Eastern Connecticut from the Trails

Hi friends!

For the past two years, I’ve been working on a book about eastern Connecticut’s 130-mile trail system, and it’s finally finished. (With three jobs, raising a child, and working on a full slate of scripts/poetry and other projects, I can’t believe I actually got it done!) Eastern Connecticut from the Trails: A Hiker’s Guide to the Last Green Valley will be released on November 18, 2014. Packed with full-color original photos like the many ones you’ve seen right here on my blog, this handy little book is a perfect introduction to the unique geology and wildlife of the “quiet corner” of Connecticut.

More than just a guide to the state parks and forests, Eastern Connecticut from the Trails uses the great hiking opportunities found in the area as a doorway to exploring concepts like northeastern coastal forests, the impact of glaciers on the soil, and how to make the most of successional plant communities. This is no book for sedentary eggheads – everything comes from a hiker’s perspective, and the goal is to encourage the reader to get out on the trails and enjoy the diversity and majesty of the natural world firsthand. I’ve also weaved many personal anecdotes from my years hiking over 400 miles on the trail system and, of course, there are detailed descriptions of Eastern Connecticut’s major forests and parks, maps, and directions to the places you’ll want to visit. 

The retail version of the book will likely sell for $25 or more, but I will be offering Kindle versions on Amazon or a .PDF directly from this site for $4.99. All profits to help fund my nursing school endeavors.

I’m very proud of this book and hope you’ll consider getting a copy!

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Last Child in the Woods

A few years ago, my ex-wife bought me a copy of Last Child in the Woods for my birthday. I read the introduction to my then-baby girl under a pignut hickory tree on a bank of Crystal Pond in Eastford, even though she was just six months old at the time. The book makes a compelling case for getting our children back outside and reaping the benefits – physical and psychological – of contact with nature. It also presents the sobering picture of the present generation’s apathetic disposition toward being outside.

A longtime hiker and amateur naturalist, I didn’t really need to be convinced to spend more time in the woods. But I hadn’t considered the implications for River, who I know would spend a lot of time “naming nature” as I do.

Last week, we were at Mansfield Hollow counting needles to sort the different types of pines. We found a Norway maple growing around an ironwood tree. River, as always, was enthralled by the details of nature. I always keep a tree identification guide and one of the Audubon Society’s field guides (usually the guide to New England) in River’s baby bag. For me, the intimacy of encountering a forest demands identification. For a rare, incurious few, I suppose it’s possible to simply face and appreciate the state of being in nature, but I find it’s more common that we want to get to know the names and stories of the things we see outside. River kept the pages of our guide turning with her queries, and even offered a hypothesis or two when the book or my knowledge fell short (she supposed that the maple’s sturdy branches were keeping the ironwood tree warm).

When we finished our survey of the plant life, we played hide and seek in a meadow flooded with sunshine. She casually identified black-eyed susans and yarrow, to the exceeding edification of her proud father, and I introduced her to the joy of breaking milkweed leaves from the stem. She explained, in her own words, the importance of conservation and humankind’s kinship with the kingdoms of life – all of which, at her age, is just parroting what she’s heard before, but of this are the seeds of more abstract reasoning made.

In all that we did, however, we were alone. As always, the trails were empty, the groves and fields uncluttered with human voices. I was refreshed from the momentary flight from social media, e-mail, and my cell phone, and in the escape experiencing what seems to me an authentic humanity.

Don’t worry, I’m not aiming for a Luddite-like treatise against industry here. There is no halting the march of technology. River, at merely three, can already operate a smart phone and a tablets. But I’m hopeful that she will know when to put her phone down and grab her field guide or a hiking stick. And above all, I long for her to have companions in the parks and on the trails as she grows, that she will not be one of the last children in the woods, singularly adoring her cousins the trees and brother dragonflies.

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The Raw Deal – Why You Should Never Shoot Compressed Images

Hi Friends!

Today, I’m writing beginner-level tutorial on shooting in raw format. If you’re new to digital photography and, specifically, D-SLR cameras, you’ve probably wondered about the various image processing settings in your camera. Most of us are familiar with images on the web in .jpg format, which is handy for delivering decent image quality in a small file size.

