Randy’s Experience – The Challenge of Getting Motivated to Learn

I’m hesitant to sound too academic in the blog but a comment by a reader recently reminded me of an idea I think I should share that may point out a real difference between some of us. It is common for us to assume other’s motivation is similar to ours and we wonder: why others choose to join challenging workshops; or why others don’t get out of bed in the morning for a great shoot; or why others get defensive or have hurt feelings about our feedback. Let me share a story I told the students in my class on educational motivation.

Imagine you are a fourth grade teacher and you are concerned about one of your students. Bobby never participates in class and when you ask him questions he always says, “I don’t know.” He has never turned in a homework assignment. On tests he simply puts his name and doesn’t answer any questions; he just puts his heads down on his desk. What do you think is Bobby’s problem? Why doesn’t he do any of the required work in your class?

If you are like my students you probably are thinking Bobby isn’t motivated.  When I asked my students how Bobby’s behavior led them to that conclusion, they said it was because he didn’t do anything in class. When I suggested that maybe Bobby was motivated but that his motivation was keeping him from getting involved for fear of failing, they didn’t believe me. But as long as Bobby didn’t try in class, his lack of effort was the excuse for his “failure.” And when he didn’t answer questions his classmates wouldn’t say he was stupid, rather they would say he was lazy or hated school. Bobby didn’t want to put himself in a situation where he would look bad and the best way to do that was to disengage from class as his excuse.

So what does that have to do with amateur photographers? How can Bobby’s disengagement in school be related to the photography challenges you are facing? Why do you have problems getting out of bed in the morning to go to a photo shoot? Why don’t you want to bring your photos to the photo club critique or enter your photo in a competition? Why were you so crushed by the “mean comments” that a skilled photography friend made about your photographs?

Let me share my own example of my fear of “not being good enough.” The biggest change I’ve had in my photography occurred in January of this year. When I learned about the Teton Photography Group and the Informal Critiques I was worried that my photos were terrible. I knew I should have brought my best photos to the meeting but I was scared (yep, scared is a good way to describe it) that people would rip my photos to shreds. So I went to the meeting without any photos and even considered lying if they asked why I didn’t have any photos.  I hate to admit it but I was afraid of failing, just like Bobby was afraid of looking stupid. Ever feel that way? Have you ever avoided trying something new ‘cuz you might look stupid, or clumsy, or lacking artistic skills? Almost all of us avoid putting ourselves in situations where we will look bad. Unfortunately, that avoidance typically keeps us from learning.

So what did you do Randy? I was very fortunate at my first Informal Critique to watch a number of other amateur photographs get really constructive feedback on their photos. Many of the people around the table were very skilled “amateur” photographers (they seem like pros to me) who were very constructive in their comments. The gave positive feedback to each person (e.g., “I like the contrasting colors.”) with suggestions that were constructive (e.g., “I think this photo would be improved by cropping out the tree on the left.”) I left the meeting feeling comfortable and convinced that the leaders at the meeting were there to help us improve our amateur photography. So the next month I brought some photos.

So how do others impact our motivation to improve our photography? For many of us our concerns about looking bad may get in the way, unless we trust those around us. I left that first Teton Photography Group meeting feeling that I could trust the people who were there; their comments focused on what the amateur photographers could do to improve their photos and they had positive comments about each of the photographs. Their support and “gentle critique” brought me back with my photos for the next meetings.

Since some of you have suggested that adding photos to the blog made it bit more interesting, I’ll give you an example. But I must add that these are not the first photos I brought to the critique. I know, some of you are probably thinking that I am ashamed to show them 🙂 but the truth is my original thumb drive is broken (I know that sounds like “the dog ate it” excuse.) So here are the two photos I shared at the Informal Critique at the next critique and the feedback I received.

