We are sometimes asked if folks with special dietary needs will have difficulties finding things to eat on a cruise ship and the answer we give is always the same - there is always a way to accommodate your specific requirements.
Your first action is to identify what you need in your the guest profile you fill in on the cruise company's website once you have registered for a cruise. If you require Kosher or gluten-free meals, they can be provided for you as long as you let the cruise company know four weeks in advance. If you are booked for a cruise, do this now! If you have ANY questions about having your needs met, don't wait until you are on the ship, phone your travel agent or the cruise line today and discuss this with them - better to know in advance what is possible than to have surprises once on board.
You will notice that vegetarian and vegan diets are not listed on the guest profile as cruise companies work to meet these needs every day on every cruise. There is always a selection of fresh fruit and salads on the buffet and two or three vegetarian selection in the restaurants. The secret, whether you eat in the restaurants or buffet, is to get to know the head waiters. They will consult with you about which items on offer meet your needs and what they can do for you if there are none that interest you. In the restaurant, the head waiter can bring you the next day's menu and help you make a selection that works - or they can help you order off menu. There always seems to be excellent vegetable stir fry and curries to order and the kitchen will go out of its way to meet your needs - you just need to identify what you require as soon as possible. Head waiters are programmed to produce acceptable solutions to each guest's dietary needs so your request will not be the first they have had.
At the buffet, talk to the servers behind the line and if they are not able to help you identify vegetarian or vegan options then ask what else they can make for you - the kitchen is not far away and can make off menu items just like in the restaurant. I have found that working with the same waitstaff each evening means that they remember your needs and will more readily be able to help you. In the regular restaurant this will not be a problem. In the "Anytime Dining" restaurant where you may be seated anytwhere, you are going to want to sit in the section with the same head waiter so he/she knows what your requirements are. In the buffet line, try to speak to the same servers or locate the same head waiter on the floor to deal with.
As with anything else on a large cruise ship you need to be proactive in identifying your needs, deal with the same staff as often as possible and give staff some lead time to meet your requests. Remember, if you don't get the assistance you need, ask to speak to the guest relations representative on board as soon as possible so you are not disappointed during your adventure.
Throughout May and June, 2013, we will be drawing for one Craft and Vision
ebook each week. Simply comment on each week's new blog posting and be eligible for the draw. While you need to leave an email address so we can contact you, it never appears on the web site and we do not collect or sell emails. You will never see an email from us unless you win.Craft and Vision ebooks are inspirational reading for all photographers. The books are not about the equipment you should buy or the buttons you should twiddle. Instead, they will help you hone your photographic potential by improving your vision of the world while bringing new excitement and impact to your photos. For years I have enjoyed these books and have learned a great deal from them. Treat yourself - leave a comment and perhaps walk away with an ebook that will inspire you to new things. Watch for weekly announcements on Twitter and Facebook or drop back here from time to time.Our first draw is from May 8 to 15. Drop by here and leave a comment.
Out door HO train set at the Living Desert, Palm Desert, California. Photo by Jan Dougall
Pioneer Town, California? Ghost town in British Columbia? Nope, the HO model railway at the Living Desert, Palm Desert, California. You can make even the smallest scenes seem like they are real by using a telephoto lens, shooting from ground level and using a wide aperture. This gives the image the same perspective as if you were very small and standing on the ground. The wide aperture gives a narrow depth of field similar to a life size landscape. To complete the illusion, you need to watch the background to ensure there are no "giant" people standing in the background tol spoil the illusion.
Another Living Desert shot taken at "ground level" (actually I was crouching down) with a narrow depth of field - notice how the waterfall in the background is out of focus. Converting the picture to B&W gives it more of a period feel, I think. The small model fireman on the train gives away the fact it's a model and not the real thing, but I like the overall look and the tonal range in this image.
Give this a try next time you are near anything miniature. Just image you are small enough to walk around in the scene and shoot from that "eye level". Use a long lens and a wide aperture and you should have images that look very real.
In this age of super saturated images, it's sometimes easy to forget the simple beginnings of photography when everything was rendered in black and white, sepia or, for a real change, selenium. When you strip away the colour from an image you are left with only tonal values from white to black, as well as the shapes and texture of the scene.
To create an effective black and white image you need to look at a scene in front of you differently. You need to pay attention to the highlights and the shadows, where they fall in the image and how they relate to one another. You need to ask yourself if there are sufficient differences between the lights and the darks of an image to give a pleasing range of greys in a final picture. If all the colours have the same tone, the final image will appear flat and muddy.
Looking for shapes and their textures in a scene help to determine where the interest will be and where the shapes should be placed in the final image. This is a great place to rediscover the rule of thirds
.The image at the left was photographed at the Living Desert in Palm Desert, California. The adobe walls in the original image were great but the texture was lost amongst the colour. Stripping away most of the colour and toning the image slightly brought out the texture in the wall and cacti and the complimentary shapes of all of the picture elements. The colour image had too much information in it and the composition appeared to be quite flat.
