Martin’s Top Ten Photos for 2018 (Podcast 646)

Martin’s Top Ten Photos for 2018 (Podcast 646)

Following last week’s episode in which I shared my selection workflow and thought process, this week I’m going to share my personal top ten favorite images for 2018.

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I don’t try to rank these images in any order, rather we’ll just work through the year in chronological order, starting with this image from my Hokkaido Landscape Photography Adventure tour held at the start of January each year.

Konpira Shrine Shinto Gate

I’m preparing this episode on January 4, but I will be releasing it around January the 14th, a few days after visiting this Shinto Gate or Torii with this year’s group. I really hope we get some good conditions like we had last year again. The low pressure that lets the clouds roll in to form that beautiful grey sky also allows the sea level to rise, so that the water washes around the rocks surrounding the gate.

Konpira Shrine Shinto Gate
Konpira Shrine Shinto Gate

I considered including a shot from a different angle where the sea was washing around the concrete base of the Torii instead of this one where the base is solidly visible, but I went with this shot, as I prefer its simplicity. The even grey sky is unobtrusive and allows the red of the gate to stand out, but the water washing around the rocks, made silky from my 4-second exposure helps to accentuate the detail in the rocks themselves.

To get the 4-second exposure I was probably using my 6-stop neutral density filter, and I’d set my aperture to f/11, which is wider my usual f/14, so I was obviously trying to avoid going any longer than four seconds, because the water can start to look too smooth, and lose its texture if you go too long on waves like this.

As I prepare for this episode, I’m really looking forward to getting back up to Hokkaido with my guests and photographing these beautiful winter minimalist locations. I’m actually going to be taking my Canon EOS R, my first mirrorless camera, and my RF 24-105mm lens, and using these really for the first time on this trip, so I’m excited about that too.

Moonlit Quiver Trees

The next three images are from my Complete Namibia Tour & Workshop, which started at the end of May last year. We had a moonrise while we were in the Quiver Tree Forest, and although I’d spend most of my time trying to capture a telephoto shot of the moon rising through the trees, it wasn’t really working because of the light cloud cover.

Moonlit Quiver Trees
Moonlit Quiver Trees

Then shortly before we had to leave, I figured it was worth trying my 11-24mm lens for a wide shot, and I was surprised to see how good the clouds looked, but also how much the stars shone through the clouds. I honestly didn’t expect this to balance out this well, and I even got a bit of moonlight hitting the trunks of the Quiver Trees, which adds a nice touch I thought.

This was a 25-second exposure, just with the moonlight. I didn’t need any neutral density filters here of course. That’s all the light we had, even with my aperture wide open at f/4 for this lens.

Fierce Yawn

Later in the tour, we visited the Etosha National Park, and I got one of my firm favorites for the year, as we visited a private game reserve, and were treated to a late afternoon male lion as he bathed in the last few minutes of sunlight for the day, and then gave a great big yawn, that to me almost looks like a fierce roar, hence the title that I gave this image, Fierce Yawn!

Fierce Yawn
Fierce Yawn

I’d opened up my aperture to f/8 for this shot, and set my shutter speed to an 1/800 of a second, and to get a good exposure this required an ISO of 1600. I manually tweaked my focus to keep it on the eyes of the lion, and that in turn helped me to keep the focus on the teeth of the lion as he yawned. Because I use the back AF button to focus, and disable the autofocus mechanism on the shutter button, I was able to just not press the back AF button to avoid the camera trying to refocus as the lion flipped his head back like this.

Had I been using the shutter button to focus it probably would have started to search for focus as the lion moved his head, and might have even focussed on the grasses in front of him, and I definitely wanted to avoid that, although I like the fact that the grasses are there, keeping the lion firmly in his environment.

Zebra Soup

This next photo is what I call Zebra Soup, for obvious reasons. Again, from the Etosha National Park in Namibia, when I first shot this, I was much happier with the images that I’d got where I’d managed to crop the edges of the frame better, rather than cutting off the zebra’s heads, or half a face, but as time passed, I started to become more attracted to this photo, just because of the sheer chaos as all of these zebra drank from a waterhole.

Zebra Soup
Zebra Soup

I think I learned or maybe relearned that the technical accuracy of the image isn’t as important as how the image makes you feel. When I shared my final 44 images with my wife as I whittle down my top ten for 2018, we talked about this image and she didn’t even notice the cropped off body parts, because her attention was focussed firmly on the mayhem in the middle of the frame.

That’s not to say that I won’t pay attention to the point at which I frame my photos moving forward, but I will probably go a little easier on myself when making my final selection, especially when there is enough going on in the photo that the imperfections become almost completely insignificant. For this shot, I was using my 100-400mm Mark II lens at its full reach, and my shutter speed was 1/800 of a second at ISO 800, and an aperture of f/14.

Moroccan Man in Chefchaouen

Moroccan Man in Chefchaouen
Moroccan Man in Chefchaouen

It hasn’t been that long since I talked about my Morocco work for this year, but we’ll discuss these again, as the remaining six images of my selection for 2018 are from my Morocco trip.

That probably says something about how the images being fresh in our minds affects our ability to select a collection of images, but I actually really do think that this is some of my strongest work from the year, so it’s hard to remove them from my best ten.

This gentleman was a real character. He was shouting out to me and my group as we walked towards him, and started to dress in these clothes, saying that we could photograph him for $20 each! We get used to paying for photos in Morocco, but 20 bucks is a little steep. Most of the guests just kept walking, but me another guy talked him down to $10, and I was happy with the results.

When my guest asked for advice on his shot, and I told him that he didn’t need so much space over the top of this gentleman’s head, and as soon as my guest went to photograph this guy again, he immediately asked for another ten bucks, but we managed to talk him into a freebie. With him though, time definitely was money, and I only got a handful of frames before he started asking for more money.

In many ways you can’t blame the Moroccans. Many of them don’t have a lot, and this is a great way to make money from the tourists that otherwise don’t really buy a lot, and that unstandably frustrates the Moroccans.

I used my 85mm f/1.4 portrait lens for this shot, although I did close the aperture down to f/4.5 for this, to maintain a little bit of texture in that beautiful blue wall from Chefchaouen.

Public Bath Furnace

Public Bath Furnace
Public Bath Furnace

Our amazing guide in Morocco constantly came up with hidden gems for us to photograph, and after being whisked down a back alley in Fes, this next shot was a real treat. This gentleman is stoking the fire in a furnace to heat the local public bath.

