The first reason most people think about using a tripod is to hold the camera steady and avoid the blur that comes from trying to hand hold at too slow a shutter speed. That’s definitely a good reason to use a tripod, but it’s not the only one.

A tripod gives me creative choices. I can choose to use a slow shutter speed to blur a waterfall, an ocean wave, grasses blowing in the wind, moving people, traffic, or anything else that is moving.

This icy waterfall along the Kulshan Cabin Trail in the Mount Baker Wilderness would look very different with the higher shutter speed needed to handhold my camera. I think waterfalls look best with a shutter speed of 1/4 to 1/2 second. The exposure here was 1/5 second at f/11.

Mount Shuksan HDR

A tripod allows me to make bracketed exposures that I will later merge to an HDR (high dynamic range) photo to capture a brightness range greater than my camera will see by itself. With this photo of Mount Shuksan, I was able to hold detail both in the bright white glaciers and in the deep greens of the conifer foliage.

A tripod forces me to slow down and think critically about my composition. With the camera mounted securely I can carefully examine all four edges of the frame. I don’t want distracting elements anywhere that can take attention away from my main subject. It’s hard to look for those details when hand holding.

This very cool blossom on Aristolachia californica, California Pipevine, stands out because I was able to control my composition at trailside in Redding, California last March.

A tripod lets me focus critically on the part of my composition that I want to be tack sharp. The distance between my camera and subject doesn’t change when the camera is on a tripod (unless the wind is blowing and I’m photographing plants). I can choose my focus point and check depth of field. With my Canon 5D Mark II I can use live view and magnify the image on the back of the camera for critical focus.

This tulip detail was photographed on slide film many years ago so there was no “live view” available. I used manual focus with my 100mm macro lens to concentrate attention on the pistil.

A tripod-mounted camera can be set to capture a series of images of the same scene over a period of time that can then be animated into a time-lapse sequence. I haven’t made any of these myself but have seen some fantastic examples on the web.

Traffic streaks in Fairhaven

So you see, my tripod does much more than just hold my camera steady.

What do I use? I have two tripods that I use most of the time.

For my SLRs and other big cameras I have a Bogen Carbon One (Manfrotto 441) that I bought in 2000. That’s just the legs. I use an Arca Swiss B1 ballhead with a quick-release clamp. I like the ballhead because by loosening just one knob I can position the camera at any angle I want. Most nature and garden photographers prefer a ballhead.

Last year I bought a smaller tripod for my Canon G12. This lighter tripod is a Vanguard Espod Plus 203AB, which includes a small ballhead. I picked it up for under $100.

Both of my tripods have 3-section legs, which are stiffer and stronger than 4-section legs. The tradeoff is that they don’t collapse as short and may not fit your luggage when flying. They also both have flick-lock leg clamps, with levers that open to adjust the legs and close to lock them in place. The other system is twist locks. I think it’s a matter of personal preference which to get.

When you’re shopping for a tripod, remember that the heavier it is the more solid it will be. It will also be more work to cart around. Carbon fiber legs are stiff, strong, and lightweight but expensive. Aluminum legs are a lot cheaper and work just fine, but weigh more. You need a bigger tripod for long lenses.

One trick to make your tripod heavier when in use is to hang your camera bag (or another weight) from it. I keep a carabiner on the haul loop of my camera pack so I can quickly clip it to a ring on my tripod, instantly adding a lot of mass. I usually only hang my pack when I’m using my 70-200mm or 300mm lenses because I’ve found from experience that if I don’t, the movement of the SLR’s mirror can shake the camera and cause blurring.

Since one of the reasons to use a tripod is to avoid camera shake, you also want to use a cable or wireless remote release to trip your shutter. You can also use your camera’s self timer, but you can’t control the exact moment you release the shutter that way. For many images that’s not a problem. I use the 2-second timer on my G12 because I haven’t purchased the remote release for it yet. I use a wired cable release most of the time with my DSLRs, but also have a wireless remote.

