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ice shot: THE ICE WAS SHOT AT A 45DEGREE ANGLE TO THE ICE'S SURFACE. THIS PLAYS UP THE SUBJECT'S SHAPE AND ALLOWS THE PHOTOGRAPHER TO USE THE FLASH, WHICH PENITRATES THE ICE, ILLUMINATING DEEPER SUBJECTS. (BECAUSE ICE IS REFLECTION, SHOTTING STRAIGHT DOWN ON IT WITH A HUGE HOT SPOT.) FOR THE FLA BUBBLES, THE PHOTOGRAPHER SHOT STRAIGHT DOWN WITHOUT THE FLASH, BEFORE TAKING THE PHOTO, THE PHOTOGRAPHER MADE SURE ALL SETTINGS WERE ON AUTO. AFTER TAKING THE PICTURE, HE POLISHED THE TWEAKS TO COLOR SATURATION AND SHARPNESS IN APLLE APERTURE. TAKING PICTURES ON THE RIVERBANK REQUIRES KNEELING ALONG THE WATER'S EDGE IN FREEZING CONDITIONS. HE PROTECTS HIS SHINS WITH KNEEPADS, WELL-PADDED SKI PANTS, AND OR AND OLD BLANKET THAT I KEEP ON HAND TO KNEEL ON. ICE IS A DANGEROUS SUBJECT, IF YOU STEP ON IT, YOU CANT EASILY SLIP ON IT OR BREAK THROUGH IT. EITHER COULD DO A NUMBER ON THE PHOTOGRAPHER AND OR THE CAMERA SO WHEN SHOOTING ON ICE, STEP WITH CARE.



VALUE OF BRIGHTNESS: Brightness/contrast is the adjustment control that the expers love to hate and denigrate. Yet it has powers that are perfect for anyone interested in going beyond basic photoshop adjustments. its not always right to use brightness/ contrast. The problem is that brightness/contrast is a rather blunt instrument. using it for overall adjustments is like trying to sculpt detail in a statue with a sledgehammer. you may get the groove you wanted, but you'll get a llot more happening that you dont want. so for overall adjustments, you start with levels to adjust the blacks and whites, then curves for midtones. these controls offer the ability to adjust one thing without affecting everything else in the same way.