I can’t find a reference to this online, so my memory might be playing tricks on me here, but our guide told us that for a community to thrive in Morocco, they need five things; A market, a mosque, a Koranic school, a well, and a public bath. And sure enough, as we visited the various medinas throughout the trip, these things were always there, and always thriving.

I was using my EF 24-105mm lens for this shot at 41mm, and the aperture was set to f/5.6 for a 1/160 of a second shutter speed, at an ISO of 2000. The man was throwing plenty of wood shavings into the fire, and stoking it to make the flames higher, so it wasn’t a difficult shot, but It was nice to be able to capture it.

For my exposure, I was using aperture priority, as I try to do for this kind of photography, but I’d dialed in minus one stop of exposure compensation to stop the fire from over-exposing too much, then I lightened up the rest of the room with the Shadows slider in Capture One Pro.

Distant Figure in Fes Alleyway

Another favorite shot from Fes is this image from down an incredibly narrow alleyway, again, a gem presented to us by our guide. I had just composed my shot, and as I hoped for someone to walk into the scene, this lady in a red Djellaba appeared in the distance, just long enough for me to use her as a nice color contrast and splash of detail to focus the attention of an attentive viewer of the image.

Distant Figure in Fes Alleyway
Distant Figure in Fes Alleyway

I know the figure is very small, but when viewed large she makes a nice easter egg, which is what I call this kind of tiny detail in a photo that you have to work a little to find and comprehend. My settings for this image were f/8 for a 1/20 of a second at ISO 6400 and a focal length of 24mm.

The Turban and the Cloud

The next image was from the Sahara Desert in Morocco, when we had a little time to photograph our camel handlers before the sunset, and with the high winds, it was a great opportunity to get them with their turban blowing in the wind like this. We couldn’t resist asking this guy to go to the brow of the sand dune to get him against the sky with this beautiful big cloud that had rolled across the background.

The Turban and the Cloud
The Turban and the Cloud

I really struggled with the decision to not include one of the camel’s in the sunset images, as they were pretty nice, but I risked having my 2018 top ten looking just like my 2017 top ten, so I had to make some sacrifices.

I also have found that six of my top ten for this year have people in them, which is a little out of character for a predominantly wildlife and landscape photographer, but cultural travel photography has played a large part of the last few years, so I decided to just roll with it. My settings for this photo were a 1/320 of a second shutter speed at ISO 250, and an aperture of f/10 at 300mm.

Man in Well

It was just two weeks ago when I spoke about the final two images, but here goes. This man is Karim, and he watches over an irrigation channel in Morocco, ensuring that it doesn’t get blocked, and he’s found himself a nice niche job posing for photographers beneath the well hole in the channel.

Man in Well
Man in Well

I also took this photo out of my selection for a while because I had this and the next gentleman in my 2017 top ten, but I just could not bring myself to leave them out. The set felt empty without these two images. I also mentioned recently that I have extended this image out from a portrait orientation image by increasing the size of the canvas in Photoshop then using content aware fill on the sides.

It’s a very narrow space, but because I darken down the surrounding a bit, you can’t really tell that it’s been changed, and I like the idea that he is in a larger space here than he actually was. It feels more of an abyss like this. My settings were f/2 for a 1/20 of a second, at ISO 6400, with my 85mm lens. There is hardly any grain in this image because Karim is beautifully lit from the light of the well, and the shadows are so dark that grain is just not visible.

Moroccan Man in Adobe Building

Our final image from my 2018 Top Ten set is Mr. Mohammed, another Moroccan gentleman that I had the good fortune to photograph again on last year’s tour. This man has been an extra in many movies, as the town where he lives, Ait Benhaddou, has been the location of countless movies over the years.

Moroccan Man in Adobe Building
Moroccan Man in Adobe Building

Not at all camera shy, we asked him to pose for us inside an adobe building next to his own home, and with these dust-covered tajine pots and again, just a single open ceiling window, this makes for a stunning environment to photograph people in. It’s dark in here too though, so this is another 6400 ISO shot, this time at f/4, again for 1/20 of a second, at 35mm.

Share Your Work!

As I mentioned last week, please do share your own Top Ten images for 2018 if you also do this each year. If you haven’t been doing it, I really believe it’s an invaluable exercise to help us grow as photographers. If you want more information on the process, and haven’t caught up on last week’s episode yet, do check that out here, and by all means share a link to your top ten below, along with details of anything that you learned from doing this.

Morocco 2019?

With six of this year’s images being from my Morocco tour, I’m actually really struggling with the decision to not run this tour again in 2019, due partly to the trouble that I had getting into Morroco this year with my camera gear. I have a few other ideas that I’m working on right now though, so I need to finalize a few other decisions before I completely rule out Morocco for this year. If you would like to join me in Morocco this coming fall, maybe you could drop me a line and it might sway my judgment a little.

MBP Pro Membership

One of the things that I’ve been working on really hard since getting back from Morocco this year, is a new membership system that I’ve built into our website, and I’ve been growing this gradually to allow me to iron out the kinks, but we already have a fair number of people signed up and starting to get active in the new MBP Pro community.

Full Featured Profile Page Sample
Full Featured Profile Page Sample

If you’ve been visiting the blog posts for the last few episodes, you may have noticed a new button at the top of each post, for a members-only PDF eBook. This is one of the main benefits of what I’m called the Bronze Membership. Things changed in recent months, making it difficult now to publish our articles automatically to those that subscribed to my newsletters, but because I know many people like to read, I decided to build on that, and now I’m creating a beautifully laid out eBook of all articles that I create and release, with a commitment to provide at least three PDF articles per month for our MBP Pro subscribers.

Other benefits include our monthly desktop wallpaper for all members, and access to a members-only forum, and a feature-rich profile page for all members, where people can share their own updates, make friend relationship with other members, send messages to each other, and even post their own photos and links to portfolios and skill sets etc. Socially its turning into a great place to hang out, and of course, with the forums and my now weekly eBooks, it’s a great way to take your photography to the next level.

You can find details of the new membership levels here, but please note that the Silver and Gold memberships are on hold until March, after I’ve finished my Japan winter tours. The Silver Membership includes a monthly video that I won’t have time to create until March, and the Gold membership is actually a mentorship, for a maximum of ten mentees for the time being, so I need to give them my full attention, and I won’t be able to do that until March.

Also note that there will be prorated upgrades available, so if you buy a Bronze subscription now, you can use the remainder of your subscription as part of the payment for a higher level subscription later. Apart from a few teething problems that I’m still ironing out though, the Bronze Membership is all running smoothly already, so check out the details and jump onboard if it’s of interest to you.

