I made some shots in the last couple of months – please tell me what you think:

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I had the pleasure of shooting with Michel Bury of Quebec here in Costa Rica on one of my photo tours last year. Besides being a talented photographer, Michel is a really nice guy! What I like about Michel’s work is his eye for creative compositions. I hope you enjoy this first of many to come photographer interviews here on the Deep Green Photography Blog. My intention with these features is to help give my photographer friends more exposure and to give the blog readers a look at the work of these photographers and their thoughts on shooting and processing in the digital age. Below is the text of my interview with Michel. I’m Deep Green or DG, and Michel is MB. After the interview you will see some of Michel’s favorite images along with his story behind the shot. Please feel free to post any comments at the bottom of the page and be sure to visit Michel’s website.

DG: Describe your style of photography. What do you consider a successful image?

MB: I’m a passionate nature lover who became a passionate nature photographer. My aim is to communicate my sense of wonder when I’m admiring nature’s work. I put much effort in the quality of light and in harmonizing the subject with its environment, regarding color combinations, forms and blur level.

DG: What is your favorite subject to photograph?

MB: Every aspect of the natural world, but I especially love birds and macro work. I love landscape too, but since I don’t live in a high potential area for this type of photography, I do landscape mostly while travelling abroad.

DG: What is your favorite place in the world to photograph?

MB: Well, I haven’t travelled near enough to draw a Top 10 list, but I would return anytime to the few places I’ve been: Utah-Arizona, Colorado Rockies, Yukon-Alaska, and of course Costa Rica.

DG: What equipment do you use?

MB: Canon EOS 7D digital camera, Canon EOS 40D digital camera, Canon EF-S 17-85 F/4-5.6 IS USM zoom lens, Canon EF 24-105 mm F/4 L IS USM zoom lens (rented when I was using positive film), Canon EF 100-400 mm F/4.5-5.6 L IS USM zoom lens, Canon EF 100 mm F/2.8 macro USM, Canon MR-14EX ring flash, Canon Speedlite 580EX II flash with Better Beamer, Manfrotto 055CXPRO4 tripod with Manfrotto 488RC2 ball head, Singh-Ray filters, reflectors, Cotton Carrier vest. I’m planning to buy the Canon 17-40 F4 L zoom lens.

DG: What is your favorite lens and why?

MB: The 100-400 mm zoom lens. No, it does not match the optical quality of a 300 mm F2.8 or of a 500 mm F4, but it’s much lighter and less bulky. I like to react rapidly and this lens allows me that. I like to get close to my subjects, like herons, so I often need to zoom out. And using a Cotton Carrier vest, this lens can be carried around without fatigue with a 7D body, a 580 Speedlite flash and a Better Beamer, even when biking short distances.

DG: What are your favorite photography gadgets/accessories?

MB: The Plamp for macro (http://www.tripodhead.com/products/plamp-main.cfm). The Cotton Carrier vest (http://www.cottoncarrier.com).

DG: What is your position on post-processing? How far will you go in editing an image (cloning, selective adjustments, adding canvas, etc.)?

MB: If we present our work as nature photography, I believe that any viewer expects – and rightly so – our image to reflect what we’ve seen in our viewfinder. If not, then it’s a digital creation and is perfectly acceptable – as long as it is specified as such. That’s the problem: many photographers – and even photo clubs – do not bother about this distinction. As a consequence, many people have become suspicious regarding high impact images, often asking if they are ‘real’ or rather heavily manipulated during post-processing. That said, since I don’t do so far digital creation, I will use the clone stamp to remove small distracting elements: a small twig here, a reflection there. As long as it is minor and does not change the essence of what I’ve seen in my viewfinder. Since there is no clear line with this subjective matter, I try to ask myself the following question: would I feel comfortable to reveal to my viewers what changes I’ve made in post-processing?

DG: Please describe your digital workflow, including the software you use and any third-party plug-ins?

MB: I always shoot in Raw format in Adobe RGB color space, then process the files in Lightroom 2 (just recently acquired – I was using Camera Raw before, so I’m not fully familiar with it yet – any suggestion for effective tutorials, videos or books?), then in Photoshop Elements 6 if necessary in 16 bits, conversed in 8 bits if I need layers or more advanced functions.

DG: What photographers (past and present) inspire you in your own photography?

MB: Tom Till, Darwin Wigget, Ladislav Kamarad, Jay Patel.

DG: Thanks, Michel!