If you’re not currently using a tripod, maybe this is the time to invest in one and start using it. I think you’ll see a big improvement in your photos.

Corylus avellana 'Contorta' (Harry Lauder's Walking Stick)

Corylus avellana, the non-native one, is planted widely as a horticultural specimen, especially the cultivar ‘Contorta’ shown above in the UBC Botanic Garden a few years ago. It’s otherwise known as the contorted hazel or Harry Lauder’s walking stick. The uncontorted form is cultivated commercially to produce copious quantities of very tasty nuts, particularly in the Willamette Valley.

Corylus cornuta, the native species, comes in two varieties: var. californica (California hazelnut) and var. cornuta (beaked hazelnut). As you would expect, the varieties are similar and the distinctions small. I won’t worry you about them here.

Variety californica is limited to the west coast from British Columbia to California. Variety cornuta is more widespread and can be found all across North America, according to the USDA PLANTS database.

Flowers

Both species bloom early in the spring with pendant yellowish male catkins and tiny red petalless flowers. The catkins are showy, but you have to look closely at the twigs to find the female flowers. Both are on the same plant, but there are many more male catkins than female flowers.

This photo shows the red female blossom on a non-native hazelnut, photographed along Whatcom Creek in Bellingham.

So how do you tell them apart?

Female flowers like these don’t provide many clues.

Non-native “Euro-filbert” C. avellana usually blooms first. In most of its range it will begin blooming as early as December and the catkins will be looking tired by mid-March. It also usually has catkins in clusters of three. This isn’t completely reliable because catkins fall off and there is natural variability. But taken as a whole, looking at all the clusters of catkins on a plant you’ll find more in groups of three than singtons and pairs.

C. cornuta usually starts blooming in mid-March. It’s catkins are most commonly in clusters of two or single. Again, you’ll find some threesomes, but taken as a whole if there are more singles and pairs the plant is more likely to be the native species.

This photograph shows the male catkins of Corylus cornuta var. californica, photographed in southern Oregon last March. Notice the mostly single catkins.

Foliage

In mid-summer, after the catkins fall and the leaves have developed, it’s almost impossible to distinguish the species.

This photograph shows the foliage of the native species, growing in the UBC Botanic Garden native plant garden in Vancouver, BC.

Fruit

In late summer both species develop their fruit, which is enclosed in thick, hairy, papery bracts. It’s at this stage that the two species are most easily separated.

C. avellana has bracts that are about as long as the nut, divided to near the base. The nut itself is clearly visible within the bracts.

This specimen of the European filbert was photographed along the Whatcom Creek Trail in Bellingham early last August.

C. cornuta has bracts that completely enclose the nut, extending beyond it, and forming a “beak.” That’s where the common name comes from.

This triad of nuts on our native beaked hazelnut was photographed in Issaquah, also last August.

Squirrels love hazelnuts. They gather the nuts as soon as they mature. That makes it difficult to find shrubs with nuts in the fall. I’ve looked at hazelnut plants in our woodlands for years before finally finding some with nuts on them last year.

I learned to distinguish the hazelnuts from a key published in the Native Plant Society of Oregon Bulletin of March 2001. You can view a PDF of the issue online. Scroll down to page 36.

When you’re looking for shrubs to plant in the back of your border, consider adding one or more of our native hazelnuts. You’ll enjoy the spring blossoms, it’s an attractive shrub providing lots of hiding places for birds when leafed out, and the squirrels love the nuts. They grow to around 10’ tall. Like other natives they need little care once established.

To celebrate, this month’s special is for children’s portraits in our Fairhaven studio. You’ll jump for joy at this special deal, and your kids get to jump for the camera, too.

This is a great opportunity to get a fresh portrait of the children you cherish. It will be a portrait so much better than the “school portrait” you may have gotten last fall.

I spend the time it takes with each child to help them relax, have fun, enjoy their time in front of the camera, and reveal their personality.