Note too that just because I’m introducing these memberships, does not mean that you’ll lose anything. I am gradually locking down the blog so that people will have to create a free account to view more than a certain number of articles each month, but if all you want is the blog posts they are not going anyway. You just might find yourself being asked to create a free account and login to view these posts at some point soon.

Do check out our new MBP Pro Memberships though, and I hope to see you in our shiny new community, to take your photography to the next level.


Show Notes

If you are interested, you can see most previous year’s top ten selections here: http://martinbaileyphotography.com/tag/top-ten/

Check out our new MBP Pro Membership here: https://mbp.ac/mbpprolevels

Note that by buying from our friends at B&H with the links in this post you help to support the podcast at no extra cost to yourself. Thank you for your support!

Music by Martin Bailey


Audio

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Download this Podcast as an MP3 with Chapters.

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Morocco Tour 2018 Travelogue 4 (Podcast 644)

Morocco Tour 2018 Travelogue 4 (Podcast 644)

This week we conclude our travelogue series to walk you through my 2018 Morocco Tour & Workshop, as we finish up our shoot of the camels in the Sahara, then photograph some wonderful characters before ending our trip with the Portuguese Cistern at El Jadida.

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In the previous episode we looked at a number of photos of the camel handlers with their turbans blowing in the wind as well as leading their camels through the dunes in the Sahara Desert. To stick to our ten images per post though, we left the last couple of images from this shoot until this week, so let’s jump right in and look at these now.

Camels at Sunset

We’d waited until the sun was on the horizon for our last few shots, of which this is one of my favorites. You can see now why it wasn’t such a bit deal that three tourists had ridden their own camels across the brow of this sand dune, as it was pretty much going to be a silhouette by the time we shot it anyway.

Camel Sunset
Camel Sunset

Although I’m not very good in automated shooting modes, because we were sometimes shooting into the sun like this, and other times shooting away from it, I do work hard to get used to using Aperture Priority with Auto-ISO in situations like this, and it leads to some nice silhouettes as the camera darkens down the exposure to avoid blowing out the sunset.

I also set the camera to keep my shutter speed relatively high to avoid camera shake, and to capture the walking camels, so it all came together with a shutter speed of 1/250 of a second at f/13, with the ISO at 200 and a focal length of 97mm.

Rock the Kasbah

As the sun went down, we had the camel handlers walk across this dune a few times, and moved around a little for a slightly different perspective. For this last shot of the camels I went a little higher to include the top of what looks like a Kasbah, although in reality I think it is the lodge that we’d stayed in on the previous night before moving to our luxury tents a few hours before this shoot.

Camel Sunset with Kasbah
Camel Sunset with Kasbah

As there was a lot of clear sky above the line of camels in this photograph, I decided to crop it down to a more cinematic 16:9 aspect ratio, which I quite like. The settings for this were a 1/250 of a second at f/13, with an ISO of 640 and a focal length of 97mm. For both of these images I was using my Canon EF 24-105mm f/4 Mark II lens.

After spending the night in the Sahara, the following day we drove back through the dunes in our four-wheel drive vehicles, and switched back to our bus to continue our journey.

Man in the Well

Shortly after starting our drive, we stopped for a shoot that I’d been looking forward to since last year. We visited Karim again, the man who poses for us down an irrigation channel with a well hole, through which beautiful light pours for what I think are incredible photographs.

Man in Well
Man in Well

I actually shot most of my images down here in portrait orientation, including this one, but with this I’ve taken it into Photoshop and extended the canvas so that it is a 3:2 aspect ratio in landscape orientation, and then selected the two areas to either side of the original photograph, hit the delete key, and then had Photoshop fill in the sides with Content-Aware Fill. With it being so dark I just had to clean up a few artifacts to get a landscape orientation version, which I really like.

Because it’s so dark down this well I was also looking forward to using my 85mm f/1.4 L lens down here, which I opened up to f/2, so it was letting in two stops more light than my f/4 lens does wide open. This enabled me to capture a brighter image than last year, although my ISO was still at 6400, at 1/20 of a second.

Aït Benhaddou

We ended the day at Ouarzazate, where we had a quick shoot of the beautiful fortified town of Aït Benhaddou before heading to our hotel for the night. We went back the following morning, when I shot this image with the warm morning sun bathing the town.

Aït Benhaddou
Aït Benhaddou

I used a 6 stop neutral density filter for a 2.5 second exposure to make the water in the river smooth over a little, although we hardly notice that in the photograph with the fortified town being so vibrant. I’d set my aperture to f/14 and ISO to 100 with a focal length of 56mm.

Moroccan Man in Window

When we got into the town itself, our guide arranged a few shoots with the local people, starting with this man who we’d photographed with his donkey outside, before going into his house to photograph him in a window like this. It was funny, because the house was mostly very traditional, with the Berber mark above him on the wall and similar authentic artifact, but just above to the right of the frame here, was a huge Gladiator poster in a frame, which had been given to this man as he was an extra in the movie.

Moroccan Man in Window Light
Moroccan Man in Window Light

Running with my semi-automated shooting modes, the shutter speed was a little higher than necessary here at 1/320 of a second, but I’d opened up the aperture to f/2.2, and these settings gave me an ISO of 2000 at a focal length of 85mm. With all the rustic red shades in this image, one of my favorite parts is the man’s blue turban, which is a nice color contrast against the reds.

Mr. Mohammed

Moroccan Man in Cape and Yellow Turban
Moroccan Man in Cape and Yellow Turban

I had also been really looking forward to revisiting the gentleman in the next few photographs, as his images were some of my favorites from last year’s trip as well. This is Mr. Jamal Eddine Mohammed who lives in this ancient town and has appeared as an extra in many movies shot here too.

He’s a wonderful character and great looking gentleman to photograph. When I told him that I thought he looked like Sir. Alec Guinness, he smiled and then reeled off a string of other actors names who he’s been told he looks like, and they were pretty much all in there in his rugged good looks.

I framed this up with him directly in front of the dark area of a gateway at the foot of his house, but I used my 85 mm lens opened up to f/2.5 to give me a nice shallow depth of field and some separation between him and the background. This also resulted in a shutter speed of 1/250 of a second and my ISO was at 125.

Inside an Adobe Building

We also went back into the adobe building that we’d photographed Mr. Mohammed in last year as well, and although I have another great shot of him close up, looking up into the light again, here is a wider framed image showing him in his environment, with the dusty Tajine pots lined up along a ledge.