• Title: Stillness in turmoil – Great Blue Heron in rapids, Montreal (Quebec), Canada.
• Specs: F11, 1/20 sec., ISO 100, focal length 400 mm, tripod, cable release, mirror lock-up.
• Story: I had this shot in mind for some time. The location is close to my home in Montreal. On this occasion, the river was unusually high for mid-summer. All rocks but a few were submerged and the river flow was very fast. The setting sun was veiled by a bright cloud, giving the backlit scene unexpected pastel colors. The low speed blurred the water, yet retained the sense of fast-flowing water. I only had time to take a few shots while the bird was perfectly positioned, and only the last one was pin sharp… This is one of my all-time favorite shots. It symbolizes for me the ability to stay focused in today’s turmoil.

• Title: Fall colors in the Alpine, Yukon, Canada.
• Specs: F11, 1/15 sec., ISO 100, focal length 135 mm, tripod, cable release, mirror lock-up.
• Story: We were driving in late August on the scenic highway going from Haines Junction, Yukon, to Haines, Alaska, amidst beautiful mountains in a pristine environment, with no one and no car to be seen around. I was filled with wonder by the autumn colors on this foothill, nicely contrasted by the strangely blue-colored rocks. When I got out of the car, the silence was as such as I rarely experienced it before or after, deeply peaceful and connecting to one inner self.  I used my 100-400 Canon zoom lens in order to extract this specific composition and chose the smallest aperture with optimal optic quality for this lens.  This is one of my all-time favorite photographs, because it is almost abstract and is truely artistic to me.  It was the Grand Prize winner of the 2008 Fall photography contest of Outdoor Photography Canada magazine.

• Title: Backlit Howler Monkey, Costa Rica.
• Specs: F7.1, 1/1000 sec., +1 stop, ISO 800, focal length 320 mm, handheld.
• Story: While staying at Tiskita Jungle Lodge with Greg in Golfo Dulce region, we were lucky to see three of the four monkey species of Costa Rica, sometimes in the same day!  Monkeys are almost always on the move and therefore not easy to frame.  I like this image because of its high contrast, harmonious movement and soft warm light on the monkey’s flank and tail, thanks to the +1 stop exposure compensation.  White skies are usually better avoided in nature photography, but in this case it works for me because the almost black and white rendition of the image.  Tiskita was certainly the highlight of our trip with Greg in Costa Rica.

• Title: Black Iguana sunbathing on Manuel Antonio National Park beach, Costa Rica.
• Specs: F5.6, 1/500 sec., +2/3 stop, ISO 100, focal length 85 mm, 3 stops split neutral density filter, handheld.
• Story: I like this shot because it’s different from what we usually see.  I wanted to shoot this iguana in its environment and avoid an obvious plain portrait.  I also knew after taking spot metering measures that the difference of exposure between sunlight and shadow was too high for the sensor to record correctly.  So I put my wide-angle on in order to have enough depth-of field, screwed in my filter holder and put my 3 stops grad filter in it.  I got down on my belly and very slowly crawled toward the still reptile, stopping, taking 2 or 3 shots, crawling again and so on, because I knew I had to get very close to get what I wanted with a wide-angled lens.  At one point my filter holder fell in the sand – not a good thing…  I blew the sand away, put it back cursing at the damned holder and resumed crawling.  The positive part was that I was in the shade; otherwise in full sun it would have been exhausting. The nice sunlight on the iguana head that draws the viewer focus (since the eye is always attracted first by the sharpest and brighter part of an image) didn’t last long because it was soon covered by the overhanging tree shade like the rest of its body.  So I only had time to take a few shots with this light, carefully framing the iguana body with the cliff shape behind it to obtain a harmonious composition.  Since the surf is always changing, not two shots were alike.  I like the subtle diagonal made by the tree trunk and the cliff, and also the color opposition of the warm orange in the iguana head and tree trunk and the cold blue of the sky and sea.  This is my preferred color pair in the chromatic wheel.

• Title: Male Wood Duck in fall reflections, Laval (Quebec), Canada.
• Specs: F8, 1/400 sec., ISO 800, focal length 400 mm, fill flash, tripod.
• Story: The male Wood Duck is arguably one of the most beautiful duck in the world and I’m lucky enough to have them close to home during their spring and fall migrations.  But when seen in fall colors reflections, the view is simply awesome.  The best time for this is when the sun is shining, high enough to light the colourful trees and positioned more or less behind you.  Color reflections then have a superb vibrancy, which disappear as soon as a cloud is hiding the sun. The other point is to have the duck in the shade, so that its colors are not washed out and its shadows are softened. That’s when you need some fill flash to expose it correctly and bring out its stunning colors.  I owe this technique to Greg Basco who taught me much about it in Costa Rica while shooting under the canopy.  My Canon 580EX II flash with Better Beamer was underexposed by around 2 1/3 stop (unfortunately the Canon 40D doesn’t record this information) and my autofocus was set to AI Servo, with the upper center autofocus point selected, in order to keep track of the duck eye while maintaining its reflection in the frame.  I was sitting on a small portable tool with my tripod at its lowest position, as close to the water as possible, in order to be close to eye level with the bird and to blur the water in the background.  My ball head was loosely tightened to keep some stability while allowing me to follow the duck’s movements.

