Hey folks!  Just a quick note to let you know that I’m working on some new blog posts and I’ll be back to posting regularly soon.  The last couple weeks have been crazy and I haven’t had much time to write.  Sorry for that!

Check back on Thursday for a gear review of one of my favorite pieces of photo gear ever.

Here’s another question I received last week that I thought I’d tackle on my own instead of farming it out to the Experts.

The Question:

Is monitor calibration essential to a serious amateur? Or do you think it’s something that can be overlooked? If so, can you recommend a quick easy way to do it?

My Response:

In short, yes.  Even if you never make a single print from your digital photos you will most likely share them on the internet.  As a “serious amateur”, I assume you want those images to look their very best to all who see them.  You wouldn’t spend all that time traveling to gorgeous locations, crafting beautiful compositions and processing them in the digital darkroom if you didn’t want to create the very best images possible, would you?  Working in a color managed environment is the final step in that workflow.

There are several monitor calibration products available.  In the last few years I’ve used 3 of them.  Currently I’m using the X-Rite i1 Display 2.  It’s easy to use but most importantly, it’s accurate.  It also doesn’t cost an arm and a leg, which is always nice.  This unit retails for $259.00.

Other options for monitor calibration hardware:

I can’t recommend this unit but in the interest of fair reporting the Datacolor Spyder 3 Pro works for some people.  It didn’t work for me and the color management experts I know don’t have kind things to say about it.  A product I have not used is the Pantone Huey, which retails for around $90.  I’ve read decent reviews on it and I have a couple clients who are happy with its performance.  You might do your own research on the Huey to determine if it will fit your needs and budget.

I hope this helps.  If you have any follow-up questions don’t hesitate to post them in the comments section.  We’re here to help!

Do you have a preferred method of calibrating your monitor?  Share your thoughts and experiences in the comments section and you might just help out a fellow photographer! 

Last week I received several interesting questions for the experts.  Today we’re answering three of them, because the first two are short and don’t warrant their own topic.  The answers come from Guy Tal, who is in my humble opinion the very best nature photographer in all of Utah.  Please do yourself a favor and visit his website, then prepare to be amazed.  His intimate landscape work is especially stunning.  Todd Caudle, Colorado’s premier landscape photographer and co-leader of workshops with me, also submitted an answer.  Much appreciated, Todd!

The Questions

1) I know the basics of Vincent Versace digital conversion, but who was Vincent Versace and why is this method named after him?

2) As a fairly new recruit to the world of DSLRs, I have been wondering which affordable lenses are best for macro photography. Right now I have the Canon 50mm/1.8 lens for my Canon EOS RebelXS 1000D. While it’s a  pretty handly lens because it sees things just as the naked eye does, it doesn’t get nearly as close as I would like to get. I have a lens budget of about $600. What do you recommend? I have also heard that tubes can come in handy for macro, but I’m not entirely sure what the use of them is. Is it something I should look into, or am I better off just buying a
better lens?

3) I’d really like to know which of the following will get more depth of field at the same magnification: Extension Tubes, Diopters or a lens that can accomplish ‘X’ magnification without any additional equipment. I would assume they would all have the same depth of field, but I’m getting mixed replies from various macro photographers. I’m not worried about image quality, loss of light, etc, only depth of field.

Guy’s Responses:

1) Vincent Versace is alive and well and the method is named after him because he developed it.

2) The decision should be based on what you plan to photograph. You can achieve close focus with just about any lens (e.g. by adding extension tubes or a bellows) but the working distance may not be acceptable for some subjects. For example, you wouldn’t want a setup that forces you to be 1″ away from a skittish insect to get sufficient magnification. Since you already have a normal lens, my suggestion would be to get a mid-range macro lens in the 90-105mm range that is capable of 1:1 magnification without additional items. Most manufacturers have such lenses in their lineup. This will give you sufficient working distance for most subjects without the loss of AF, and allow you to focus all the way from 1:! magnification to infinity without the hassle of adding or removing tubes and diopters. These lenses are very versatile and can also double as portrait lenses and general-use short-telephotos.

3) At a given magnification (which is determined by the focal length and subject distance), and with all other factors being equal (i.e. same size circle-of confusion, same f-stop, and same format,) depth of field will be the same.

