. Again, if you can get down on
the subject's eye level, the person looking at the picture can relate more to the picture.
The other thing is this. You see I'm pretty close. Most of these pictures, if not, actually,
all of these pictures, except one, were taken with my 24 to 105 millimeter lens. Probably
set it about the 35 millimeter setting. I like to shoot close. I like to work close
to the subjects because the closer you are to the subject, the more intimate the picture
becomes for, again, the person viewing it. So, again, I like to shoot close. When you
think you're close, shoot closer. Sure, I could've taken this with a 100 to 400 millimeter
image stabilization lens set at 400, or I could of taken with a 70 to 200, set at 200,
but the picture wouldn't have the same sense of intimacy as that picture or this is. I'm
pretty close to this subject. I'm shooting at a wide aperture to blur the background.
Once again, the background can make or break the picture. Here, there are a lot of twigs
and everything in the background and leaves, so I blurred them to draw attention to the
subject. Another tip here, when you're photographing people and animals; try to get that catch
light. Get that catch light in the subject's eyes. That catch light really makes these,
adds interest to the picture and draws the viewer's eyes to the eyes of the subject.
So here, we're deep within the forest, rain forest of Papua New Guinea and there was an
opening so I moved the man over there and I said, "Could you look up?" So, actually,
if you look at me here like this, I have no catch light in the eyes, but if I go like
this you can see the catch light from over here. Probably a little reflected in my glasses,
too. But think about that catch light. We could also add catch light with a flash, we
can also add catch light with a reflector, as you'll see in just a couple of minutes.
Creative crop, I mentioned that one of the first things I do when I open a picture is
crop the image. I like to look for pictures within pictures. This is a nice enough shot.
By the way, this is taken at what's called a "sing-sing" in Papua New Guinea. All these
tribes come together and all the different tribes and maybe about 15 or 20 tribes are
participating in this event and they dance throughout the day and the last tribe dancing
wins some prize. Maybe they're gonna have a TV show. You know the TV show we have, like
whatever it's called. What's that dancing show on TV?
>>man #1: Dancing with the Stars.
>>Rick: Yeah, Dancing with the Stars and now we got Dancing at the Sing-sing or something
like that. I think it'd be a pretty interesting show. So, this is a nice enough shot, but
here I just re-cropped it, placed the subject off-center. Some people may like the first
shot better; some people may like this. Photography is very subjective. I would say listen to
your heart, follow your heart. Do what you wanna do. Ok, next is careful focus. Everyone
here has an auto-focus camera, I'm sure. And yes, auto-focus cameras can focus faster--
definitely can focus faster-- than we can, but just because they can focus faster, it
doesn't mean that they always know where to focus. So, my camera has like 45 auto-focus
points. If I'm shooting with a long lens set at F to 8, what happens is if I selected those
points, what-, the camera might think, "Oh, this is the subject that he wants in focus"
Well, if this is the subject, or the element, that the camera says is in focus, the eyes
might be out of focus. In a situation like this, I'm actually selecting the focus point
over the eyes so I have the most important part of the picture, to me, in focus. So,
remember, just because you have an auto-focus camera it doesn't mean that the camera knows
where to focus. You see this beautiful catch light in the subject's eyes here. Well that's
caused by this reflector that we're using balancing the light, right? There's an opening
in the rain forest here, balancing the light onto the subject's face. Another tip here,
when you're out there shooting, you wanna have access to all your gear. I teach a lot
of workshops. People show up with backpacks with 37 lenses in them, you know, over the
shoulder bags with all these lenses and accessories and flashes in them. Or, like this person,
shows up with a vest. I'm sure she had eight lenses in there, 11 filters, 16 batteries,
3 packs of memory cards. She was going around; she was missing all these shots. I said, "Come
on. Lose the vest. You wanna have access to your stuff cause you don't know how fast action's
going to happen." What I do is when I'm out there, I travel with two camera bodies; one
over each shoulder, one with a wide angle zoom, one with a telephoto zoom. If I'm photographing
in the wildlife, on one camera I'll have the 24 to 105 millimeter, I mean stabilization
lens for wildlife and the other the 100 to 400. When I'm photographing people where I
can get close, I might use the 17 to 40 as the wide angle lens and the 70 to 200 as my
portrait lens. And I have a vest on, not like this, a much lighter vest where I have my
batteries and my flashes and stuff like that. The point is you really want to have access
to your stuff. Tip number five is you really want to check your camera settings all the
time. I'm always changing my white balance. Sure, we could change the white balance in
the digital darkroom, but if we have all these pictures and we're changing the white balance
and the exposure and all these other things, it takes time. So, the question is, do you
guys wanna be in the digital darkroom or do you wanna be out shooting? So, this is why
it's the--, it's very, very important, very important to get the best possible in camera
exposure. So, you wanna check your settings so the white balance is right, so your exposure
compensation is set correctly. Not only to save you time, but so you don't miss a shot.