Moroccan Man in Adobe Building
Moroccan Man in Adobe Building

Once again the dark conditions resulted in my ISO going up to 6400, the maximum that I set for my Auto-ISO range, and my shutter speed was then forced down to a 1/20 of a second exposure at f/4, and my focal length was at 35mm.

As I’ve mentioned many times though, it’s better to let your ISO go higher and record a brighter image than to resist the higher ISO resulting in a darker image, because brightening up a dark image introduces more grain than the higher ISO does.

Marrakesh Waterman

Marrakesh Waterman
Marrakesh Waterman

After our shoots at Aït Benhaddou, we continued our journey to Marrakesh, the last place that we’d spend two nights at before heading back to Casablanca via El Jadida.

To be completely honest with you, I’m not a huge fan of Marrakesh. I find the people to be more aggressive than the rest of Morocco, and even just getting out an audio recorder to record the ambient sounds of the market square there instantly resulted in two young men rushing over to hold out their hats for tips.

On the other hand, if you prearrange a shoot with people, as our guide did the morning after we arrived, with a number of the watermen, you can still get some nice shots. For me this year, this image of an aged waterman with a great toothy smile is about the only shot from Marrakesh that has made it to my final selection.

These watermen are fun to shoot, as they are colorful and have a certain showmanship element, although I do wonder if people actually ever drink their water these days, with it being so much more available than it would have been when this quant tradition originally formed.

My settings for this shot were a 1/200 of a second exposure at f/4, and my ISO was at 100 with a focal length of 105mm.

Portuguese Cistern of El Jadida

The following day, we drove over to the coast to a town called El Jadida, for the final real highlight of the tour, which is a visit to the old Portuguese Cistern there, as we can see in the final few images for this series.

Portuguese Cistern of El Jadida
Portuguese Cistern of El Jadida

I’d negotiated to allow us to take and use one tripod inside the cistern, so with my Arca Swiss standard Really Right Stuff quick release clamp on my tripod, and the fact that many guests had compatible plates and brackets on their cameras, we took my tripod in.

I of course let all the guests that wanted to use it do so for as long as they wanted, so the above image was shot at ISO 5000, as I continued to do most of my shooting handheld. It works fine though, and unless you zoom in to 100% and inspect the shadows you can’t really see any grain. Even printed this would look fine as grain shows up even less in prints.

This is a wonderful rugged environment that I really enjoy photographing. I generally just expose to the point that the highlights in the hole in the roof and the brightly lit area below it are just starting to blow out, and then bring out the shadow detail in post using the Highlights and Shadows sliders in Capture One Pro. My other settings were a 1/40 of a second shutter speed at f/5.6 and a focal length of 45mm.

I made a few more exposures after getting my tripod back to use before we left, and this is one of the resulting images, so at ISO 100, for a ten-second exposure at f/14. It’s hard to tell the difference without really jumping in and inspecting the shadows, but it is a slightly cleaner image.

Portuguese Cistern of El Jadida
Portuguese Cistern of El Jadida

My focal length was 35mm for this final photo of this travelogue series. After this, we drove for a few more hours up the coast back to Casablanca where we’d started our trip almost two weeks earlier.

By the time we got to our hotel and recorded a comment from each member of the group as you’ll hear in the recording I’d almost completely lost my voice from the cold that I’d caught. It turns out that we’d find from blood tests after I got back to Japan that I had also been infected with some sort of virus and some of the values in the test results later showed one of the doctors that I talked to a week or so ago that I probably should have been hospitalized.

Luckily I made it back to Japan OK, although a little worse for wear, and it took me another ten days and a seven-day course of antibiotics to fully recover, but I did really enjoy this year’s Morocco tour, once I got in after my fiasco with the customs officials on arrival.

Anyway, here is the recording from each of the guests. (Use the player above to listen to the audio.)

To follow up on the comment made by Ken at the start of these comments, it turns out that the Japanese Rugby Team have the nickname The Cherry Blossoms, which Ken had pointed out early in the tour and reminded me of a number of times, often accompanied by copious amounts of laughter from the group. I’m never going to live that down!

A Happy New Year for 2019!

Before we finish I’d like to wish you all a very Happy New Year as 2018 draws to an end, and we start 2019 with hope for a peaceful, safe and fruitful year ahead.


Show Notes

If you buy using the gear links in this post you help to support the podcast at no extra cost to yourself. Thank you!

Music by Martin Bailey


Audio

Subscribe in iTunes to get Podcasts delivered automatically to your computer.

Download this Podcast as an MP3 with Chapters.

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Morocco Tour 2018 Travelogue 3 (Podcast 643)

Morocco Tour 2018 Travelogue 3 (Podcast 643)

Today we continue our Morocco tour as we venture into the Sahara Desert for some beautiful photography in this exotic land.

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As I sat down to prepare for this episode, with the memory of Morocco slowly fading into the past, I thought that I could probably wrap this up with today’s ten images, and move on to something else next week. Fortunately for us, photographs are a wonderful thing. I went through my remaining three stars and higher photos, hitting the Q key on my keyboard, as that’s the key I have assigned the shortcut to, to drop the currently selected image into a folder that I’ve specified as my Selects Collection.

Well, even though I was being somewhat selective, a few minutes later I had 49 images in my collection that I still want to talk about, so I guess wrapping this up today is out of the question. I will try to whittle it down to just twenty more images though, so that we can finish this series next week, in the final episode of 2018.

A Five-Stringed Sintir?

The first image that I wanted to talk about, was of the hand of a musician as he plucked away at what I believe is called a Sintir or a Guembri, but these are supposed to have only three strings, and in this photo there are two darker colored strings that seem to be beneath the three main strings. The instrument was obviously hand-made though, so maybe he just added a couple of string to build on the capabilities of a traditional Sintir.

A Five-Stringed Sintir?
A Five-Stringed Sintir?

I left my shutter speed down at 1/125 of a second for this shot, because I wanted to record some of the movement in the hand to show how energetic the playing was. You can hear the instrument being played in the music that I’ll play in the audio as I record this (Listen with the player above).

My other settings for this image were f/5 for a shallow depth of field at ISO 100, with a focal length of 85mm, with my Canon EF 85mm f/1.4L IS lens. You know, I was never too concerned about adding the EF mount designation when describing my Canon lenses, but as I now also own and will be talking about the new RF 24-105mm lens, I guess I’d better start making a point of which type of lens I’m referring to.