Todd’s Response to Question 2:

First, decide not only what you will photograph, but also how often you’ll use a macro lens. What I see first and foremost in the question is a) ownership of a Canon 50mm f1.8 lens, which is mediocre at best, and b) $600 to spend. I would recommend getting rid of the 50mm (remarkably, they sell for nearly new price on eBay, or about $80-$90), and using the $600 plus whatever you get for the 50mm to replace it with a higher quality zoom lens that has a decent macro capability. You will instantly increase your photographic choices by having any focal length within the range of the lens, and a good macro capability. I owned a Tamron  24-135mm aspherical lens and was very happy with it for years. Its macro capability was 1:3.3, which was plenty for my purposes. Sure, there might be times when 1:2 or 1:1 might be preferable, but in my opinion, that’s not often enough to justify buying (and CARRYING!) a lens just for that, when a good zoom lens can provide so many more options. Not sure if that Tamron lens is still available, but there are lenses in your price range by Canon, Sigma, Tamron and Tokina — all good companies — that would work well.

Thanks for taking the time to answer these questions, Guy!  If you’re looking for amazing fine art prints to decorate your home or business, check out the galleries on Guy’s website.  He also leads photo workshops with Michael Gordon that are great for photographers working at any level.  Learn more about their workshops at the Gordon-Tal Workshop website.

Todd is a Colorado based landscape photographer with a HUGE collection of images from all across the state.  You name the mountain and he’s photographed it, probably two or three times.  He has published numerous books and calendars, and his work has appeared in several popular magazines.  Check out the galleries on Todd’s website for some real alpine inspiration!

Today’s post is short and stout.  I got the idea for it after an amusing morning at Mesa Arch a couple months ago.  I arrived and took a few minutes to find just the right spot to set up my tripod.  I wasn’t the first photographer to show up and I wasn’t the last.  I took off my pack, mounted my camera to the tripod and settled in to wait for the light.  I didn’t count but I’m guessing there were a dozen of us all waiting patiently in the pre-dawn chill, making small talk here and there.

All was pretty mellow until this little dude showed up with fancy gear, a caffeine buzz and a Lowepro pack that probably weighed half as much as him.  He flitted all around, looking over our shoulders, snapping handheld shots in the waning darkness with an $8,000 camera.  Finally, as the sun crested the La Sal mountains, a cacophony of shutters welcomed the new day. 

Little Dude literally never stopped moving.  He finally had his camera on a tripod but he’d dash from one spot to another to another and back again, pointing the lens in every imaginable direction while firing the shutter so fast I swear it sounded like a machine gun.  The rest of us sat there.  Someone would zoom in or out a bit.  Someone else ever so carefully recomposed an image on the ground glass of their 4×5.  All the while, Little Dude bounced around and probably took 200 photos in 10 minutes.

This was not an isolated incident.  I’ve seen it before.  I’ve even guided clients who have done the same thing.  While fairly comical to watch it really is no way to create masterful images.  I understand that it is difficult to settle on one image at a location you may never visit again.  Our brains tell us that we need to capture the scene from all angles so that if we never get to come back, at least we’ll have 20 GB worth of photos to show our friends back home.

I just don’t get it.  Why not take the time to work the scene, find one amazing composition and just freakin’ nail it?  I would rather sit in one spot, with a killer scene in the viewfinder, and enjoy the moment while creating one stunning photo.  Call me crazy but isn’t one killer photo better than a thousand terrible ones?

I’ve been thinking a lot lately about what steps I’ve taken over the last 11 years to become the world’s most reknowned landscape and adventure photographer.  Clearly, I’ve also been daydreaming quite a bit.  Seriously though, here are a five things I’ve done that have contributed to making me a better photographer.

1) Be Studious

I’ve looked at a whole bunch of photos.  Thousands of them.  And I don’t just look at them.  I study them.  I pick them apart and try to figure out what makes one photo stupendous while another one just sucks.  How many times have you seen a photo of Half Dome, Delicate Arch or the Tetons from Snake River Overlook?  Of all the images you’ve seen from these iconic locations which ones stand out and why?  Was it the light or some nuance of the composition?  Next time you’re sitting at home with nothing to do, scoot on down to the local bookstore.  Grab a few coffee table photo books by your favorite photographers, sink into one of their comfy chairs and analyze a few of your favorite photos.  Do this often enough and you’ll soon find yourself making the same analyses as you compose images in the field. 