Here’s the deal:

Our regular $149 children’s studio portrait session is just $99. You save $50. Add additional children in your family for only $10 each.

Our Petite Portrait Package, normally $225, is just $175. You save another $50. The package includes a framed 8×10 Classic Portrait and two 5×7 gift portraits in presentation folders.

Save 10% on all other finished portraits, any size, any finish.

Visit our Portrait Specials page for the rest of the details and to send me a message to make an appointment. Or go ahead and pick up the phone and call 360-671-6851 right now.

Sim family children. Bellingham, WA. © 2011 Mark Turner

One of my students wrote this on their evaluation of my class at NCI last year:

“Mark is a great teacher, very knowledgeable, and conveys that knowledge to others clearly. Plus, he’s obviously inspired and has a lot of fun with his photography.”

Here’s the 2012 schedule so far:

June 19 & 26 (Tuesdays), 6:30-8:30 pm
iPhone Photography at Whatcom Community College
You’ll learn how to take better photos with your iPhone and then how to enhance them with a variety of Apps. If you’ve been following me on Facebook you’ve likely seen what I’ve been creating with this fun “always available” camera.

July 15 (Saturday), all day
Intro to Wildflower Photography with a Pocket Camera
This is a one-day field experience as part of the Native Plant Society of Oregon Annual Meeting, held this year at the Siskiyou Field Institute near Selma, Oregon.

July 16-18 (Monday-Wednesday)
Pocket Camera Wildflower Photography at Siskiyou Field Institute
My popular and well-received full course on photographing flowers with your pocket camera. This class includes illustrated lectures, hands-on helping you get comfortable with the settings on your camera, guided photography in the field, and a gentle critique of your work. You’re guaranteed to come away a better photographer.

August 12 (Sunday) 8 am – 5 pm
Pocket Camera Flower Photography at The Burke Museum
This is the one-day version of the course. I don’t spend as much time on camera settings and the field time is shorter but otherwise the content is the same as the three-day class.

August 14-16 (Tuesday-Thursday)
Pocket Camera Wildflower Photography at North Cascades Institute
Same class as SFI but with different flowers.

Registration for all classes is with the hosting organizations. Visit their websites, linked above.

My class schedule is also on the Lectures and Classes page of my PNW Wildflowers website.

Nights are still long and the days gray. But my Fairhaven studio is nice and warm, with flattering lights and a variety of backgrounds. I’m ready to play with some new photography ideas this month and have a special offer for a few people who are also in a playful mood.

During the month of February I’m offering a few free “Play Date” sessions in the studio. I want to try out some new lighting techniques, experiment with posing, play with new multi-image and digital processing techniques I just learned, and create some new studio samples I can use in my marketing throughout the rest of the year.

What do you get out of the deal?

You get a free studio portrait session with absolutely no obligation to purchase anything. Of course, I hope you’ll be excited about some of what we come up with together and just can’t resist purchasing a finished portrait or two. To sweeten the deal, you get a 15% discount off regular prices on anything you purchase from the session.

Click on over to the Portrait Specials page for the rest of the details, including a sign-up form. Sessions are limited so do it now.

The portrait here is of my friend John Servais who runs the Fairhaven.com website about all things Fairhaven, where my studio is located. We had a good time in the studio earlier this week. See another portrait of John on the specials page.

‘Dawn’ was selected as one of the Great Plant Picks both for its fragrant pink tubular blossoms during the winter and for its bronzy foliage in autumn. It’s hardy in USDA zones 5 to 9, grows best in full sun, and is somewhat drought tolerant. In our Bellingham garden it gets a moderate soaking, along with everything else in the same bed, once every three weeks during the dry months of July-September.

We planted ‘Dawn’ as a large accent shrub in our front garden where it can be enjoyed from the sidewalk and it also provides a little privacy for our living room windows. Ours is now a mature specimen that has reached eight feet or so in height.