So, number five is check your camera settings. Seeing the light-- I mentioned before that,
in photography, it's all about seeing the light, right? The contrast range in the scene,
but we have to see the contrast range in the scene, we have to see the direction of light,
we have to see the color of light and we have to see the quality of light. So, in a scene
like this, the contrast range is pretty great. The background smoke behind this woman is
great, so, greater than the light falling on her face so I knew I had to open up the
exposure. I knew it was soft light so I don't really have to control the light with a diffuser
or a reflector. I know its backlight. So, it's really all about the light. Learn how
to see the light. So, that's the first thing. And the second thing, as I mentioned, is controlling
the light. So, here, in this picture, I'm controlling the light with a flash. Another
one of my flash tips is take the darn flash off the camera. So, if this is my camera,
what I'm doing is I have a remote control on the top of the camera, I have my flash
off camera with a diffuser on it that I can, so I can move this flash around. Now, if I
have a long lens it's a little harder. It's hard to balance it, but the 24 to 105 millimeter
lens for people photography is really not that hard. So, I have my flash with the diffuser
up here and that way I can control the shadow. Here, we have a very little shadow over on
this side of the woman's face. If I had the flash on camera, you probably would've had
a really harsh shadow under here. When you're working with that off camera flash, think
about where that shadow's gonna fall. Think about the direction of light and use a little
diffuser over that flash to soften the light because, once again, you don't want your flash
picture to look like a flash picture. We can control the light with a reflector. This woman
is posed in the doorway of a hut and here's a--, well, we moved her out to the side after
that, but it's the same principle. Here, we're using this reflector to bounce light onto
her face. And here, you see this woman over on the left. She's the same woman that was
in the picture before. She actually took my advice. She took my advice and lost that vest
and she started to get some really good pictures. We can also control the light with a diffuser.
On a sunny day, what you do is you hold the diffuser between the sun, the sun and the
subject and that diffuser acts like clouds, like a layer of clouds softening the light.
We can also combine these devices. Here, I'm using a diffuser, but I'm also using a little
bit of flash to add that catch light to the scene. So, the flash not only adds catch light,
it adds contrast to the scene and by adding contrast to the scene, what happens is that
the picture can actually look a little sharper. It can also; a flash also brings out the true
color in a subject. There's one other person here in the audience who has, actually might
have a little more grey hair or white hair than I do, right? He's waving at me. He's
got actually, probably one of the most colorful shirts here, too, but if you and I went outside,
it's a beautiful, sunny day here, right? If you and I went outside and if we were under
a tree, if someone took a picture of us, our hair would have like a little greenish tint
to it because those leaves are acting like filters, like a filter. So, if you have a
subject and you wanna bring out the right color in the shade, say someone with salt-and-pepper
hair, or grey hair, you would want to use a flash. So, a flash can also help to bring
out the right color. Number eight, use your plus and minus controls on your camera. When
I shoot a flash picture, I'm always shooting on the manual mode. When I'm shooting an action
shot, if I'm shooting a landscape, I'm using one of the automatic modes, believe it or
not. A lot of my friends do this. If it's a landscape, a cityscape, a seascape; I'm
shooting on the aperture priority mode. I can fine tune the exposure with a plus and
minus control and get to the same place you can get to on the manual mode, only faster.