2) Photograph Often

Spend as much time as you can in the field.  In 2000, just over a year after getting serious about photography, I had the opportunity to spend 5 weeks on the road.  In that time I learned several valuable lessons, one of which was what that mysterious “depth of field preview” button actually does when you press it.  I used my camera daily and by the end of the trip I knew where every control was and what it did, and I could operate the camera intuitively.  There’s no substitute for knowing your camera inside and out. 

This was in the pre-digital days, i.e. film, and I lost the photo album from that trip to an ex.  But I remember looking at the photos from beginning to end and being blown away by the difference in the quality of images from the beginning of the trip to the end.  Photographing something every day for 5 weeks had a profound impact on my creativity.  Of course I realize we can’t all jet off on a 5 week road trip.  But I believe that if you make a concerted effort to get out as often as possible, you will see improvement in your photography. 

3) Mix It Up 

After moving from Arizona to Colorado in 2002 I made the conscious decision to focus less time on photographing the grand landscape and more time on intimate scenes.  Most people, even non-photographers, can see the beauty in autumnal aspens below a snowcapped peak.  Hell, even snapshots of a scene like that are likely to induce “oohs” and “aahs” from casual viewers.  I wanted to be able to walk into the aspen forest and walk out with a successful image of those beautiful trees, with no mountain in sight. 

My first few hundred efforts at intimate landscape photography weren’t so good.  Actually, they sucked.  But, I took those slides (still in the film days here), put them on a light table and studied them a la my first point.  Doing this, and forcing myself to look at the world around me with a narrower focus, helped me develop a more refined eye for composition.  I eventually got to the point where I was creating some pretty nice intimate landscapes.  In doing so, I found that my grand landscapes also improved as I spent more time crafting cohesive compositions.  The key is to really focus your attention on an aspect of photography that is entirely new to you.  If you’re a macro photographer, try grand landscapes.  If your wide angle lens has never actually been detached from your camera put on a telephoto and practice seeing the natural world through it.  Just mix it up a little bit.

4) Don’t Fear the Critique

I’ve touched on this one before but it fits with this topic as one of the pivotal moments in my photography career came after a paid critique session.  Bear with me as this story is a little long.

While living in Arizona I took a trip to Flagstaff with the ex who stole (and probably burned) the aforementioned photo album.  It was fall, the San Francisco Peaks were dusted in snow and the aspen leaves were bright yellow.  I had just switched from print to slide film.  I shot a few rolls and dropped them off at the lab which, if memory serves me, was actually named “The Lab”.  The next day I headed over on my lunch break to pick up the slides. 

I tore open each box and laid the slides out on the light tables that had fancy loupes attached to the counter by a wire to prevent thievery.  While viewing them another photographer came in to pick up his film.  He told the lab tech his name and I immediately recognized him as a frequent contributor to Arizona Highways.  I was standing next to greatness!  He must have seen me gawking at him instead of my slides and made a comment about the images I was ignoring on the light table.  We had a short conversation, I asked him what he thought of my images and he offered a couple short critiques.  He said he’d be happy to offer more in depth critiques for $50 an hour.  I bit and we set up a time and place to meet.  Don’t ask me who it was because I can’t remember, but I think his first name was David (no, not Muench).

This guy looked at slide after slide and gave me invaluable feedback on each one.  It was an eye opener as I’d never actually had someone look at my images with a critical eye.  I also learned that there are about 50 different ways to say “this sucks” in a very pleasant and constructive manner.  At any rate, his critiques were solid and really helped me define what it was about an image that worked or didn’t work.

These days you can still get your work reviewed and critiqued in person, but you can also do so online in critique forums.  Keep an open mind and seek critiques often.  Your photography is guaranteed to improve.     

5) Never Stop Learning 

Anyone who believes they have reached the apex of their photography career/hobby/obsession is a sad, sad person as far as I’m concerned.  No matter how much you know there is always something you don’t know.

I don’t know squat about artificial light, I can’t understand how to operate a tilt/shift lens to save my life and there are still things about Photoshop that positively mystify me.  I don’t do my own printing because the whole color management/profiling/sharpening for print/selecting the right paper thing scares the BeJesus out of me.  I could spend all day writing about the plethora of things I don’t know about photography but that isn’t constructive.

Read books, attend workshops, watch video tutorials, follow blogs, join photography forums and subscribe to photo magazines.  Identify a technique or an aspect of photography that confuses you and vow to master it.  Push yourself to learn in whatever ways are available to you.  The more you expand your knowledge base the more tools you’ll have at your imaging disposal to make dynamic photographs.