This photo of a pair of pronghorns was received quite well. The feedback I received was the pronghorn on the left (in sharp focus) and the pronghorn on the right (not in focus) moved the viewers eye to the sharp pronghorn and his eyelashes, which is what I wanted to do. They also said that the brush between the two pronghorns was distracting and could be removed in Lightroom, which led me to want to learn more about Lightroom.

Pronghorn 2

This photo received a lot of feedback and all of it was very helpful. I can’t remember the exact comments but we discussed whether this should be a photo of a sunset or one that was more abstract. We talked about it for quite awhile and I felt I really learned a lot about composition, color, and ideas I never thought of exploring.

SSR Sunset

Some Suggestions to Consider for OUR Blog

That leads me to suggest a few things WE can do with this blog. I am pleased to see that we have about thirty followers of FirstanAmateur.com and that each post is receiving some comments.   I hope that this post will encourage more of you to make some comments. I suspect that I’ve got some of you to think about what might be holding you back from improvement (e.g., Are you hesitant to share your photos with others because they may shoot you down?). I also hope that if you realize that those concerns are getting in the way that you may share more of your photography IF we can build a supportive community of learners.

So here are a couple of suggestions.

First – What if I can add a page to the blog where you can share your photos with all the readers so they can give you some feedback? I know, for some of you that would be quite threatening, just like that first TPG Informal Critique was scary for me. If there are a number of you that are interested, I think I have someone that can help me create a webpage for the blog that will allow you to share your photos. Please note, I am admitting I cannot do that myself so I hope our FirstanAmateur.com community will be patient with me.

Second – What if I were to offer a Peer Mentor Photography Program? The Informal Critiques were very helpful to me and I think something like that could be helpful to many of you. What I’m thinking of doing is creating monthly informal critiques that include identifying a partner that you can work with for both the critique and a monthly photo shoot. You could identify your own partner (maybe someone you know who is also interested in improving their photography) or find someone at a group meeting. Lots of possibilities here and I am certainly open to your suggestion.

And one last request for comments. Does it help for me to share my experiences (successes and failures)? Has it helped you to read that I left the scene early at Little Redfish Lake when staying would have resulted in getting great photos? Or that I was fearful that my photos weren’t good enough to be critiqued by members of the Teton Photography Group? It feels a little awkward sharing my mistakes, but I’m thinking it is good for me to share my mistakes since we are all First an Amateur.

Monument Geyser Basin

Monument Geyser Basin

Elevation Profile of Monument Geyser Basin Hike

Elevation change for the Monument Geyser Basin
Elevation profile and route courtesy of the HAZ Tracks App

Distance: 1.3 miles (one way)
Difficulty: Strenuous
Best time of year: Summer, Fall

The Monument Geyser Basin was previously one of the must-see sights of Yellowstone. Due to fading activity, however, it often goes completely overlooked. The fumaroles aren’t quite as loud and the geysers don’t shoot out as high as they used to. What is still there though are some really unique formations and the opportunity to witness geysers in the process of sealing themselves up. And then there’s also the view.

The trail begins along the Gibbon River and follows it for nearly .5 miles through a young forest burned in the 1988 Fires. It’s an easy jaunt along the calm waters with the highway on the other side, which begs the question: Why did I mark this as strenuous?

The trail makes a sharp turn at roughly the .5 mile mark and answers that question. It steeply ascends up the side of a ridge and doesn’t let up. You’ll gain over 600 feet in the next half-mile as you’re gradually treated to better and better views of the Gibbon Meadows below. Soon Dome Mountain in the north begins to dominate the horizon.

Gibbon River and Highway

After the ascent, the trail begins to level out and you soon see a great view of the Gibbon River as it winds through the canyon below with the highway running alongside it, most drivers completely oblivious that there’s an overlook there. A short distance farther up the trail is the Monument Geyser Basin. There’s plenty of sinter coating the small saddle on the ridge with the highlight being Monument Geyser itself. Where eruptions used to shoot out up to 10 feet, it now simply spurts water out continuously as it slowly begins to clog itself up with the minerals in the water.