But the portability of .jpgs and other compressed images comes with a significant loss in image data and quality. If you want to have extraordinary control over your images, your best bet is to shoot in camera raw.

Camera raw is often called “digital negative” because it affords the same processing options as now obsolete film negatives once did. Indeed, while a .jpg can be thought of as a “picture” and the final product of your camera work, the raw file is not a processed image ready for print. Rather, it’s your template for creating a final image.

Because raw captures nearly all of the data from your camera’s image sensor, with little processing, the format gives you both a lot of space for correcting errors and making artistic decisions about how you want your final image to appear. Two things you should note:

1. The file extension for raw images varies widely – there are dozens of proprietary formats out there. .CRW is a one of Canon’s common raw codecs, .NEF is one Nikon uses. Your camera’s instruction manual will help you determine which extension it uses.

2. To take advantage of the raw data your camera captures, you will need a program that can read and process raw files. There are a number of open source and free programs for just this task, and Photoshop, Lightroom, Picasa, and paint Shop Pro all support raw formats.

Using Raw Data to Create an Image

Take a look at the following image:

RAW-demo-before

This is a screen grab of the raw data displayed by Camera Raw 7.1, the program I use to read and modify raw files. As you can see, the manual settings for the shot were way off. I was shooting a horseshoe tournament in a shady area at a fair for a local paper. I had the camera set to 1/320, f8, ISO 400. All of the sudden, I heard a crowd cheering behind me and turned to see someone about to win the fair’s rock wall challenge. I had no time to change the camera’s settings if I wanted to capture the moment the climber pushed the green button and won the $100 prize. I pivoted, zoomed in to frame the subject, focused, and shot.

So I got the moment I wanted to capture on camera. Great, but the image is overexposed. What to do? If this were captured as a lossy, compressed .jpg image, not a whole lot. With raw data, however, I have a battery of powerful tools to use.

Here’s a screen capture of the Camera Raw interface:

RAW-demo-1

As you can see, even the basic options give you quite a few ways to modify the data your sensor captured. Generally, I start by applying a lens correction (in the Lens Corrections panel), but in this case decided it wasn’t what I wanted for the final image. In the basic panel, I made the following changes:

RAW-demo-2Exposure: – .90

Highlights: -65

Whites: -67

Vibrance: +50

As you can see, those settings recovered detail in the previously blown out highlights and restored color that was lost in the overexposure.

In the Detail panel, I made some adjustments to sharpen the image:

RAW-demo-3

Sharpening

Amount: 85%

Radius: 2.0 pixels

Masking: 45

Noise Reduction

Luminance: 45

Sharpening is, of course, a matter of personal taste. But in this case I wanted to bring out some detail in the climber’s face, but added masking to reduce grain.

Finally, I used the HSL/Grayscale tab to make adjustments to individual colors. The HSL (Hue, Saturation and Luminance) editing space is an alternative to RGB editing, and allows you to alter the luminance, hue, and saturation of individual color palettes in the raw data.

RAW-demo-4

Hue

In Oranges: -20 toward a redder end of the spectrum

In Yellows: -48 toward the orange end of the spectrum

Saturation

In Oranges: – 10

In Blues: +57

Luminance

In Yellows: -25

In Blues: -35

The overall effect of these changes is clear: deeper, richer sky, more natural and even skin tones on the subject, and a slightly less “hot” feeling to the overall scene. Some of the hotspots, caused by sun hitting the climber’s wet (sweaty?) skin, are beyond fixing, but the tone of the image is more balanced than it was before.

Here is the image, then, as submitted to the editor:

RAW-demo-AFTER

As always in this profession, much is left to personal taste. You may prefer different toning or more contrast. In making this image, my priority was to meet the needs of the newspaper. Therefore, I wanted to re-create the scene as it happened as closely as possible and to reduce contrast, which doesn’t reproduce well on the off-white low quality paper used for daily news. Were the image for my portfolio or a high quality print, I might have gone with more contrast overall.

You can see the compelling reasons to start shooting raw. What do you think of the final image? What are your experiences with raw? Leave your thoughts in the comments below!