There is no true roadmap to better photography but these five tips should get you pointed in the right direction.  Enjoy the ride!

What has helped you become a better photographer?  Share your ideas in the comments section!

After 7 years of hard use the zipper on my old Lowepro Topload 70 AW finally failed and can’t be replaced.  I used that good ol’ chest pack hiking, backpacking, canyoneering and climbing and grew to love the immediate access it provided to my camera.  It did take a little while to get used to hiking without being able to see your feet.

Naturally, when it died, I picked up a replacement.  Lowepro made some changes to their entire Toploader line and I was excited to get my hands on the latest model.  We were in Phoenix so I headed over to Photomark and picked up a spankin’ new Toploader Pro 70 AW.  I was disappointed to learn that the new Toploaders aren’t sold with a chest harness.  You have to order one, and they aren’t even out yet.  Lowepro gets a big ol’ suckola for that bonehead move.

The new design is a little more streamlined and the fabric seems to be tougher, and maybe even a little more weather-resistant.  There are two external mesh pockets that weren’t on the original model.  Lowepro kept the compression strap and an attachment strap for accessory pouches.

New to this model are a Fastex buckle that supplements the main zipper.  I found myself leaving the pack unzipped and only fastening the buckle to allow even faster access to my camera.  Also, the main zipper now opens to the side of the pack rather than from the rear.  I’m not sure why this design change but I got used to it after only a few hours.

The rain cover now deploys from a hidden pouch on the side of the pack instead of from inside the front pocket.  This was a smart design change.

Lowepro added a small zippered pocket to the top of the pack.  I find this pocket to be perfect for my business cards, remote shutter release, microfiber cloth, hot shoe bubble level and the hotel room shower caps mentioned in this post.  They kept the front zipper pocket but it’s now considerably smaller.  In the old model I was able to carry 2 GND’s, a polarizer, a variable ND filter and a compass.  In the new model I have to cram the polarizer and vari-ND in and the pocket barely zips over them.

The main compartment is also smaller than on the old model.  Where I used to have room on either side of the attached lens to store additional small items, now there is none.  It’s a tight fit with my Canon 5D2 and attached vertical grip, and either a 24-105mm or 16-35mm lens, including hood.

Lowepro provides a padded 3 point shoulder strap that I promptly trashed.  Since the new chest harness isn’t yet available I attached the old harness for my field tests.  To date I’ve done 4 hikes with the Toploader Pro 70 AW, two of which were several hours long in rugged desert terrain.  The pack carries as comfortably as my old one, although I did note that it doesn’t sit as close to my body.  I suspect this is a result of using the old harness with the new pack.  After some use I grew to like the side opening design and I really like that I can use one buckle to keep the main pocket closed instead of having to zip and unzip it all the time.  My camera carries securely inside the pack, which is well padded, and was comfortable to wear for several hours at a time.

Overall, I think Lowepro has done a respectable job designing this new pack.  They should include the chest harness, and I hope it will carry closer to my body with the new harness attached.  I do wish it could carry a few more small items like my old pack.

Would I recommend the Lowepro Toploader Pro 70 AW?  Yep, I sure would.

See my response below for an update to this gear review.  Also, here’s a photo of my 550EX flash trying to fit in the front pocket.  As you can see, it ain’t gonna happen.  Sorry for the poor quality but it’s an iPhone snapshot.

I know, I know…photography isn’t all about the gear.  But even those who aren’t gearheads usually have a favorite piece of equipment they’ve used for years over which they would cry like babies if it was ever lost.

I thought it might be kind of fun to see what everybody considers their most favoritest piece of gear ever.  Since we’re all outdoor photographers this gear doesn’t have to be photography related.  It could be a backpack, a rain jacket or a GPS, or it could be a camera, tripod or filter.

For me, I think it would have to be my old Osprey backpack.  I wore it for years until I finally had to replace it because the suspension didn’t really suspend anything anymore.  The shoulder straps were totally compressed, the hip belt was torn up and the pack itself was frayed in several spots.  I called Osprey to ask about rebuilding the suspension but they advised it couldn’t be done.  I looked everywhere for a replacement but they pack had gone out of production and I couldn’t find it any where.  Reluctantly, I retired it and moved on to something else.  And then something else.  And then another something else.  I have yet to find a day pack that fits as well, carries as comfortably and holds up to abuse like that old Osprey.