While we usually have rather mild winters in Bellingham, ‘Dawn’ doesn’t seem to care too much about colder temperatures. In mid-January we had a low near 10°F with no damage. Some years extended cold snaps will turn blossoms brown, but a few weeks later there are fresh blooms to take their place. It blooms through snow, rain, and wind. As soon as the weather calms down the heady fragrance drifts back toward our front door, greeting me as I retrieve the morning newspaper.

' Dawn' Viburnum, winter

Viburnum x bodnantense ‘Dawn’ is a hybrid, developed in Germany by crossing the Chinese V. farreri with the Himalayan V. grandiflorum. As such, if you’re a native plant purist you wouldn’t want to plant this one. But we’re not purists in our garden, and ‘Dawn’ is generally sterile. I’ve never seen any fruit on our shrub. That means as introduced species go it is well-behaved. You’re unlikely to find it spreading beyond where you plant it.

Our ‘Dawn’ has required very little attention over the years. We occasionally prune out a bit of the old wood and do a little shaping but that’s about it. You can prune while it’s in bloom and bring a branch or two inside to enjoy the blossoms and their fragrance while not much else is in bloom.

‘Dawn’ is popular in the Northwest, and rightfully so. Most nurseries or garden centers should be able to get one for you if they don’t have it in stock.

The photographs here were made in previous years. To see what it looked like on February 1, 2012 check out the Digital Photo Tip story this month for three more photos of ‘Dawn’.

Where you put your main subject in the frame is most important. If you’ve been around photography or art for any period of time you’ve likely heard of the “rule of thirds” or the “golden mean.” That’s a technique for positioning the main subject at one of the power points within the frame. I’ll write about that in more detail another month.

This month I’d like you to think about using differences in brightness, color, or sharpness to direct attention within the frame. You may or may not be able to achieve exactly what you want in camera. My examples, photographed February 1 with my Canon G12 pocket camera, have been adjusted in Adobe Lightroom 3. Post-processing isn’t an excuse to be sloppy when you shoot, but it’s a way to strengthen an already good exposure. All of these photos are of the same plant, Viburnum x bodnantense ‘Dawn’, which is also my plant of the month for February.

After editing: telephoto and large aperture

My first example was photographed with my camera’s zoom lens at its maximum telephoto setting, the aperture as wide open as possible, and the camera as close to the flowers as I could focus in macro mode. My goal was to have sharply-focused flowers against a soft-focus background. While it’s counter-intuitive, most pocket cameras don’t focus as close at the telephoto end of their zoom as they do at the wide end.

In Lightroom I used an adjustment brush set to the ‘Lighten’ preset to paint over the blossoms and brighten them a little. I cropped the original image from the right to eliminate a bit of branch that I didn’t like. Finally, I added a little bit of a dark vignette to the corners.

The photo at the right is the original, straight from the camera, before editing.

The second group of flowers, on the same shrub in my front yard, was photographed against the blue sky overhead. The camera was pointing almost straight up. I was careful to keep the telephone wires and power lines out of the frame, and rotated the camera to get a nice diagonal line. I used the on-camera flash, set to –1 2/3 stops, to brighten the blossoms a little.

This time, I used a subtle curves adjustment to bump up the contrast slightly. Then I used a selective color adjustment to bring down the brightness of the sky. By selecting luminance in the HSL panel, clicking the targeted adjustment tool, and then clicking on the sky I could easily slide my mouse side to side until I got the amount of darkening I wanted. It’s harder to describe than to do. Next, I set the adjustment brush to the ‘Lighten’ preset and brushed over the blossoms to brighten them up a little more. Finally, I added a very subtle darkening gradient to the lower left and right corners. I didn’t use the vignette adjustment here because I didn’t want to darken all corners. I don’t think that looks natural, or pleasing, with a blue sky.

Here’s the original, straight from the camera. The difference between the original and edited versions are more subtle this time.