If I'm shooting action, like those Mongolian horse riders, I'm gonna shoot on the time
value mode or the shutter priority mode because I wanna freeze the action. If you're just
starting out, if someone's listening to this on YouTube or wherever, I would suggest for
sure practicing and experimenting on the manual mode, but after you learn the basics try,
you can definitely go-- I and a lot of my friends definitely shoot on the automatic
modes. So, it's seeing the light, it's controlling the light and then playing with the light
in the digital darkroom. Here, I took out some of the color of the background. I softened
the color. I'm sure a lot of you know Ansel Adams. He was very well known for his beautiful,
beautiful black and white images. Well, he took out the color from the scene. When we
take out the color from the scene, we take out some of the reality, right? When we take
out some of the reality, our pictures become more artistic, or more creative. Several years
ago, when the camera manufactor's introduced these super saturated films, everybody wanted
super saturated colors. Well, try taking out some of the colors and you'll see that you
might come up with some more creative pictures. And the last things is, whoops, I must have
skipped the last thing cause I put the slideshow together during the delicious lunch I had.
The last thing is, has, to have fun. So, I think that slide is probably gonna come up
in a little while. So, I do a lot of different types of photography. Wildlife photography
is also one of my favorite. I mentioned before telling the whole story. I thought I'd just
share with you some pictures from this workshop that I led over in Kenya. In photography,
planning is very, very important. The group I was taking, we wanted to photograph the
annual migration of the wildebeests and the zebras. And this has this is really the same
every year. The wildebeests and the zebras follow the rain around so they have something
to eat so the carnivores follow them, so they always have something to eat. They always
cross the Mara River during the same two or three weeks of the year and there's thousands
and thousands and thousands of animals that do this, so if you get, again, this lasts
several weeks. So, if you go over there like late October or mid-October, you'll get shots
like this. Having a good guide is super important. We're on the bank of the Mara River, there
must have been 87, 87 safari vehicles lined up. He was able to get us right into the shot,
into position, so we got a shot. So this is my favorite shot from this workshop; a horizontal
shot, it shows a lot of these animals. But I'm zooming in, I'm moving in closer. When
you're shooting, shoot everything vertically, shoot everything horizontally. Very basic
tip, but you don't know what you're gonna like later or, if you're doing a webpage or
a gallery or someone wants to buy one of your prints, you don't know what they need. So,
if you shoot it both ways, you'll have what they need. Again, I'm zooming in closer and
closer and closer. So, the other pic-, oh, this looks funny on the monitor over there.
They have two monitors on top of each other, so it looked like four pictures. Anyways,
it was kind of, that was kind of funny. So anyway, these, oh, I hate when that happens.
But it's just gonna take me a second to go back. Uhhh, here we go. Got it. So these first
pictures were taken with my favorite wildlife lens, the 100 to 400 millimeter and stabilization.
And for these I used a 2X converter. I have a friend, we call him Don Juan Ponce, his
real name is Juan Ponce. He travels around with these 500 millimeter lenses, right? I
don't travel with these long lenses. I use smaller lenses, like the 100 to 400, and I'll
use teleconverters, or 1.4X teleconverter. So, I love this teleconverter rather than
using a 2X and travel with another piece of hardware, I just crop in a little more. If
you have to choose one teleconverter, I would say go with the 1.4X teleconverter. These
were taken on different times of--, on different days, by the way, which is why the water's
a different color. When you're photographing wildlife, people too, portraits are nice.
Portraits are nice enough. This is a portrait of a white rhino. Kinda cool, but a behavioral
shot is always more interesting. Here we have, oh, it's gonna happen again. Let me see. Good.