Text by Greg Basco and Michel Bury. All images within this post are property of Michel Bury.

• Like how stupid is that? Shows you what kind of intelligence we have got working thier.
  — Ed Hamlin on FBI claims no one may publish its seal – Boing Boing

• WOW! I think both parties gone overboard. There are standards and professional ethics that need to be adhered to. The freelancer shows a lack of skills and integrity, they can be resolved mentorship/counseling and extra effort to rebuild credibility in the relationship. However when you publically put the guy on the carpet humiliating him like you did creats a potential legal problem. But I guess it is okay to totally humiliate people with out regard for their life and how they make a living. Getty may have…
  — Ed Hamlin on Getty Photographer Dropped Over Altered Golf Photo – PDN Pulse

• It’s really not a surprise. I’m not knocking all of the residents of afgakistan but loyalties only run as deep as the laundry list of stuff you can give leaders and politicians down to the regional leader. This may seem a bit inflamitory, too bad it is history repeating itself with different players. Take a look before you beat me up. FYI, I am retired military and I am not in favor of an extended stay without quick results. and low loss of life except the bad guys.
  — Ed Hamlin on The War Logs – NYTimes.com

• Yes, he should have been let go. Not acceptable in any editorial context.
  — JP on Getty Photographer Dropped Over Altered Golf Photo – PDN Pulse

• I think this is a good decision by the Goverment. This section 44 should not have been used in the first place anyway – randomly checking anybody they like. I think it goes with previous Govt policy or police policy of increasing the number of checks and not looking at the quality of checks. I have been searched myself in London’s financial district where I work. Also I have seen many old people being checked which I thought is extreme waste of policing time….
  — Dave on Home Office hands victory to photographers, restricts use of Section 44 – British Journal of Photography

• What kills me is the idea that they are suspected of attempting to perform some kind of discreet and secretive operation. They would be the world’s worst saboteurs with all of that equipment. It’s the people with small devices such as cell phone cameras that should be more of a concern. Might as well ban everyone with an iPhone.
  — Dylan White on We were permanantly banned from the Miami-Dade Metrorail for taking photos | Photography is Not a Crime

• Ugh this is so depressing, upsetting, disturbing but… GO JULES!
  — Julie on London cops enforce imaginary law against brave, principled teenaged photographer – Boing Boing

• But isn’t that the whole point.. Control the story .. Control the outcome..
  — John Armstrong-Millar on Embedistan – At War

• These kind of incident is very unfortunate and hardly avoidable. On the one hand there are people always look out for something interesting of rich and famous – on the other hand the celebrities too are human and long for something called privacy.
  — John on Jodie Foster Calls Teen’s Claims She Attacked Him a ‘Fabrication’

• Martine Franck’s is amazing photographer great post thank you for sharing Jen
  — Jen Pruett on Martine Franck’s Pictures Within Pictures – Lens

• Always worth our time, Trent. Thanks!
  — Nathan W. Armes on Quality over Quantity

• The problem with restricting access like this is that sooner or later the pictures will be taken, and it will show the devastation as even more wide spread and damaging because nothing was seen before. Bad move to pick and choose what gets seen, this isn’t Iraq.
  — KBrown on Photographers Say BP Restricts Access to Oil Spill – Newsweek

• Whoa… wow… I *gotta* see that documentary. My wife refers to that stuff as theatre of the pathetic. Awesome.
  — BWJones on The Wild and Wonderful Whites of West Virginia – Boing Boing

• It is always sad when you know one of your colleagues died untimely – and that too for something which has no cure! I think dying is better than living when one knows that his/her death is approaching fast! May God Bless Randy’s soul. John
  — John on Arizona Photojournalist Randy Reid, 49

• Delicious pictures and poignant introduction. All the best, Paul Treacy.
  — Paul Treacy on mark gong – cuban life | burn magazine