Moroccan Musicians

The steel castanet type instruments that you can hear and also see in this next image are called karkabou. The Sintir is also a traditional three-stringed Sintir in this shot too, so you can see what the entire instrument looks like. I thought it was nice that the kids are starting to get into what is probably a family business, and you’ll be glad to know, if you think about these things like I do, that it was a Sunday when we visited these musicians, so the kids weren’t being kept out of school to play in this band.

Moroccan Musicians
Moroccan Musicians

It’s a lovely experience to be able to listen to this music and to photograph the musicians at close quarters as well. My settings for this image were 1/320 of a second at f/5.6, ISO 100 with my focal length still at 85 mm.

Moroccan Nomad

Moroccan Nomad
Moroccan Nomad

Later on the same day, we drove to the camp of some nomad people, where I photographed this young man in his black turban. I’ve actually darkened down everything except his eyes, because the eyes are what I really want to draw attention too, but I realize that in doing this I’m creating a somewhat sinister looking character, especially from a western perspective where we tend to associate this kind of headwear and covered face with terrorists.

I don’t want to allow that to stop myself from using this image though, because in the desert, this is really just their way of keeping the heat of the sun of their heads and the sand out of their ears, mouths, and noses.

I also can’t deny that there is a part of me that also just wants to work with the image like this, to fly in the face of common thinking, where this kind of image might cause fear or concern, when the reality is that this is just a kind young nomad sitting for us to photograph him in exchange for a small financial reward.

My settings were a 1/640 of a second shutter speed at ISO 100 with an aperture of f/3.2, again, with my 85mm lens.

Camping in the Dunes

The first night that we spent in the Sahara was in a large lodge, with big rooms, but to get ourselves situated for a camel ride out into the dunes, before we continued to photograph on this day we’d moved to our luxury tents, just far enough from the lodge for us to feel as though we had the Sahara to ourselves.

We spent an hour or so to settle into our tents, before regrouping to mount our camels and then ride deeper into the Sahara looking for a nice spot to photograph the camels with their handlers, as we’ll see in the next few images.

Camel Handler with Camels in Sahara Desert
Camel Handler with Camels in Sahara Desert

This first shot shows our camel handler taking his first walk up into the dunes, making the first footprints, so we wanted to make sure that everyone was ready before we started shooting here. We walked through the strategy and what we were going to do before we asked the camel handler to walk into the dunes. My settings here were a 1/320 of a second at ISO 320 at f/10, and a focal length of 100mm with my Canon EF 24-105mm Mark II lens.

The Brow of the Dune

This next photograph is just moments later, as the camel handler reached the top of the sand dune that I’d asked him to walk up. We had to call out to get him to walk a bit faster because the camels were starting to bunch up, and it looks much better if you can get a little bit of separation between the camels, like this.

Camels Reach the Brow of the Dune
Camels Reach the Brow of the Dune

Although I’m overall quite happy with most aspects of this photo, there is often something, a tiny detail or two in a photo that really appeals to me. In this photo, it’s the sand whipping up along the back edge of the dune that the camels are walking on, and also how the sand is whipping off the brow of the dune in the middle on the far left of the frame.

We were lucky to get a good bit of wind for this shoot, and we used it to good effect in some other photos that we’ll look at shortly, but I do recall pulling sand out of my ears for at least a day after finishing this shoot. My settings for this image were a shutter speed of 1/250 of a second at ISO 320 with an aperture of f/10 at 182mm. I had my 100-400mm Mark II lens on a second body and was switching between them as necessary.

Virgin Sand

Although we had three camel handlers with us, I found that from this first shoot, when we had two of them walk their camels up a dune and then back again, my favorite three images were of the same man with his camels, because he had the least footprints in his shots. The second guy was no longer walking through virgin sand, and the images just don’t look quite as good. They’re usable, but when you’re trying to whittle down a selection, it’s a good reason to move on to the next shot.

Camel Handler in Sahara
Camel Handler in Sahara

Here we see the first camel handler coming back, and I really like how he and his camels are mostly against the dark band of shadow on the dune behind them. I’ve actually darkened down the shadows a little more with the levels and tone curve in Capture One Pro, just to increase the overall contrast and to stop the dunes looking a little washed out. My settings for this were ISO 800 for a 1/250 of a second at f/14, with a focal length of 227mm.

Compacted Elements

One thing to note here is that the use of the 100-400mm lens at 200 millimeters or so really helps to compact the elements in the frame, stacking the distant sand dunes up, making them look like they are much closer than they did in the first shot that I shared from this location. We had hardly moved between these shots, but the distant dunes appear much closer and more importantly larger in this image because I’d changed my focal length from 100 mm to 227 mm.

Waiting for Sunset

From this point for a while, we had some time on our hands as we needed to wait for the sunset, before finishing our shoot. We had the peak of a dune running to the right of the spot you see in these last three images, that we were hoping to have the camels walk along with the sun on the horizon behind them, and we were slightly mortified when three tourists strolled past on their own camels, but they made for a good photo, and from the angle that we were going to shoot, we could live with their footprints.

The other great thing about having a little time on our hands, was that we were able to photograph our three camel handler models relaxing initially, as you can see in this image.

Three Camel Handlers
Three Camel Handlers

Again, I like how the sand is being whipped up along the brow of the sand dune in front of the camel handlers. It’s also a nice illustration of how their headwear is used to also keep the sand out of their ears and mouths, as I’d mentioned earlier. My settings for this image were ISO 320 for a 1/320 of a second at f/10, with a focal length of 400mm.

Turban in the Wind

As I mentioned earlier, we were able to have some fun with the wind, as you can see in this next image. We asked our camel handler models to first take off, then put their turbans back on allowing them to blow in the wind.

Young Moroccan Man Tying Turban
Young Moroccan Man Tying Turban

It was great that the wind was strong enough to get their turbans out almost horizontally, and with these men looking into the sun they have great catchlights in their eyes as well. I have lots of these images, but we’ll just look at a couple of different variations after this. My settings here were ISO 500 for 1/320 of a second at f/10, and a focal length of 263 mm.

The Turban and the Cloud

Perhaps a little bit cliche, but we couldn’t help but ask the camel handler to go to the top of the dune as well, so that we could shoot him against this wonderful big cloud that had formed up there. I can’t help thinking of romantic classics like Lawrence of Arabia when looking at photographs like this.