Here you see, this is called babysitting, what the guides call babysitting where you
have this cute little baby giraffe feeding, getting a little drink of milk from the mother
giraffe. It's more interesting. All your pictures should really tell a story. Think about that
when you're shooting. What story does your picture tell? Nice enough shot of a rhino,
but it's really just a boring portrait. Here is another example of, actually, a lot of
things going on here. The background, again, can make or break a shot. This lone elephant
then, in the background, really adds a lot of interest to this picture. You also see
that I cropped this in the high dynamic, in the high definition format. I also added a
blue gradual filter in the digital darkroom. I also placed this lone elephant off to the
side. Again, think, it doesn't take much. It doesn't take much to turn a snapshot into
a great shot if you just think about the end result; how the picture is going to wind up.
One of my photography tips, another one of my number one photography tips is the name
of the game is to fill the frame. In other words, you saw in that Mongolian picture;
I cropped out all this stuff on the top. Boring. I cropped out all the dirt and the bottom.
Boring. Well, here we have a male and a female elephant over in Africa, following the tip,
the name of the game is to fill the frame. But, you don't always have to shoot super
tight to follow that tip. Here, in this next shot, here I followed that tip; actually,
the name of the game is to fill the frame because something's happening in the whole
picture. We have these elephants off to the side here. We have this tree, we have some
nice clouds up here and it looks like these elephants, the mamma and the baby, are walking
over in this direction. So, think about that tip, the name of the game is to fill the frame.
And for those beginners here, this actually illustrates yet another photography tip is
that when you're composing, think about a tic tac grid, tic tac toe grid over your picture
and try to place the subjects where the lines intersect. So here, if you imagine that tic
tac toe grid, the tree over here, one of the main elements in the subject, intersects with
that line. And over here, this intersects with that line. So try, that's a balanced
composition and one photography tip, another one is dead center is deadly, but that rule
is meant to be broken, too, on occasion. I have pictures probably I showed pictures here
where the subject was dead center in the frame. Another example of seeing the light. This
picture, it does not have a lot of contrast, so I can put my camera on aperture priority
or shutter priority with zero exposure compensation and probably get a good shot. Well, here,
that picture was taken after, after. Whoops, let me go back. Let me get back there. After
this picture was taken, so this does not have a lot of contrast and this picture has a lot
of contrast. Now, if we learn how to see the light, we know that here, the contrast range
is much greater than the other one. We have to do some kind of exposure compensation.
So, here I'm reducing the exposure compensation about maybe half a stop, two-third's of a
stop, so this area around the sun isn't overexposed and washed out. When I shoot digital, I shoot
digital like I used to shoot slides. I don't want the highlights to be overexposed and
washed out.
Did someone say something? No, no. There's a question?
>>man #2: [inaudible]
>>Rick: Ok, maybe someone just walking by, Googling something. Who knows? So, anyway,
yes, in the digital darkroom we can rescue up to a stop of overexposed areas. But why
risk that? Why risk those highlights being overexposed and blown out? I've seen, I've
seen pictures of beautiful landscapes, beautiful landscapes, except part of the sky was blown
out, or there's reflection on the water where part of that is overexposed and washed out.
When you're shooting, it's very, very important to not judge your picture by the image you
see on the back of your camera, on the little LCD screen. First of all, that's a jpeg of
your raw file, so it's not giving you the whole tone of range, showing you the whole
dynamic range. And second of all, you might have, you might have your screen adjusted
brighter or lower and some of these screens actually adjust the brightness of the screen
for the lighting conditions. You have to absolutely must judge your picture by the histogram on
the back of your camera. And again, my articles page, I have a little thing about the histogram.
Basically, you have the highlights on-- I'm looking at it from your part-- you have the
shadows over here on the histogram and you have the highlights over here. You don't want
a big spike over here on the highlights. If you do, that's reaching the top and you have
a lot of bars over here on the histogram, you're gonna lose information there. If you
have a spike over here on the right in the shadow areas, a big mountain going up like
this, your shadows are gonna be blocked up. You're gonna lose detail. Now, you might say,
"Well, Rick said that he's underexposing this about a half a stop or two-thirds of a stop."
Well, in reality, I'm underexposing it, but the most important thing is that I'm exposing
for the highlights. Yes, when you underexpose you might get more noise in shadow areas like
this, but I wanna preserve those highlights. And just a side thing on noise, how many people
here are concerned about digital noise in their pictures? Ok, Cliff raises his hand.