Poke around and enjoy the views, then head back the same way you came in.

To see more images of the Monument Geyser Basin, check out my Yellowstone National Park Gallery here.

Getting there: From the Madison Junction, follow the highway northbound toward Norris. After 8.5 miles, you’ll pass Beryl Spring on the left, and the trailhead parking will be small pullouts on either side of the road. Northbound traffic should park on the other side of the bridge which is right next to the southbound traffic pullout.

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October 2015 Daily Updates & Photos for Grand Teton National Park & JH: A Monthly Journal

Welcome to October! Foliage Reports September/October 2015 :

Red LeafOctober is a month of big changes. This page will contain mostly wildlife and landscape images, plus area tidbits, events and activities. The Foliage Reports page will be a little more “foliage” specific and include updates as I get around to the various areas of the park.

Monthly Overviews for JH / GTNP .

Click the link above to get a quick look at what you might expect to find with all 12 months side by side. Hint: Click any of the months below to see how previous years looked!

Daily Updates Archives:
2015:
Oct: | Sept: | Aug: | July: | June: | May: | Apr: | Mar: | Feb: | Jan:
2014: Dec: | Nov: | Oct: | Sept: | Aug: | July: | June: | May: | Apr: | Mar: | Feb: | Jan:
2013: Dec: | Nov: | Oct: | Sept: | Aug:

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October 1, 2015 :

In my opinion, the two “sleeper months” in Jackson Hole are May and October. They have lots of possibilities, yet they don’t get the fanfare of months like June and September. Through the end of October, most of the roads are still open, but the bulk of the summer crowds have left the valley. Animals are active longer and days get shorter. With the sun lower in the sky, the quality morning light lingers longer. Check out October 2014 and October 2013 to get an idea of what to expect this month!

Light of the Moon

Light of the Moon: The remains of the full moon were lighting the early morning clouds when I drove up to Schwabacher Landing this morning. The moon was bright enough I didn’t need a flashlight to walk to a good spot. The camera wasn’t able to focus on the mountains with so little light, so I aimed at the moon and let it obtain focus. I put the lens in Manual mode, then shot this image with the camera on a sturdy tripod. I could lighten this image  some, but I think it would defeat the idea of it being a true night shot. D810 and Nikon 24-70mm lens.

Schwabacher Inlet

Schwabacher Inlet: Moody morning clouds and changing cottonwoods. D810 and Nikon 24-70mm lens.

Beaver Dam

Beaver Dam: D810 and Nikon 24-70mm lens.

Reflections

Reflections: The camera was just above water level to get the reflections in the small beaver pond. D810 and Nikon 24-70mm lens.

Barrows

Barrows Golden Eyes: Taken in the upper pond. I didn’t see a male this morning. D810 and Tamron 150-600mm lens.

John Moulton Barn Roofers

John Moulton Barn Roofers: The south side of the barn is now shingled, but the area is still a mess. There were a couple of boards leaning against the barn, a trailer showing from behind, an outhouse and other ladders and equipment scattered around. I included a wide shot on the Foliage Reports page. D810 and Nikon 24-70mm lens.

Until I have time to add more October photos, you might want to check back on the last week of September 2015 Daily Updates & Photos for Grand Teton National Park & JH: A Monthly Journal.

Adjusted Image

Most Recent Feature Post: Aging the New Moulton Barn Roof in Lightroom: D810 and Nikon 24-70mm lens.

Roof Exchange

Roof Exchange: I tried something different this afternoon. I found a similar shot of this barn I took in 1913, selected the two roof sections and copied them to a new document. I used those two sections to place over the shot from today—reshaping them to fit using the Free Transform tools.

One-On-One Excursions Openings: I have several openings for October. The trips are designed to help people learn to use their DSLR cameras and help photographers find some of GTNP’s nice shooting locations. Click the link for more information. (Golden Era Studios / Mike R. Jackson is an Authorized Permittee of the National Park Service and the National Elk Refuge.)