My second favorite piece of gear is my Acratech Ultimate Ballhead.  Best ballhead on the planet for nature photographers.  I won’t go into detail but if you’d like to learn more about it, check out this recent post on my blog.

Last, but not least, I’d have to say that iFotoGuide is pretty darn cool, too.  Nothing else lets you carry an entire photo guidebook on your iPhone or iPod Touch.  Of course I’m a little biased since I did co-create iFotoGuide.

Your turn!  Use the comment field to tell us about your favorite piece of gear.  Who knows, maybe someone else will read your post, buy the gear and in a few years they just might feel the same way about it that you do.

I received this question from a reader earlier this week.  I’m not a vest user and couldn’t answer the question for him.  So, I told him I’d post it here for all of you to read and hopefully a couple of you can share your thoughts.

Here’s his question:

“I was in Yosemite this weekend shooting phenomenal sights, and since it was cold I was wearing my parka.  I very soon discovered that there are no pockets that will hold anything larger than a pack of gum, let alone a wide angle lens and some Cokin filters.  So, I need a photo vest but have no idea what to buy and where to buy it.  I don’t know if they are summer-ized or winter-ized, but I suspect they are all season and I will still need my parka in cold weather.  That is OK.  I just need something that will hold lenses, filters, toilet paper, etc.”

If you have a solution to his problem I invite you to post your response in the comments section.  Looking forward to reading what ya’ll come up with!

I’ve owned and used the Acratech Ultimate Ballhead for almost 5 years.  I think I’ve probably got enough experience with it now to write a fairly qualified and informed product review.  Here goes…

The simple fact that I’m still using the Acratech Ultimate Ballhead after 5 years probably says more than anything I’m about to write.  I’m a gear junkie and I’m very hard on every piece of equipment I own.  That my Acratech Ultimate Ballhead is still going strong is either a fluke or it’s just one hell of a solid piece of equipment.  I’m of the firm belief that it’s the latter.

What I like:

• The open ball design requires no lubrication or cleaning.  Get it sandy, wet or muddy and it still operates smoothly.
• Made of CNC aluminum, the Ultimate Ballhead weighs less than a pound.  Mated to my carbon fiber tripod, the whole thing weighs in just under 4 pounds.  My back likes that a whole lot.
• Despite the flyweight, it’s about as durable as anything on the market.  Mine has clawed it’s way through slot canyons, been dropped on granite and dunked in lakes, rivers and creeks.  It’s beat to hell, but it just keeps working.
• Super easy to use.  No complicated mechanisms – just a couple knobs covered in a pliable rubber that don’t hurt your fingers when it’s cold.
• Even with a pro camera and 100-400mm lens attached, the ballhead locks down tight and won’t budge until you need it to.
• Top notch customer service.  This is huge to me, since most companies couldn’t care less about your business.  Acratech likes their customers and have always treated me well.  I have several friends who use Acratech products and they’ve all consistently received fantastic customer service.  Sooooo refreshing.

What I don’t like:

• The quick release mechanism is comprised of two tiny springs that push the clamp open as you loosen the knob.  If the clamp isn’t kept closed when not in use it is possible for the springs to pop out.  The ballhead still works, but requires a little extra effort to open the clamp.  When this happens Acratech will send you new springs at no charge.  I know this because in 5 years I’ve had to replace the springs 5 times.
• The main knob is larger than the other two.  This is good.  What isn’t good is that the other two knobs are the same size.  One operates the quick release while the other controls the horizontal axis movement.  If you aren’t careful it is possible to loosen the QR when you intend to turn the other knob, which could result in your camera going skydiving.

Update Feb. 13, 2011 – I bought another Acratech Ultimate Ballhead just a couple months ago to use on my back-up tripod.  I’m happy to report that they’ve resolved both issues mentioned above.  The QR release now doesn’t open far enough to allow the springs to pop out.  They’ve also made the knob that opens the QR mechanism an entirely different shape than the one that controls the horizontal axis movement.  What was a near perfect ballhead is now officially perfect.

As you can see, there isn’t much about the Acratech Ultimate Ballhead I don’t like.  It’s just a good piece of kit that I highly recommend for nature photography.  If and when mine ever dies I will replace it with another Ultimate Ballhead.