Including photographer Derek Henderson on Seeded

by Sarah Barnett

SATURDAY AUGUST 14

Seeded (95bFM, 11.00am; Radio Control, 2.00pm; Radio Active, 9.30am; RDU, 2.00pm; Radio One, 10.00am). Since cutting his teeth on Pavement magazine, Kiwi photographer Derek Henderson has conquered the world, with work appearing in just about every fashion mag of import, and featuring in notable public and private collections here and overseas. Outside of fashion campaigns, his work is more sociological, and his collections based on life in New Zealand are stunning (see www.derekhenderson.net). As for his taste in music – it’s Blondie to Neil Young and all stops in between. For Seeded links and podcasts, go to www.95bfm.com.

bNet frequencies

95bFM, Auckland 95FM • Radio Control, Palmerston North 99.4FM • Radio Active, Wellington 89FM • RDU, Christchurch 98.5FM • Radio One, Dunedin 91FM

Jazz at Lincoln Center (Radio New Zealand Concert, 1.00pm). The SFJAZZ Collective octet was formed in 2004 as a democratic, globally sourced superband, and hailed as something “New Yorkers could get jealous about” by the New York Times. Each year, they concentrate on one post-1960 composer, and add eight original compositions to their playlist – one by each member of the group. This afternoon’s recording is from last year’s performance at JALC, when the group was honouring Philadelphia pianist and former John Coltrane Quartet member McCoy Tyner.

Musical Chairs Featuring Scott Muir (Radio New Zealand National, 4.10pm). We’re amazed Scott Muir has time to step into the studio this afternoon. Between managing live music venue Refuel in Dunedin, along with a handful of local bands (the Chills, Del Girl), and running the website www.dunedinmusic.com, he has fingers in a bunch of other local arts and music pies. Today, he discusses his roles and the flourishing Dunedin music scene.

Music Alive with the NZSO (Radio New Zealand Concert, 8.00pm). It’s a shame the cannons in the 1812 Overture are provided here by computer, rather than actual artillery, but Tchaikov-sky is just a book-end in this concert, recorded last year, with the NZSO and Finnish clarinettist Kari Kriikku. Kriikku is recognised as a master performer, particularly of contemporary works – one of which he brought with him: Jukka Tiensuu’s Puro

for clarinet and orchestra, a work written for Kriikku in 1989.

SUNDAY AUGUST 15

Spectrum (Radio New Zealand National, 12.15pm). David Steemson meets enthusiasts from the Ford 8 and 10 Club today – blokes who lavish money and attention on their decades-old Anglias, Prefects and Model Ys. The club turns 30 this year, which is still younger than most of the cars, even if they’re still in cherished, expensive, tip-top condition.

The Sunday Feature (Radio New Zealand National, 4.07pm). A repeat of last week’s Radio New Zealand Concert programme The Returning, in case you missed it, in which poets Alistair Te Ariki Campbell and Meg Campbell are remembered and honoured.

It’s Not the Same Old Song: Motown As You’ve Never Heard It Before (Radio New Zealand Concert, 7.00pm). Amazing: Motown turns 50. Marty Duda digs through the archives of one of the country’s biggest Motown collectors, Roger Polehill, for a feast of classic treats with a twist. Each of the four episodes takes on a Motown era but promises not to rehash old, familiar tracks – first up, “Alternate Motown” with different versions of the Four Tops’ Reach Out, the Temptations’ My Girl and the Supremes’ The Happening.

THURSDAY AUGUST 19

Music Alive (Radio New Zealand Concert, 8.00pm). We cross live to the Auckland Town Hall for Echoes of War – works based on love and loss during the Great War. Along with Elgar’s poignant Cello Concerto, soprano Madeleine Pierard joins the Auckland Philharmonia for Ross Harris’s Symphony No 2. The Listener’s Rod Biss, reviewing Pierard and the Phil performing this work in 2006, wrote that Harris’s composition for eight of Vincent O’Sullivan’s poems was a “memorable, often beautiful and sometimes frightening score of passionate morality”.

FRIDAY AUGUST 20

Womad 2010 (Radio New Zealand National, 11.06pm). Tonight’s selection from Womad is Whanganui reggae outfit House of Shem. They’re a band with an ­impeccable Aotearoa pedigree: helmsman Carl Perkins is a former member of the Herbs, Mana and the Twelve Tribes of Israel, and his two sons are also both members of the group. Amplifier called their first album, Keep Rising, “nothing short of brilliant”; they’ve been in Neil Finn’s Roundhead Studios this year working on their second with Bob Marley’s producer.

from: Farhanas Weblog