Ok, I'll just share. First of all, with the new digital darkroom programs, it's much easier
to get rid of the noise. I'll share with you something my father said when I first started
getting into photography. I used something called, Cliff, you're a little young; we used
to have this stuff in canisters called film, ok? It came in yellow or green containers,
right? [Rick laughs] Anyone here ever shoot film? Ok. How many people here never shot
film? Ok, we have a few people who never shot film. Well, when I started, I was using tri-x.
This is a Kodak film, it was ISO 400. It was a little noi-, little--
[audience member sneezes]
God bless you. It was a little grainy. We could push that 400 film to 800 and it became
even more grainy. So, I'm talking to my father, I'm going out to shoot something, I say, "You
know, what should I do? I really don't wanna push it because I'm gonna get twice the amount
of grain. What should I do?" He said, "Well, listen. If the picture's gonna be so boring
that you notice the grain, it's a boring picture." The point is, don't worry so much about the
grain. There are photographers, actually, who have built their reputation on grainy,
soft pictures. Speaking of which, how many people here have ever taken an out of focus
picture? How many people have saved those pictures? A few people have raised their hands.
Well here's the thing about out of focus pictures. One out of focus picture is a mistake, as
my friend Jim Rose knows, one out of focus picture is a mistake, 20 out of focus pictures
is a style. So, save those out of focus pictures. Quit strive for in focus pictures. How many
people here love to shoot sunsets with polarizing filters? Or neutral density filters? Or warming
filters? How many? Ok. A few people raised their hand. When you're photographing into
the sun like this, when you're photographing a city scene at night with lights, say, the
Golden Gate Bridge or the cross Bay Bridge where you have bright lights, you wanna remove
all filters from your lens. And here's why. It may be a little hard to see here, but up
in this part of the frame here, you see like a little circle. Can you see that? It's a
little hard to see, but it's there. That's a ghost image of the sun. If you don't-- I'm
gonna use my water bottle here to illustrate-- if you don't, say the sun's over there. If
you don't remove your filter, what's gonna happen is the light from the sun is gonna
come through the filter, bounce off the front element of your lens, bounce onto that filter,
bounce onto that filter and create a ghost image like you see over here. So, whenever
there's a bright light source in the frame, in the scene, remove all filters. Yes, you
can take it out, but especially in a sunset scene like this, the light, the light is so
graduated there, it would be very hard to take it out. Tip is, remove all filters. However,
if you leave a filter on, you may get a nice shot like this where you can see some of the
effect of the filter. Ok, we're gonna wind up here. I think, Cliff, we have five minutes
left, 10?
Seven minutes. I'll bet it's-- seven minutes. My, they're really strict about time around
here. Ok, I'll speed it up. I'll talk really fast. No. I am from New York; I know I talk
fast, but I'll just give you a few more tips on wildlife photography. I was teaching a
workshop over in Botswana. This is one of my favorite pictures. It illustrates a lot
of the tips that I've been talking about today. Name of the game is to fill the frame, expose
for the highlights, we don't want the highlights overexposed and washed out. We have nice catch
light in the subject's eyes. We have a little bit of an expression. You see this animal's
looking; something's going on. So, I like that shot. That shot was like this shot, ok?
The light wasn't that great. I turned this snapshot into a much more dramatic shot simply
by cropping in, using a technique that the Renaissance painters used, that is, to darken
the edges of the scene to draw more attention to the main subject and I selectively sharpened
the animal. My number one tip in the digital darkroom is to think selectively, don't think
globally. In other words, apply sharpening, apply contrast, apply curves and levels selectively,
not globally. So, I might even have, actually, I did sharpen his face more than his body
and I softened the background. Think selectively. You could turn a snapshot into a great shot.
This may look like a pretty boring picture of some logs here and some trees, but it's
actually a very interesting picture. We were driving around and the guide says, "Look!
