Geotagging your images – how to do and should you do it?

Do you geotag your images? Do you know what geotagging is or how it’s done?

When you geo-tag your pictures, you are simply adding in a latitude and longitude data point within the EXIF data so you know exactly where the image was taken. It alos allows you to share the location of images you’ve taken on the web. But is it a good thing to do?

If you want to geotag images there are two ways to do it. Either, you have it done automatically by the camera (and some accessories) or you manually input the data later on once the images are back on the computer. Some programs like Aperture allow you to do this for a batch as you input your files, others you’ll have to manually adjust the EXIF data for each image.

How to add location data to your images automatically…..

Geotaggin images with Garmin eTrex and Canon WFT unit

If you want to geotag images to make them location aware, you’ll need a Canon WFT WiFi transmitter. These WiFi units have a full-size USB plug on them allowing you to connect an external GPS unit like something from the Garmin eTrex range. With this connected, the camera will automatically collect the GPS data from the eTrex and add it into the EXIF data of each image you take with the camera. However, having a USB cable to a large GPS unit is a bit of a faff and there is a smoother way of doing it… It is possible to buy a very small blutetooth receiver that is hardly any bigger than a thumbnail and plugs into the USB socket on the WiFi unit. If you pair this with a Bluetooth GPS receiver, you can keep the bluetooth receiver in your bag and not have to worry about trailing cables.

OK, so now you know how to collect GPS data, should you?

This is something that I’ve been thinking about for quite a while and I’m not sure I have a fixed answer yet. In truth, I think it depends on exactly what you shoot. Imagine the scenario – you find a cracking location for a landscape photo. You spend months exploring the area, working out the best angle and time of day. Waiting for the right weather etc. And you geotag your image. If you post that image on the web with the GPS data embedded in it, anyone else can walk up to exactly your spot and repeat your picture. OK, so this may be a bit frustrating, but it’s not the end of the world and I’m not sure is a good enough reason not to geotag your images. After all, photography is about sharing and they will never have the same light as you unless they too put in the hours waiting.

However….now imagine the site becomes very popular, with hundreds (or thousands) of photographers turning up to capture the great beauty you’ve found. You may find that the wonderful location you’ve found is reduced to nothing more than a muddy criss-cross of tracks and tripod holes. And because photographers like to find their own angles, it could be over a wider area as others search around trying to improve on what you’ve done. Without the right infrastructure and sadly because not all photographers treat the areas they visit with as much respect as they should, it could lead to overwhelming damage to a previously unspoilt beauty spot.

Ok, so you may feel this is a bit far fetched, but how about if you photograph wildlife? Perhaps you’ve come across a badger sett, or something rarer like a Ghost Orchid site. If you merilly always geotag your images and then head off to shoot the ghost orchid, it may not be long before the location becomes known to all and the site again suffers damage through over-visiting. God forbid the orchid is trampled by someone clumsy who just doesn’t see it. Again, the world hasn’t ended, but there has been avoidable damage caused by geotagging of images.

All this is not to say that geotagging is bad though. There are many situations where it may be good to geotag your pictures – photojournalism for example where you want to prove the veracity of images and where they were taken. Or on a simple scale, sports photography at say a race track or football stadium. Setup cleverly you could have your images tagged and then with the use of a smart folder sorting system on your computer you could automatically group all images taken at a given venue.

So what’s your view? Do you geotag your images? If so, is it an automatic or manual process and if you do tag, have you had this same internal discussion about whether it’s a good or bad thing? Light up the comments with your views.

Canon EOS-1D Mark IV is THE choice for HDR photography

High Dynamic Range (HDR) photography is one of those ‘marmite’ types of photography, with some folks loving it, and others detesting it. Regardless of which side of  the ‘great HDR divide’ you sit on the requirements of a camera for the ultimate in HDR imaging are pretty specific. Basically HDR photography requires that several exposures are taken of the scene at slightly different exposure settings, usually the shutter speed is varied and aperture kept the same.

It was after an email from one site reader with his full set of requirements that the ideal camera for HDR imaging could be selected for him. With HDR there are several camera requirements

• Can shoot several exposures automatically bracketed around the cameras measured exposure – most cameras offer auto exposure bracketing (AEB), but often it’s limited to 3 shots
• Can shoot the bracketed images quickly after each other. For natural landscapes the key for a successful merge of images is that all the images are shot as fast as possible
• Good clean higher ISO performance
• Mirror lock-up that doesn’t come down between each bracketed exposure

HDR Beach Huts, Norfolk UK

Given the original question, and the thoughts that the EOS-1D models might be the ideal here’s a few tips for configuring an EOS-1D Mark IV.