Wildlife Reports: If you haven’t found this page, check it out! Where to Find Wildlife in the Tetons and JH Area . Here are a few recent reports.

  • Bull Moose seen along Moose-Wilson Road recently.
  • Bull Moose and Cows at Schwabacher Landing – Occasionally
  • Grizzly Boar on a Moose kill under the JH Lodge.
  • Great Gray Owl on Moose-Wilson Road – occasionally
  • Great Gray and Great Horned Owls along the Gros Ventre Road – occasionally
  • Moose along Gros Ventre Road. – fairly often
  • Elk in early mornings along Inner Park Loop Road…Windy Point, Jenny Lake, String Lake
  • Cross Fox at Lupine Meadows early. – occasionally
  • Bison are still north near Elk Flats – regularly
  • Pronghorns along Mormon Row road and Warm Springs Road – regularly

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Aging the New Moulton Barn Roof in Lightroom:

The Powerful Adjustment Brush in Action!

Bright New Roof

Crews just finished roofing the main part of the T.A. Moulton barn along Mormon Row in Grand Teton National Park. Earlier in the year, volunteers replaced the shake shingles on the two sheds on the same barn. Unless the Park stains the new portions (especially the most recent additions), it will take Mother Nature a year or so to naturally age the bright new panels of rough sawn pine. The image above shows its current state.

Photo purists might frown on modifying the image, and that’s perfectly fine, but if it annoys you and you are willing to spend a few extra minutes in Adobe Lightroom, you can at least reduce the bright glow of the roof. The steps are fairly simple — and the same steps can be used regularly on a variety of images and projects.

Adjustment Brush

The Adjustment Brush is found on the far right of the Tools. (Shortcut Key: K) In my opinion, it is the most powerful and versatile tool of the group and perfect for this project.

Show Pins

Once the Adjustment Brush is selected, a new set of fairly important choices appear near the bottom (under the photo). For each new edit with the Adjustment Brush, an “edit pin” is added to the screen. I prefer “Always”. This allows me to see all of the pins and select the one I might need to adjust. The shortcut to toggle the pins on and off is the H key (think of Hide). Similarly, you can view a mask indicating where the adjustments are made. The default color is red. The shortcut key to toggle it on and off is the O key (mask Overlay) or simply click the check box on or off.

Basic Menu

The basic Adjustment Brush panel looks something like the image above. The Up/Down arrows shown in the large oval allow you to pick from one of dozens of adjustments. For this initial step, I chose Exposure. Just to the right is a small triangle. Clicking it will either expand or collapse the additional adjustment options. The illustration above shows it while collapsed. Knowing I would be trying to darken the roof, I put in a negative amount by dragging the slider. The amount entered is really not that important initially.

Brush Size

The three sliders just below the Amount slider control the brush size, feather amount, and flow. Notice I have Auto Mask checked and Density set to 100. Drag the Size slider left or right to change the size, or click the open and closed bracket keys on the keyboard. Hold down the Shift Key while clicking the open or closed bracket keys to increase or decrease the amount of Feather the brush will have (hard or soft edges). Also, you can use your scroll mouse to adjust the brush size including holding down the Shift Key to adjust the Feather amount. The Flow slider imitates how quickly the effect is applied. For this project, a setting near 100 is fine, but you might lower it when darkening skies. Auto Mask helps keep the adjustment inside well defined borders.

First Brush

With the settings from the previous image, I simply painted over the roof with a mid-sized brush. The image above shows the first click before dragging the cursor around. I used a mouse for this project. A Wacom pressure sensitive tablet might be even better for this kind of editing.

Red Mask

When the Overlay Mask is turned on, you’ll see where you painted. Click O to see it or hide it. The Auto Mask feature allows you to be a bit sloppy. Also, notice the new little circle (edit pin) at the top corner of the barn.