There's a lion." So, we're like 300 yards away, there's a lion right in here. I couldn't
even see him. I had to get out my super telephoto lens to be able to see him. When you're travelling,
work with a good guide. Having a good guide is one of the most important things. He or
she will help you get the shots. So, this is the last day of the trip. We were shooting.
We were having like a great time. So we came, we, we go into three or four different camps
in the Okavango Delta. So, we're flying around and we land on the ground. Well, we didn't
land in the water on the Okavango Delta. We land on the runway, they're shooing the elephants
away and the guide comes up, he rips open the door, he says, "Come on guys, come on.
Guys, you gotta click these lions are mating. You gotta see this. This is an incredible
scene." So, I had my cameras ready, the guy with me was like that girl, right, that you
saw before with the vest. He didn't have his stuff ready, so he to unpack and this; he's
slowing us down. Finally, we get into this open safari vehicle; we're tearing as fast
as we possibly can over these like, roads, these washboard roads, bouncing all around.
We finally get up to this scene. Well, here's the lion, right? He really wanted to mate.
Here's the female lion. She didn't want to mate. So, they're growling back and forth,
growling back and forth. The guide says to me, he says, "You know, this is really intense
scene. Whatever you do, whatever you do, don't move fast when you're in the vehicle." Well,
this is the shot I wanted to get. Like a lo-, I call this a love bite, where the female's
biting the lion here. So, I stood up. I stood up to get the shot. So the guide looks at
me like I'm out of my mind. He says, "Don't move," like this, right? And it's so hot there;
sweat is going down his face and all this other stuff. So, these lions stopped and they
started walking towards us. I'm sure you've seen this on TV, National Geographic, when
the lions are hunting, they like, arch their back and they go in low through the grass.
So they were maybe here, I dunno, maybe they were 100 yards away and they got closer and
closer and closer and closer. So as they get closer, the guide's saying to me, first he
said, "Don't move." Then he's saying, "Don't move." Then he's saying, "Don't move." Then
he's saying, [whispers] "Don't move." Because the lions were this close. So, I'm standing
up in the vehicle, well, I have a 19 year old, he was about 15 years old when I was
there and I said to myself, "I better keep shooting." Because if the lions jump up in
this open safari vehicle and attack me, kill me, rip my head off, someone finds my camera,
they might get to my son. My son would still be proud of me. He would say, "Hey, my dad
was a photographer right up until the end."
So, I'm shooting and I'm shooting and I'm shooting and their like closer than the front
row here and I take one more shot and this was it. They were so tired they laid down
in the shade of the safari vehicle. You can see, you can see my shadow there and the guides
shadow, he was yelling, "Don't move, don't move." And my other, and the guy who was teaching
the workshop, too, was there. Well, listen. Cliff, how am I doing on time?
>>Cliff: [inaudible]
>>Rick: Ok, we have some Q&As. If you have any questions about photography, travelling,
equipment, things like that, I'd be more than-- and don't be shy. If you are shy, you can
just go on my website,, click on the bio page and I'll be happy to answer
any questions for you. So there must be some burning questions you guys wanna know. Wait,
I think we have one coming up.
>>man #3: I don't know how burning this is, but when you do have to change the white balance,
what technique do you use to get the right white balance? Do you have separate media;
or do you have a white card? I mean, what--
>>Rick: You mean, in camera what do I use?
>>man #3: Yeah, right. When you want to change the white balance--
>>Rick: Right, right. Yeah, there's a device called a color checker passport and it's basically,
you've probably seen these Macbeth color charts. They have all these different charts. So you
take a test of that and when you go back, a CD comes with that, and then what you do
is you calibrate your camera to that lighting condition and you're all set. And it's about
99 bucks and you put it in your pocket. It's about the size of a passport. The ExpoDisk
is another really good way to do the-- Cliff's shaking his head and he's heard of the ExpoDisk--
as long as you do it. But it's more important to do it if you're working on a scientific
project. I have a book on butterflies and the scientists were really strict about getting
the colors right, so I had to use a device like that to calibrate, to set the color in
camera. But if I'm doing my travel photography, like some of these pictures you see here,
I'm warming up the pictures so they're a little more pleasing. Color is very subjective, too.