The Turban and the Cloud
The Turban and the Cloud

The contrast was actually a little bit harsh, but the Shadows slider at 100 in Capture One Pro helped to pull back a lot of light in the face of the man, so I’m pretty happy with this photo. My settings were ISO 250 for 1/320 of a second at f/10, and a focal length of 300 mm.

Cinematic Crop

While we had the opportunity, we asked another of the camel handlers to also go to the top of the dune, and this time photographed him sitting down with his turban blowing in the wind.

Turban in the Wind
Turban in the Wind

This time I decided to crop the image to a 16:9 ratio to give it a more cinematic feel, and that also enabled me to reposition the man towards the top of the frame, which makes him look higher up, with less space above his head. My settings for this image were ISO 400 for a 1/250 of a second at f/10, and a focal length of 400 mm.

Although we used the time that we had waiting for the sunset pretty well, I need to keep you waiting for the sunset now, because that’s our ten images for this episode, so we’ll start part four with some camels in the sunset, as we walk through our final ten images from this year’s Morocco tour and workshop.


Show Notes

If you buy from our friends at B&H Photo using the links in this post you are supporting the blog without paying any extra for your new gear. Thank you!

Music by Martin Bailey


Audio

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Morocco Tour 2018 Travelogue 2 (Podcast 642)

Morocco Tour 2018 Travelogue 2 (Podcast 642)

Today we continue our Morocco Travelogue series as we visit the Chouwara Tanneries, a weaving workshop and some other cultural delights in the ancient city of Fes.

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Chouwara Tanneries

We pick up the trail as we visited the Chouwara Tanneries, which as you can see from the first photo for today, is a hive of activity as various companies share the complex of vats in which the workers are processing their leather (below).

The Chouwara Tanneries
The Chouwara Tanneries

For this image I used my Canon EF 11-24mm lens at 15mm, to include as much of the tannery as possible, just to get a more descriptive overview of the place. Because I was looking down on the complex, there is quite a bit of distortion, even after having removed a bit of it with the Keystone correction tool in Capture One Pro. My other settings were an aperture of f/8 for 1/125 of a second at ISO 125. F/8 is slightly wide for this type of image, but at 15mm that still gives me plenty of depth of field, so it’s fine.

As you can see from this and the next image, the tanneries are a hive of activity, as the workers all go about their daily tasks. Here we see two of them cleaning up the leather hides that they are processing with rather large knives.

Cleaning Up The Leather
Cleaning Up The Leather

I’d switched to my 24-105mm lens for this shot, and zoomed right in to 105 mm to get as much detail as possible this time. I love the texture and grittiness of this place, and for some reason, I’m really attracted to the reflection of a window in the vat close to the top right corner of this image. My settings were f/10 for a 1/125 of a second at ISO 1000.

I shot this next photograph for a couple of reasons. The first being, that it helps us to see the relationship between the men obviously overseeing the workers, and the workers themselves. As the tanneries are a conglomerate, I’m sure there are lots of small groups that work together, sharing the facility, but there is a definite hierarchical structure within each group.

Overseeing the Tannery Workers
Overseeing the Tannery Workers

The other reason I shot this is because I was happy to see so many of the workers wearing waders this year. Maybe it’s because it was a little cooler, as this year’s tour was a few weeks later than last year’s, but if this is a new development, it’s great to see. We did still see some people in the dye vats just wearing shorts, like the guy just above the middle of the frame here, and that cannot be good for them. My settings for this photo were once again 105 mm at f/10, 1/125 of a second and this time with an ISO of 500.

Fes Weavers

Following our theme of visiting local workers and craftsman, later in the day, we visited an old building in which we were able to photograph two weavers making cloth on their looms. It was quite a place to visit, as these people worked mainly by the light from a skylight that we’ll take a look at in a moment, but with such low light, even at 1/50 of a second at f/5.6, I had to crank up my ISO to 6400 to get this photograph (below).

Fes Weaver at Work
Fes Weaver at Work

Again, I find the grittiness of this environment and the quality of the light very appealing. These looms are powered by a foot pedal, and and I found it quite peaceful for the only noise in this workshop to be the sound of two man-powered looms rattling away creating their cloth one line of thread at a time.

Weaver’s Workshop Skylight

Here now is what I saw as I looked straight up having taken a few steps back from where I shot the previous image. To maintain the grey in the cloudy sky, I exposed this so that the sky through the skylight was not over-exposed, but that left the rest of the image very dark, so I cranked up the Shadows slider in Capture One Pro to its maximum of 100, so that we can see detail in the pillars and what would be the third floor of this rather run-down building that housed the weavers.

Weaving Workshop Skylight
Weaving Workshop Skylight

I found it fascinating that these people were working in this building, and also that there was some kind of vine growing up towards the main light source, which is this hole in the roof. My settings were f/5.6 for a 1/200 of a second shutter speed at ISO 100, with a focal length of 11 mm.

Public Bath Furnace

Public Bath Furnace

Of course, visiting all of these locations is possible because I hire an amazing guide in Morocco, with lots of contacts, and he knows what we want. I was reminded of this many times on this day in Fes, but one opportunity that really brought this home for me, was when he led us down an alley into a doorway, where we saw this many stoking the fire in a furnace that was heating the water of a public bath.

With the floor being covered with the wood-shavings that the man was feeding the fire with, it’s surprising that this entire building hasn’t gone up in smoke, but I guess they’ve been working this way for centuries, so I am obviously overthinking things. 

My settings for this image were f/5.6 for a 1/160 of a second at ISO 2000, and a focal length of 41 mm. Fire can be quite challenging, but as usual, I just exposed this so that the brightest part of the scene, the fire, was just on starting to become over-exposed, then I increased the Highlights slider in Capture One Pro to bring the fire back under control, and increased the Shadows slider to brighten up the rest of the image, which had fallen a little dark as I exposed for the fire.

Man in Mosque

As my group and I aren’t Muslims we are not allowed inside most of the mosques that we see on our travels, but under our guide’s advice, there are a few that we were able to photograph from the doorway, and I quite liked this photograph, which I was able to time to get a man walking across the end of the corridor.

Man in Mosque
Man in Mosque

My settings for this photo were f/8 at 1/125 of a second, and ISO 6400, so there is a little bit of grain showing up in the shadow areas of this image. I like the striking red carpet though, the arches, and then the warm glow of the light at the end of the corridor.

Tight Alleyway

This next image has turned out to be one of my favorite shots from the entire trip. Our guide led us down a very narrow alleyway, which at some points was not much wider than shoulder width. My group and I took turns to stand at the end and get a few shots each. I was fortunate that a lady in a red Djellaba appeared at the end of the alleyway just long enough for me to add a striking color contrast to set off the blue and orange color of the alley walls.