-.76 Results

With the Overlay Mask turned off, you can see the results of the -.76 Exposure adjustment.

-.238

To darken the roof a little more, I went back to the slider and changed it. The adjustments are dynamic, meaning you can see how the adjustment is affecting the image.

-2.38 Adjustment

This is the result of the -2.38 adjustment from the previous screen.

Erase

To fix the problem of the stroke outside the roof, I needed to erase a couple of areas. The Erase button is just under the main slider.

Erase with Overlay

With the Erase feature turned on, the Overlay Mask comes in handy (O). Notice the minus symbol inside the cursor. With a hard edge and sufficient flow, it is possible to erase parts of the Overlay by clicking and dragging. Adjust the size of the tool by using the left or right bracket keys.

Erased Results

With only a few strokes of the Eraser tool, I was able to fix the problem areas.

Shed Adjustment

For the shake shingle shed portion of the barn, I clicked the word “New” under the Adjustment Brush tool, adjusted the brush variables and then clicked somewhere inside the shed portion of the roof. The first click sets a new pin. The original pin changes to a light gray circle while the new active region’s pin is filled with black. I simply repeated the steps from the main roof. The image above shows the roof just after cleaning up the overflow areas with the Eraser tool.

Third Pin

The image above shows the shed portion of the roof without the red Overlay Mask, and it shows a new third pin. This time, I reduced the brush size to the approximate width of the bright plank. (Look closely at the previous image) To make a delicate line, I clicked once about where the new black pin appears above, then while holding down the Shift key, I clicked at the top of the diagonal board. Lightroom connected the two clicks with a (straight) line. Presto! I clicked again at the top of the barn to set that point, and then again (while holding down the Shift key) just below it.  Note: the Eraser tool works equally well if you need to erase along straight sections. Click the H key to hide or show the pins.

For all practical purposes, the adjustments are complete! But to see some more of the power of the Adjustment Brush, let me add a couple more adjustments.

Expanded Adjustments

Click the small arrow to show a much longer list of possible adjustments. For this project, I wanted to desaturate the main roof. With that pin selected (click on it), I dragged the Saturation slider down a little. For this portion of the roof, I dragged it to -76. For the shed portion, I clicked that pin and dragged the Saturation slider down to -24. Every image will be different, of course. The important point here is to realize you can adjust any of the settings in any of the three pins by any amount at any time. If you don’t see your pins, hit the H key to toggle them on and off.

Colorize

But wait, there’s more! Near the bottom of the Adjustment Brush’s expanded menu, click the small Color chip. This brings up a familiar color chart. Click anywhere in the chart to set a color. Once the color is selected, drag the slider to control the saturation. You’ll have to experiment to see how the color affects your pinned selection.

Adjusted Image

This is the full view of the adjusted roof sections. Scroll up to the top to see the original image.

Final Comments:
I have been using the Creative Cloud version of Lightroom for quite a while. The most current version includes the Auto Mask feature and I use it regularly. I am not sure how far back that feature goes, but it would still be possible to do this kind of project in earlier versions by simply using the eraser tool if you go out of bounds. Adobe is gradually adding new features to the CC version of Lightroom that are not included in the boxed versions. They are obviously coaxing people to switch to the Creative Cloud option.

I didn’t mention it above, but it is possible to save “Snapshots” of your work at any time or any stage. Click the plus next to Snapshot (in the left panel) at any time and give the current state a name….like Begin New Roof or Finished Main Roof. You can return to any state at any time and begin again at that point. The Adjustment Brush in Lightroom is very impressive! I am a long time Photoshop user, and quite honestly, I could do this same set of adjustments better and cleaner there. Faster? Maybe.  However, all of the adjustments I did to create this image are just “code” applied to the original raw file. The adjustments are non-destructive and they require very little additional memory, unlike a layered Photoshop document.

Lastly, these tutorials can make a project like this look long and drawn out. In real time, this set of adjustments might take three or four minutes.

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