Do you use the Acratech Ultimate Ballhead?  What are your thought on it?  Leave a comment with your likes and dislikes.

We left Moab during a snowstorm, headed south to Phoenix to enjoy warmer weather and blue skies ideal for hiking.  The forecast wasn’t looking good.  Rain on Friday.  Rain on Saturday.  Rain on Sunday and Monday, finally clearing overnight with abundant sunshine on Tuesday.  Still, I hoped the weatherman was wrong as he commonly is half the time.  Of course, he was right and the rain came down in buckets – flash floods and all.

Photographers don’t usually celebrate rain.  Sure, it nourishes the wildflowers and fills desert potholes that catch ephemeral reflections but when you have only 6 days at a location, you’d just as soon forego torrential downpours.  No matter how much we pray to the almighty Weather Gods we’re stuck with what we’re given.  Thus, we have a choice.  We can bitch and moan about the weather, or we can embrace it and make images that would be impossible under any other conditions.  Not one to bitch and moan a whole lot I say, “Embrace the rain!”

Photographing in the rain presents a series of challenges you must overcome.  Some are technical (keeping things dry) and some are creative (using flat light to your advantage).  Here are some tips to help you make the most of a rainy day.  Or four.  First I’ll cover the technical details, then I’ll discuss some creative strategies.

• Let’s start with an obvious one – keeping your gear dry.  In reality, you aren’t going to keep your camera and lens dry.  Try as you might, things are going to get wet.  You can minimize the exposure by using an umbrella to ward off the rain while you’re composing an image.  I carry a couple hotel room shower caps that fit perfectly over the camera and most wide angle to moderate lenses.  This works well to keep it dry if an umbrella isn’t available.  Slightly more ghetto but still effective is a plastic shopping bag.  These tend to blow off the camera when it’s breezy whereas the elastic on a shower cap keeps it in place.
• Keep your lens hood attached as it will help protect the front element from errant raindrops.  You should also keep the lens cap on until absolutely necessary to remove it.
• Microfiber cloths are great for removing water drops from the glass.  Store a couple of them in your camera bag and use liberally.
• When your camera and lens do get wet you should dry them off as quickly as possible.  Yes, this even applies to the “pro” cameras with all their fancy weather sealing.  Keep a hand towel in your car for this purpose.  Pay special attention to areas where water droplets could seep into the body of your camera, i.e. buttons, dials, the lens mount, etc.
• Don’t forget to wipe down your tripod.  As you collapse the legs some water may find it’s way into the inner workings of the leg locks.  This has been known to cause them to seize.  Keep them dry and this is less likely to happen.  I use a Gitzo tripod with twist locks, which like to get really sticky at times.  I combat this by only tightening them just enough to prevent the leg sections from extending on their own when the tripod is not in use.

Okay, let’s move on to the more difficult aspect of photographing in the rain – finding your creative mojo.

• Dreary weather usually produces dreary light.  Contrast is low, skies are gray and that sweet, warm light so beloved by photographers is nowhere to be found.  Use these attributes to your advantage by photographing more intimate scenes.  Look for patterns and textures or contrasting elements such as a light colored cholla in front of a dark colored cliff.  The diffused light will allow every detail to stand out without any harsh shadows blocking up the scene.
• Think monochrome.  The flat light common on rainy days usually subdues colors.  Why fight it?  Look for compositions that don’t rely on strong color.  Rather, find a scene that has graphic impact, photograph it and convert it to black and white in post-processing.
• If you are lucky enough to be in the right place as a storm moves in you can capture dynamic images of the dark clouds sweeping across the landscape.  Look for compositions with multiple ridges that transition from light to dark as storm clouds and rain quickly pass over them.
• Even the worst storms end.  Be there when that happens and you’re virtually guaranteed opportunities to create powerful images.  As storm clouds break rays of sunlight shoot through and spotlight the landscape.  Those boring grey skies may quickly become dramatic with blue sky peeking out from behind puffy white clouds.
• This last point is more of a warning than a tip.  Really, I shouldn’t even have to say it but I’m going to any way.  If you see lightning or hear thunder, it’s up to you to decide whether to continue standing there with your camera atop a lightning rod.  My recommendation: pack it in.

See, I told you there was no reason to put away your camera when the rain starts to fall!  Embrace it and you might just be surprised at what you’ll capture.

Share your tips for shooting in foul weather and/or link to images you made in the rain.  Your tip might just help someone out!