In a Different Light

Photography Blog by Graham Hobart

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I recently returned from Washington DC where I was honored with an award for my black and white photography in Africa. On the second image the man in the middle is Lou Coetzer and the lady is a fellow winner, Barbara Flemming. We are at the awards gala event that was held at the Smithsonian Natural History Museum where my work is currently being exhibited.

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I have some very sad to news to brag about. I was one of only two American artists was being shown at Canson Infinity’s booth at Photokina in Cologne Germany this year. I was informed last week that my panoramic image of the Elephants drinking at the river was stolen! Should I be proud of this???

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Interview on WRR 101 Classical radio station with Ed Blaylock that was aired on September 4th, 2014.

Interview on WRR 101 Classical radio station with Ed Blaylock that was aired on September 4th, 2014.

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Teleconverters - "to use or not to use"

One question that keeps coming up lately is about deciding whether to use a teleconverter or just crop in later in editing. It is not as easy an answer as you might imagine. I have done a lot of testing and I won’t bore you with all the science. Instead I will direct you to a short youtube video. 

Here is the text I posted on that page:

When using a very stable tripod and higher shutter speeds my tests found that if you compare the results of using the TC 20-EIII compared to simply cropping later on the computer using the teleconverter wins. 

When shooting with a high resolution camera: If you don’t have enough light to dramatically increase your shutter speed OR if your tripod isn’t fantastically secure and stable then I don’t recommend using the teleconverter. You will loose the shot to bad shooting technique. In my work I shoot early in the morning or at sunset so I am always struggling to get enough light.

Now when it comes to shooting HD video it makes all the difference in the world if you use the teleconverter because when you crop into a video image during editing to make the subject look closer it looks bad very quickly. Even cropping a little has a noticeable reduction in clarity and sharpness.

Conclusion: I always recommend getting closer to your subject before switching to a teleconverter. But when that isn’t possible be aware that you can’t just expect to use the same settings as you did with the lens alone. If you were using a 600mm lens wide open at 1000th/sec and you don’t want to change your ISO then your shutter speed will be forced to be 250th/sec to maintain a consistent exposure. This change is completely in the wrong direction. Your shutter speed should actually be around 2000th/sec so if you had been at 200 ISO without the teleconverter and you want to avoid the blurry effect of camera shake by shooting at 2000th/sec then your camera’s ISO (sensitivity to light) needs to go from 200 ISO to 1600 ISO to compensate from the 2 stop light loss and the extra shutter speed needed for the longer focal length. At times the increase in noise (graininess) is bad enough that the image is worse than if it had just been cropped with 200 ISO and no teleconverter. Like I said, moving a little closer is a lot easier.

BUT…. remember that when shooting HD Video moving closer is always preferable but if you can’t then use a teleconverter rather than cropping later.

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I figured I would post some of my earliest infrared photographs so that those of you that are new can see when I started. All of these images were exhibited by National Geographic in London last year. I still have some of the prints for sale. The are approx. 16"X20" and printed on the highest grade cotton paper with archival pigments.

A more comprehensive catalog can be found at:

http://www.grahamhobart.com/proofs/index.php?category=17

Feel free to contact me if you are interested.

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I made it to the finals!!
This is one of the very first images I ever shot in Infrared and believe it or not it made it to the finals of BBC Wildlife Magazine’s Wildlife Photographer of the Year award.
This is what they wrote:
“Thank you for entering...
I made it to the finals!!

This is one of the very first images I ever shot in Infrared and believe it or not it made it to the finals of BBC Wildlife Magazine’s Wildlife Photographer of the Year award.

This is what they wrote:

“Thank you for entering the Wildlife Photographer of the Year 2013 competition. We are now half way through the judging process, and after two very intensive but equally energising and exciting rounds, we now require your RAW and TIFF file for one or more of your images. ”

It means that they like my image enough to consider it being a finalist but need to verify it’s authenticity before proceeding.

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Teaching at Samy’s Cameras in LA

I just returned from California where I taught on the topic of preparing for a photo-safari. It was exciting to find out that 100% of a full class were actually going to be photographing in Africa within the next two months.

I whole heartedly soaked up every morsel of information I could give them in the hopes that they could improve the look and feel of the work they bring back.

Thank you Digital Foci for generously donating the door prize which was a Photosafe II digital backup device.

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Nikon USA recently featured one of my images in Atlanta’s Imaging USA Expo. In my early career, whenever I would attend a Photo Expo where Nikon would feature the work of some of the world’s greatest photographers that use Nikon cameras, I would would stand there, mesmerized, and wonder to myself if I would ever be recognized in the same way. 

The featured black and white print is the “Buffalo Cow’s Earring” that I captured with a Nikon D7000 just after the camera was released in 2011.

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NIKON USA™ has asked me to present my work at IMAGING USA 2013 in a couple of weeks. I will be telling the story of how I arrived at the now famous ‘In a Different Light’ style. It is titled 'Finding Your Visual Voice’.
In addition to some examples...

NIKON USA™ has asked me to present my work at IMAGING USA 2013 in a couple of weeks. I will be telling the story of how I arrived at the now famous ‘In a Different Light’ style. It is titled 'Finding Your Visual Voice’.

In addition to some examples of my commercial and wedding photography I will be revealing the logic behind the passion along with specific reasons I have chosen Nikon cameras and lenses to help me express myself as an artist.