And speaking of that, do you make your own prints? How many people here make their own
prints or send prints to a lab? Ok. Well, if we drink coffee, if we drink alcohol, both
caffeine and alcohol effect the way we see color. So, and we, we also see color at different
times of day. So, if you print, my advice is don't drink and print.
Very, very important.
>>Cliff: So, Rick, this has been an amazing talk. I wanted to ask you a question on HDR
photography. I-- was wondering if you could give me your
thoughts and advice on it and also, I seem to remember reading that if you ask the man
or woman on the street what they think of an HDR a non-HDR photo, they'll immediately
go for the HDR one, but then in certain photographers shy away from it entirely. So, I wanted to
get your take on that.
>>Rick: Well, in HDR photography, there's basically, there's two basic styles. The realistic
and the surrealistic. My friend, Trey Ratcliff, who has spoken here, he's into both types.
I've seen some of his pictures that look real and some that look surreal. And, once again,
it's up to the subject. The subject really, I think, suggests whether or not it should
be realistic or artistic. Here's an inside of a car. This, out in Los Osos, California,
this I thought looked good as a realistic image cause I didn't want to increase the
saturation, the contrast and the color. But in another picture that I have over here,
if I go down, it looks a little more-- well, here's a--, actually, here's a realistic and
here's a surrealistic. So, it's really up to you. When HDR came out, most people were
going for the surrealistic with the halos and all those other things, but again, it's
the subject. And just one tip I can give you on HDR photography, it doesn't always, the
bracketing sequence is not always-- and I'm gonna find the slide that illustrates it--
it's not always zero, two over and two under. So, here you see I'm in the Havana Florida
Hotel in Old Havana; the zero exposure compensation setting is on the left. I only had to go two
stops over to see into the shadows, but because I didn't want the highlights blown out, I
had to go two stops under, three stops under, four stops under. Now, in this picture of
the red car, it was exactly the opposite because I wanted to see into the shadows. So, here's
the average exposure at zero on the top left, and I only had to go two stops under so I
preserve the highlights out the window, but then two stops over, three stops over, four
stops over, five stops over. The idea is you're not always zero and you're not always two
over and two under. Yes.
>>man #4: [inaudible]
>>Rick: The question is how did I figure out how far I needed to go. I'm using the overexposure
warning on the back of my camera. Basically, what you wanna do to see in the shadows is
you wanna have almost the entire back, screen on the back overexposed and washed out.
Oh, another question.
One more question.
>>man #5: Yeah, this is a little off-topic, but what's your workflow like in terms of
how you archive and, in terms of your originals and then your, your finished work and, and
stuff like that. Just quick.
>>Rick: Right. You know what? I have a podcast. It's called the Digital Photo Experience podcast
and we're talking about that on our next podcast. If you go on my site, you'll get the link.
Basically, what I say in the beginning of that question is I don't like to talk about
workflow because my workflow is probably different than Trey Ratcliff's or all the other photographers
who have spoken here. What I do in the field is I have a folder of say, I'm in Botswana.
And if I have like five different memory cards, Day One, A B C D. At the end of each day,
no matter how late I have to stay up, I've taken the best of the best and put those in
another folder and I probably won't look at the other pictures again, unless I need a
bad example, cause I mess up every once in awhile. Actually, more than once in a while.
But at the end of the day, I have a folder, best of the best. Then, if it's just a standard,
if it's standard photography, I'll go into Adobe Camera Raw and work on rescuing those
highlights if need be, or using all the different sliders there to get the best possible picture
there. But again, as far as the work flow, it's HDR it's different. I might be using
some plug-ins or whatever. But check out the podcast, the Digital Photo Experience podcast.
We answer that question.
>>Cliff: And we'll have some time at the end if you wanna ask Rick any questions directly.
So, at this time, I want to thank you for speaking with us. It was an amazing talk.
Thanks for exploring the light with us here at Google.
>>Rick: Thank you so much, guys. Thank you, thank you. You were great.
And the food was great.