• EOS-1D models have custom function C.Fn I-6 for 2, 3, 5 or 7 shots in a sequence. It’s also possible via another custom function C.Fn I-4=1  to set the camera to not automatically cancel the automatic exposure bracketing even if the camera is turned off. Since EOS cameras allow the steps of the bracketed exposures to be set from 1/3 to 3 stops this would mean the EOS-1D models could actually do autoexposure bracketing over a range of 18 stops.
• EOS-1D Mark IV shoots at 10fps or reducing the difference between multiple frames, making even handheld HDR possible.
• EOS-1D Mark IV has great high ISO performance, and even if needed can be set to shift the ISO setting if an extremely wide range of bracketed exposure would result in over or under exposure. C.Fn I-8=2 sets ISO safety shift.
• Mirror lock-up can be set to only return the mirror with the SET button after a sequence of exposures using C.Fn III-17=2, though live view mode achieves a similar effect
• Since most HDR applications automatically can arrange the sequence of bracketed exposures the C.Fn 1-5 which changes the order of the bracketed sequence is not needed, though I have found that setting C.Fn I-5=1 to start capturing the bracketed sequence from the under exposed frames makes it easier to see the sequence when reviewing the images on the LCD out in the field.

hdr-photography.com has a great autoexposure bracketing by camera comparison table listing not just Canon cameras [link]

Hit the comments to let us know how you shoot HDR, or even if you are on the ‘anti-HDR’ side tell us why?

Go and go again

Photography is always such an interesting challenge, especially when you’re dealing with natural light. The first thing everyone who takes up photography should be taught is the etymology of the word.

Photography is from the Greek for “light” (Photo) and “painting” (graphos) so it literally means painting with light. And that’s how you should approach all photography – by studying the light first, and seeing how it affects your subject. Read more

EOS Network photo walk: Dave’s story and pictures

As Brian explained in the previous blog post we decided the two of us would do a photowalk challenge. It wasn’t a competition but instead an exercise in seeing quite how differently we each see the world. We’ve been on many shoots together in the past and while we’re very similar in many ways, we’ve always been struck by the very different styles of photography we produce. This exercise was therefore a sort of ‘formalised attempt’ at seeing how we both work.
To make it interesting we were only allowed five items of kit each. For those that follow us on twitter or that know us personally, you’ll be aware this was quite a challenge. We both like kit. Personally, if I don’t leave home with a bag that is safe from theft through sheer weight alone, I don’t feel happy. I take a boy scout’s approach to photography and like to have everything with me, all the time….

So, to my five items. With a ThinkTank Photo Logistics Manager in my office crammed with equipment it was a difficult choice. However, I immediately ruled out flash. I love using flash, especially in the environment. It’s something I don’t think enough people do…mainly because the majority of people I meet are scared of flash and the results they’re going to get. Never-the-less, I was not taking flash with me for the day. I just didn’t think it warranted a place in the bag for the ideas I had floating around my head.

Item 1: Starting at the top, camera choice was the first stumbling block…. did I want full-frame or APS-H? Since I was envisaging more landscape shots than anything else, I plumped for the EOS 5D Mark II. My go-to camera that gets more use than any other in my bag.

Item 2: I looked at my lens collection and knew it would be tough to break it down. Since I wasn’t taking flash it allowed me another lens in the bag, so I went first for the EF24-105mm f/4L IS USM. This lens gets mixed reviews, with some people loving it and others preferring the EF24-70mm f/2.8L USM. Personally, the 24-105mm is my choice because of the more useful zoom range and the IS. It just suits my style of shooting better and makes for a great general purpose lens.

Item 3: While looking long and hard at my EF70-200mm f/4L IS USM I ultimately shot for the EF135mm f/2L USM. It’s one of the stars of the Canon range. Great in low light, a fantastic focal length and actually hugely versatile despite the fixed focal length. It really is one of my favourite lenses. In fact, I used it in conjunction with item 4 as my sole lenses for a job not so long ago for World Press Photo….