My third photo was made with the camera in macro mode, zoomed to the widest setting. Then I moved in very close, being careful to watch what was happening at the edges of the frame. I had to keep the neighboring apartment building and parked cars out of the frame.

In Lightroom I used the adjustment brush, with both sharpness and clarity sliders all the way to the left, and painted around the flowers to further soften the background a little. Then I made another adjustment brush, set to the ‘Darken’ preset, and painted around the outside of the flowers again. That enhanced the contrast so the flowers stand out better. Finally, I added a dark vignette around the edges.

Here’s the original version.

The goal of my adjustments on these three photos was to direct attention to the blossoms. The techniques are all variations on the idea of localized contrast, whether of focus, colors, or brightness. Get as close to the final result as possible before you squeeze your shutter release, but don’t be afraid to use the software tools we have available to us to take your photos to the next level.

Although my examples are all of flowers, the same principles and techniques apply to almost any subject — people, landscapes, pets, whatever. You can apply many of the same adjustments in other programs as well. I’ve just come to appreciate how quickly and easily I can punch up my images in Lightroom.

I touched on backups over a year ago in my Digital Condoms post. It’s time to return to the subject. Like the previous post, this one is motivated by a friend’s hard drive crash catastrophe. She hadn’t backed up any of her photos for the year and lost everything. A data recovery company like DriveSavers might have been able to retrieve her files but that’s an expensive option for an amateur photographer. It’s expensive for those of us who make our living from photography, too.

Backups are like an insurance policy, something you hope you never need. Unfortunately, the time you need a backup the most is often when you realize you got lazy about making them.

Some photographers take what I’d call a “belt and suspenders” approach to backups, insisting that you need three copies of every file. Those are the working copy on your primary computer, an on-site backup, and an off-site backup. That’s certainly an ideal approach that protects against a hard drive crash, a fire or theft in your office, and damage to one of your two backup disks. You can’t go wrong with that approach.

Yet many people find having multiple backups intimidating and challenging to maintain. For them, a certain level of security can be had with a single backup to protect against a hard drive crash or accidental file deletion.

The fastest, easiest, and most cost-effective backup for most photographers is to use one or more external hard drives in conjunction with backup software. I’m currently using a set of Western Digital My Book Essential USB external drives. They come with backup software, but I’ve chosen a different tool.

I use a program called ViceVersa Pro to manage my backup process. I’ve deliberately chosen not to have a completely automated backup process because I’m a control freak and want to know what’s happening and when. That also puts the onus on me to backup my files regularly.

My photo files are on multiple internal hard drives, organized into directories by year. Obviously, I don’t need to update the backups for my 2007 photos as often as for the new work I create in 2012. However, when I create derivative files those do need to be backed up. Adobe Lightroom updates the sidecar .xmp whenever I make changes to captions or keywords or process an image in the develop module. I want my backups to reflect those changes, too.

In my system, each year’s photos are on a separate external backup drive. I only plug the drive in when I’m ready to update the backup. That way my backup drives see very little use and wear. They should last for a long time. Just how long? I don’t know.

How often should a drive backup be updated? Every day there are changes to the files.

There are other backup options, including DVDs and online storage. Backing up to DVD has the advantage of being pretty permanent. You can’t accidentally delete a file from a DVD, but there are questions about how many years they’ll remain readable. Cloud, or online backups, store your files offsite on some other company’s hard drives. It’s the ultimate protection against fire, theft, or local natural disaster. But when you have multiple terabytes of data it gets expensive in a hurry. It might make sense to use online backup for your business files but I haven’t gone that route myself.

Data professionals spend a lot of time developing strong and reliable backup procedures. I’ve merely touched the surface of the topic. Peter Krough’s book, The DAM Book: Digital Asset Management for Photographers, goes into more detail.

Whatever you do, protect your assets. Backup your photo files regularly. Something is better than nothing. You don’t want to be like Karen and lose everything you photograph this year.