Distant Figure in Fes Alleyway
Distant Figure in Fes Alleyway

I actually like this so much that I released this as my December desktop wallpaper, and currently have it as the desktop background on my computers. My settings for this were f/8 for a 1/20 of a second at ISO 6400, and a focal length of 24mm.

Tajine Cook

Tajine Cook
Tajine Cook

By the nature of touring Morocco in a bus, we inevitably have some pretty substantial drives between our locations, but we generally break these up by stopping for meals at interesting places, among other things. On our way from Fes to Erfoud, we stopped in a small town called Zaida, where I photographed this man with a great characteristic face cooking some vegetable Tajines. The Tajine is a traditional Moroccan dish and can be found in lots of variations at most restaurants.

For this image, I opened up my aperture a little to f/5, for a slightly shallow depth of field, and at ISO 100 that gave me a shutter speed of 1/800 of a second, so you can tell it was a bright sunny day. That’s also what’s responsible for the accentuating the lines on the man’s face, as the sun shone down on him from high in the sky.

Shepherd Near Tillicht

Around two-thirds of the way into our drive from Fes to Erfoud, where we would give up our bus for a few days, and venture into the Sahara in four-wheel drive vehicles, we stopped to photograph this elderly gentleman tending his sheep and goats.

Shepherd Near Tillicht
Shepherd Near Tillicht

I found it interesting that the mountains and ground we were surrounded by were so arid, and yet there’s snow on the mountains in the distance. There’s also the unfortunate but inevitable contrast of the somewhat traditional Moroccan architecture to the left, and what are probably cell phone towers right next to it. My settings for this photo were f/14 for a 1/160 of a second at ISO 200, and a focal length of 78 mm.

We’ll finish here for today, as that was our tenth image, and we’ll pick up the trail next week, as we head into the Sahara and then continue our journey on to Marrakesh and beyond.


Show Notes

By buying from B&H with the gear links in this post you help to support the Podcast at no extra cost to yourself.

Music by Martin Bailey


Audio

Subscribe in iTunes to get Podcasts delivered automatically to your computer.

Download this Podcast as an MP3 with Chapters.

Visit this page for help on how to view the images in MP3 files.


Morocco Tour 2018 Travelogue 1 (Podcast 641)

Morocco Tour 2018 Travelogue 1 (Podcast 641)

Today we start a series of travelogue-style episodes to walk you through my 2018 Morocco Tour & Workshop, which was great, despite the trouble I had getting into the country, that I mentioned in the previous post.

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Luckily, the stress of almost losing all of my photography gear to customs officials on entry to Morocco didn’t spoil my trip, although it did leave a nasty taste in my mouth. If you didn’t catch that, check out the previous post in which I issued a Warning to Photographers Traveling to Morroco.

Before we jump into the first travelogue though, here’s a short announcement about my photo editing software of choice…

Capture One Pro 12 Released!

Last week, Phase One released Capture One Pro version 12, and it has some very nice new features. I will be creating some content to walk you through some of this stuff in the coming weeks, but today I just wanted to briefly run through some of the highlights.

Capture One Pro 12 now has even better color, faster performance, more creative control due to the new radial, linear and luma range masks. A more refined user interface that’s even more efficient and intuitive to use and what’s more, Phase One has added the long-awaited ability to develop plug-ins for Capture One, and the implications of that are huge. We can expect to see all sorts of goodies as various companies are now able to get inside Capture One.

I’ve already started playing with the Luma Range Masks on some of my Morocco images, and they are really useful for refining the areas that your mask is applied to. More on that with the first image that we’ll look at in a moment. Performance hasn’t been an issue at all for me, but I can confirm too that version 12 certainly feels more responsive. There’s just no lag as I work on my images. I’m happier than ever to be working with Capture One Pro!

Anyway, I won’t talk about this too much today, as I have some dedicated content coming up. Check out version 12 at www.captureone.com/12 and by all means, download the trial and take it for a spin. I know that you’ll like what you see.

Hassan II Mosque

So, on to Morocco, where we kicked off our tour on the first afternoon in Casablanca, with a shoot of the Hassan II Mosque, as we see in this photo (below). I’ve made this a before and after type image, so that you can grab the vertical bar in the middle of the image and move it left to right to see the difference between my original processing, and the updated processing using Capture One Pro 12’s new Luma Range Mask feature to increase the contrast in the sky.

To create the mask I first created an Adjustment layer and used the gradient tool to fill the top half of the screen from the horizon with a mask, then I hit the new Luma Range button under the Layers palette.

Then using the Luma Range nodes I adjusted the range and the falloff until I had a mask that covered most of the darker areas of the sky, but left the whiter parts of the cloud out of the mask, or only partially masked. I did have to refine the mask to get it clean around the edges of the Mosque and along the horizon, but the selection in the sky all comes from the Luma Range Mask (below).

Mosque with Luma Range Mask
Mosque with Luma Range Mask

This gives us much more control over the areas of the photo that we will adjust and results in a more natural looking black and white sky than the old method, where even the whiter parts of the sky became darker as I adjusted the sliders and tone curve etc.

Another very nice touch is that even after you hit the Apply button and close the Luma Range dialog, you can click the Luma Range button in the Layers palette again to reopen and adjust your settings if necessary, so kudos to the Phase One team for their work on this new feature.

For the photo itself, I was using an aperture of f/16 for an 1/8 of a second exposure with ISO 100. I allowed the shutter speed to drop that low so that I would capture just a little bit of movement in the crashing waves in the foreground. I also shot a few frames with two minute shutter speeds to completely smooth over the sea and record some movement in the clouds, but on this occasion I think I prefer this version to the long exposure.

Rainy Day at the Mosque

As we photographed the Hassan II mosque from a distance it started raining, and by the time we had driven over to walk into the square to photograph the mosque in more detail, it had become a pretty substantial shower, so the mosque wasn’t teaming with worshippers as it was last year, but the reflections in the stone floor were beautiful, so we felt relatively fortunate to get a chance to photograph the mosque in the rain.

Here is just one more shot from this first afternoon, as a lady turned, probably to check that I wasn’t photographing her, as she walked across the courtyard (below).

Lady in Mosque Courtyard
Lady in Mosque Courtyard

I wasn’t necessarily photographing the woman, but her clothing matched the color of the mosaics on the base of these foreground pillars so I couldn’t resist including her in the shot like this. My settings were f/11 for a 1/40 of a second at ISO 6400.