Item 4: Despite thinking that something truly wide might be a good idea, I left the 16-35mm at home and instead selected the EF35mm f/1.4L USM. Like the 135mm f/2L, it’s a cracking lens. Fantastically sharp and I just love the focal length on the EOS 5D Mark II. It can be used for everything from landscapes to environmental portraits and the bokeh achievable wide open is creamy and beautiful.
The lenses were ‘accessorised’ with my set of Lee filters – ND hard grads, ND soft grads and a polariser.

Item 5: My last item wasn’t a difficult choice. Since I’d put filters in, I needed some form of support. However, rather than go with a full tripod, I decided instead on a Gorillapod Focus with my lighweight Acratech ballhead on it. Gorillapods are brilliant inventions, especially the biggest in the range, the ‘Focus’. This supports up to 5Kg meaning it will hold a pro size SLR and decent lens, and it’s small enough to stick down the middle section of my bag. While it’s clearly not as good as a full-size tripod, it gives you stability and allows you to use ND filters comfortably. It also doesn’t attract attention like a full-size tripod would.
With some memory cards, batteries and a sneakily included remote release (my Hahnel Giga T Pro) packed into a ThinkTank Photo Shapeshifter bag I was good to go.

Picture 1
We started in Spitalfields and after about a 15minute wander around, neither of us had taken the cameras out of the bag. It’s not that there weren’t pictures to be had, just nothing inspired us enough to bother with getting the camera out. As we left Spitalfields I made the observation that unless we both took our cameras out the bag, the chances of either of us being sufficiently moved to do so would be slim-to-none.  So here’s a free top-tip for all of you… if you’re out shooting randomly for the day, the camera is no good in the bag. Take it out and have a lens on it! Otherwise you’ll find it very difficult to take any pictures and the day would be a waste. With the camera in your hand, you’ll take shots you’d have otherwise walked straight past, just because it doesn’t require any effort to do so. Leaving Spitalfileds behind, we set off for London Bridge. Somewhere half way over the bridge I decided that it was time to step up the picture taking. Out came the Gorillapod and filters and I setup for a shot out across the Thames looking towards the Millennium bridge. It’s not a bad shot, but not the one I’m choosing as my first image. From the Bridge we headed into Borough Market. We were both ‘warmed up’ now and taking more pictures. So this first shot is a detail of hanging chillies at the bottom end of the market. It’s nothing special, but I was drawn to the strong blue of the sign contrasting with the red chillies, both bathed in sunlight leaving the background in deep shadow. Taken with EF135mm f/2L USM

Hanging chillies, Borough Market, London ©David Newton

Picture 2
Moving on from Borough market we worked our way along Southbank. It was here I thought I’d find the bulk of my images, and so it proved. With the light now coming from our left and falling across the river to St Paul’s there was scope for some interesting images. But I’ll get to those in a moment because shot 2 was taken just before the bridge. To the left of the Millennium Bridge is a stand of silver birch trees. I love silver birches, and I’ve been a sucker for slow shutter speed panned images for years. I know they are a bit like Marmite, but I have to admit I’m a lover and whenever I get the chance don’t pass it by.
Being later in the day, the trees were hidden in shade making it perfect for a slow shutter speed. I closed down the aperture and took a few shots at different shutter speeds panning down the trees. The grass in the background and the hint of blue sky I saw in the distance gave a bit more variety to the colour palette and make it stand out a little more. Taken with EF135mm f/2L USM

Silver Birch trees, Southbank, London ©David Newton

Picture 3
Onto the bridge, and I had in mind the idea for a slower shutter speed looking along the bridge to St Paul’s. Being the end of the day the bridge was quite busy with people giving me some motion to include in the image. I was lucky the sky was a nnice blue with a few puffy clouds so I started by wrapping the Gorillapod around the railing at the end of the bridge and using the bridge surface and railings as leading lines running up to the cathedral. The slow shutter speed meant that people walking on the bridge were rendered as ghosts while anyone standing still was sharp. Exposure was a little tricky and it was here I was glad of my ND grads to balance the sky with the shaded foreground. The addition of a polariser gave a bit more strength to the sky and helped bring the shutter speed down a little more. After taking a few shots as people passed, I was happy I had something in the bag. Taken with EF24-105mm f/4L IS USM