White Storks

The following day, we started our drive to Chefchaouen, stopping on the way at the Chellah Necropolis ruins, where I flipped my wildlife photographer switch on for an hour to get a shot of the beautiful White Storks that nest on top of the buildings. In this image (below) you can see that I was able to catch three storks as two of them took flight from the top of the minaret.

White Storks Take Flight at Chellah Necropolis
White Storks Take Flight at Chellah Necropolis

I feel that you literally have to switch from one target genre to another when you do wildlife on an otherwise landscape and cultural photography trip. I not only attached my Canon EF 100-400mm Mark II lens to my camera, but I had to switch to AI Servo or Continuous focus mode, and increased my shutter speed to 1/1600 of a second at ISO 640 for this photo. Then it takes a few minutes to make yourself more alert so that you don’t miss the moment when something like this happens. I can assure you that I would not have been fast enough to catch this moment had they done it five minutes earlier, while I was still getting into my wildlife mode.

Mausoleum of Mohammed V

Guard at Mausoleum of Mohammed V
Guard at Mausoleum of Mohammed V

Not far from the ruins, we made a stop at Rabat, the political capital of Morocco, to visit the Mausoleum of Mohammed V, the King of Morocco until 1961. This is a photo of one of the guards on each of the four doors to the Mausoleum, and they are usually relatively open to having their photographs taken by the tourists.

These guys are always so well-presented, and I like the contrast between the color of their hats and tunic, and even the laces around the tunic buttons is set off nicely against the red. The blue hat is also separately nicely by the band of white.

My settings for this were f/2 for a 1/800 of a second at ISO 100. I was using my Canon EF 85mm f/1.4 lens and stopped it down just a little for this photograph.

After this, we spent most of the afternoon continuing our drive to Chefchaouen, the blue city, where we would spend the next two nights.

Chefchaouen – The Blue City

Chefchaouen has to be one of the most photographic cities in the world, with house after house painted in a beautiful sky blue color. I’m going to drop the first three photos from here into a gallery for formatting purposes. I’m now using WordPress 5.0 for the blog, with the new Gutenberg editor, and although it’s fun, it will lead to a few formating changes moving forward.

If you look at all three of these images you’ll notice that they all have the signature Chefchaouen blue throughout almost the entire image, but then all have a splash of red, which I think helps to set off the blue even more.

As with last year, I tend to try and work in Aperture Priority in Morocco, and set my aperture according to the scene, and amount of available light, but then I also turn on Auto-ISO, so that the camera has more freedom to do it’s thing, rather than being forced to use a slow shutter speed.  In fact I set my minimum target shutter speed to 1/250 of a second, and the camera will only drop below that if the ISO starts to creep up too high.

Push Through the Grain Barrier

My settings for the first image were f/8 for a 1/250 of a second at ISO 4000, and that was with +1 Exposure Compensation dialed in. The second of the three was shot at f/11 for a 1/320 of a second at ISO 1600, with +0.3 stops of Exposure Compensation. The third image was shot at 1/320 of a second at f/11 with + 0.7 stops of Exposure Compensation which gave me an ISO of 6400.

As I’ve mentioned in the past, you don’t see any grain in shots like this even at ISO 6400, because the high ISO has helped me to Expose to the Right, so the image is so bright that grain is not visible. Conversely, if you worry about grain and leave your ISO too low, recording a darker image, you’ll actually see more grain, so you have to push through the grain barrier, as it were.

Winding Steps of Chefchaouen

This next photo shows a typical flight of steps winding their way through this idyllic little town. I chose this particular moment to release the shutter because of the position on the man in the Djellaba part way down the steps (below).

Winding Steps of Chefchaouen
Winding Steps of Chefchaouen

The people of Morocco don’t really like you taking their photo, so quite a lot of the time you end up having to either sneak them into the photo like this or paying for a photo, either of which I don’t really mind doing. For this photo I also used the Keystone correction tools in Capture One Pro to remove some of the distortion caused by the 24 mm wide angle of my Canon EF 24-105mm lens, and that also helped me to remove another door that was creeping into the frame on the left, but I had to crop it off to get this composition. My settings were f/14 for a 1/125 of a second at ISO 2000.

Dreamy Courtyard

Chefchaouen Courtyard
Chefchaouen Courtyard

Talking about paying for photos, as we walked through the alleyways of Chefchaouen, we noticed a small gate, through which we could see this idyllic little courtyard. Just moments later a man came out to us and asked for 50 Dirham from each of us for a photo. As you can see, I have the photo, so I obviously paid the man. It’s a beautiful little area and I think it was worth it. Only one other member of my group felt the same way so he made a whopping 100 DIrham from us, and that’s about 10 cents U.S.

You know, many of these people aren’t rich or even well off, and although I am not either, I’m not struggling, so I don’t mind paying for photos here or there.

$10 Portrait

Moroccan Man in Chefchaouen

I did have to think for a while about whether or not I was prepared to pay the gentleman in this next and final photo for today a whole 100 Dirham for his photograph. But once again, I have the photo so you know my decision. He actually was asking 200 Dirham per photo, which is $20 a pop! I wasn’t prepared to pay that, but we talked him down to 100 each. He’d probably have done it for less, but I wasn’t too concerned.

I actually really like the photos. I have another with his face larger in the frame looking head-on, but I think I prefer this, with him looking back at me, a little more spontaneously than the other pose. He was a businessman though, and literally only gave me and the other guy that paid a minute or so each for our photos.

Actually, when my guest had finished photographing him, he asked me for advice on his photo, and when he asked for one more photo to implement my advice, this man asked for another 100 Dirham! We are often generous, but not pushovers, so we got him to pose again for us for free.

My settings here were f/4.5 for a 1/160 of a second at ISO 400. I was using my 85mm portrait lens for this again.

We’ll wrap it up there for this first episode of my 2018 Morocco tour travelogue series. I like to keep each episode to ten images, and that’s our ten. I’ll be back next week with part #2, and some more image from this beautiful country. 


Show Notes

By using the B&H Photo gear links in this post you are helping to support the podcast at no extra cost to yourself.

Download Capture One Pro 12 here: www.captureone.com/12

Music by Martin Bailey


Audio

Subscribe in iTunes to get Podcasts delivered automatically to your computer.

Download this Podcast as an MP3 with Chapters.

Visit this page for help on how to view the images in MP3 files.