Millenium Bridge, Southbank, London ©David Newton

Picture 4
You may say this is very similar to picture 4, but I’ve included it for a good reason – to highlight how a small change in perspective can have a huge effect on the image. For this shot I simply sat down on the Bridge and placed the Gorillapod on the ground. It gives a nicely different view and one that in some ways I prefer. With both of these shots I had to be careful with the shutter speed. If you’ve ever walked over the Millennium Bridge you’ll know that it moves a bit. It’s a suspension bridge so it has some sway as people walk along it. However, with a wide-angle lens and such a distant subject it didn’t actually make a difference – the angular momentum at such a distance was minimal and therefore even though the camera is moving during the exposure, St Paul’s is still sharp in the distance. Taken with EF24-105mm f/4L IS USM

Millenium Bridge, Southbank, London ©David Newton

Picture 5
My final shot from the five was one I’d seen when I walked onto the bridge but left until a little later. In truth by the time I was done with pics 3 and 4 I’d forgotten about it and was only reminded by seeing someone look over the side of the bridge down into the water! Having already put the 35mm lens on, I decided I’d stick with it as it was good length for the shot I had in mind. I couldn’t get the Gorillapod into a decent place on the side of the bridge so I had to resort to handholding. A couple of ND grads were added and I used the old press photographer’s addage of “f8 and be there”. 1/80th sec meant I had no worries about shake on a 35mm lens and I had my final shot in the can. Again, strong leading lines, drawing the eye through to St. Paul’s in the distance. It would have been nice to have dropped the shutter speed some for blur of the moving people, but without a tripod, this wasn’t possible this time – but I’ve stored the idea away in my head and next time I’m heading that way, maybe I’ll just take my big tripod with me!

Millenium Bridge, Southbank, London ©David Newton

All images were processed in Canon’s DPP software, using Picture Styles to draw out the colours as appropriate. And, though I know I shouldn’t need to say it, all images are © David Newton and may not be copied or used without permission!

Hindsight
It’s always good to go back and analyse how a day out shooting went. Did you have the right equipment? Where you comfortably dressed? Did you get the pictures you wanted, or that you are happy with? Since I used all my five items that I took with me, I didn’t feel I was carrying any dead weight with me. Well, apart from the spare tyre round my middle! So from a kit point of view I was pretty happy with my selections. A couple of times I’d have liked a bit of flash, but it wasn’t a deal breaker and I didn’t feel I missed out on any great shots by not having it with me. I managed to take 105 shots during the day. Certainly not a huge number, especially since there are a couple of shots, especially those on the Millennium Bridge, where I took many – the low angle landscapes looking along the bridge were from a set of 35 alone. Overall, I’m happy with my shots and with the day in general. Next time I think I’ll deliberately take different kit to ensure I get some different images – the temptation to stick with a working formula is sometimes too great and it’s good to break the habits now and again. It moves you out of the comfort zone and makes you think and experiment more…and that’s always good for your photography.

Tomorrow on the blog Brian will present his kit selection and images from the day.

If you have any comments, a little more scrolling will get you to the comments box! Feel free to let us know what you think of the concept for the day and also the images we took.

Polarisers and water

I’ve written about the benefits of a polariser filter before, but thought I would add some more information to it, specifically concerning how polarisers can affect your images when shooting water.

The following two images were taken using broadly speaking the same settings, with the exception of a shutter speed change to account for exposure differences caused by adding a polariser filter – the image with the polariser needs a longer shutter speed to record more light as you tend to lose around 1stop with a polariser.

However, with the exception of the ‘smoothness’ of the water, the biggest difference in the two images is the glare on the water and in the leaves of the background.  If you look between the two, you’ll see the body of water has bright patches on it in the shot without the polariser. The leaves also have a shine to them as they glare back at the lens too.

The shot with the polariser has removed this completely so the image looks flatter but with more saturated colours.

Which you prefer is a matter of personal choice and what you want to achieve with your image. This is especially true with water – some people like to see the wet glare on rocks and leaves, others prefer not to. So next time you’re shooting a waterfall, or flowing stream, don’t automatically reach for the polariser….or, if you do, be sure to shoot both with and without images so you can make a better judgement back at home after the shoot.

Which of the two images do you prefer?

Llanos del Cortez waterfall, Guanacaste, Costa Rica

Without polariser:

Llanos del Cortez, Costa Rica

With polariser:

Llanos del Cortez, Costa Rica