Sometimes a picture has so few colours in it that it is, by definition, already monochrome. The image to the left of Paris rooftops had shades of grey and beige and not much else - a flat and optically boring image. By converting it to a high contrast black and white image, all the boring colour was stripped away leaving only the shape and texture of the roofs to contemplate. The image has the added advantage of looking like a black and white etching or antique postcard and I think the image now reflects the age of the buildings themselves.
It takes a while to train your brain to think in black and white but once you start noticing shape and texture, you will be on your way to making some very compelling images. You can start by taking some colour images you already have and converting them to black and white in your favourite image editor. You will soon begin to see which ones lend themselves to being rendered in black and white. Once you can see the difference, you will be ready to go out and experiment in monotone images.
Interested in exploring your photographic potential? Join us September 16, 2013 as you embark on a seven day Alaska cruise and photo seminar. More information is available here.
Leave a comment between May 8 and midnight CT May 15, hit the retweet button on this page and you will be entered to win the ebook "The Magic of Black and White" from craftandvision.com Remember to leave your email address so you can be contacted (emails do not appear in the comments).
We do not collect, save or sell email addresses - we only use your email address to contact you once, if you win. Email addresses are destroyed once the contest is done.
“But that's the glory of foreign travel, as far as I am concerned. I don't want to know what people are talking about. I can't think of anything that excites a greater sense of childlike wonder than to be in a country where you are ignorant of almost everything. Suddenly you are five years old again. You can't read anything, you have only the most rudimentary sense of how things work, you can't even reliably cross a street without endangering your life. Your whole existence becomes a series of interesting guesses.”
― Bill Bryson
, Neither Here Nor There: Travels in Europe
I think Bill has it right - really
travelling means losing yourself and even your understanding of the world sometimes. Whether that means losing yourself on a beach for a week with a series of books or trying to navigate places so foreign that nothing is easily understood, there are many ways to escape the ordinary. This is probably what draws many of us to travel - the chance to forget about deadlines at work, bills that need paying and household chores that need doing. If you do it right, you can even forget the date, day of the week or, in extreme cases, the time of day. The longer your journey is and the further from home you venture, the easier it is to exist outside of the day-to-day; to really lose yourself in another time and place.
Our trip several years ago to Nuuk, Greenland was a prime example of this. Cruise ships stop here on occasion in September when the ice supposedly has melted enough to allow a close approach to shore. Once ashore we had the run of the town, which had suddenly grown in population by a factor of two with the arrival of our cruise ship. The folks were friendly and welcoming and as long as you remembered to look both ways before crossing the street (traffic signs are suggestions here), you really can't get into any trouble. And speaking of signs, many are written in Greenlandic (Kalaallisut), the language spoken by the Inuit of Western Greenland. Helpfully, most were also written in Danish, which meant that I could stand there and understand that I was completely illiterate in TWO languages while also appreciating just how exotic and exciting that was :-) Jan and I easily navigated through the town and learned there was a baby boom underway (nine months after the coldest, darkest month of the year), that raspberries where $12 for a small container, and the we could shop at the same JYSK store we had back in Saskatoon. Although we were here only a day, it felt like we were far away from our usual lives and selves. To be able to share, even for a few hours, the way other people lived in such a remarkable place was a real gift. Recently I have gotten to know a fellow traveller who I would like to introduce to you. Adam Shepard has just spent a year travelling the world and taking the time to really learn about other countries, people and himself in the process. His new e-book, "One Year Lived'" takes the reader with Adam
through seventeen countries as he lived, worked and learned along the way. His book begins with his first bungee jumping experience and proceeds on from there in easy to read and engaging prose. Adam is a traveller, not a tourist, and as he year progressed, he met incredibly interesting people and experienced each country in a new and unique way.To mark the release of Adam's book on April 18, we gave away a pdf version of his book "One Year Lived" next Wednesday, April
25 at 6:00pm CT time. And the envelope please....... congratulations to Jeff-yes-that-Jeff
for the win!
Further information about Adam and "One Year Lived
" is available here
. or read the press released via the link below.
|File Size: ||154 kb|
|File Type: || pdf|Speaking of remarkable journeys, our upcoming Alaska Cruise and Photo Seminar on September 16 will give participants a chance to escape the ordinary and practice their photo skills in one of the most spectacular places on earth. Drop by our home page and see where we will be going and what we will be doing.
Images arranged using Layout app
For many people the quick answer to this is "yes". With smartphones now equipped with cameras that resolve north of 8MP, the picture quality is getting pretty good. Yes, the size of the sensor is tiny and the grain in the image if low light images can be distracting, but since most of us will not be making large prints, the results can be quite good.
The advantage to these cameras is that they are always with us so the chances of "capturing the moment" are very good. Without an optical zoom, you are not going to use these for hunting land animals or birds, but for people pictures and landscapes they preform quite well.
It is now possible to download a number of very good apps which will improve the photos you can capture. Some even help you with the presentation of your final images. I have been playing recently with:Simply B & W: an easy to use program that lets you convert your camera or photo library images to very credible black and images
.Layout: an great way to, ah - layout your images with good looking frames around them. Display individually or in groups as seen above.
Panorama image taken at Joshua Tree National Park with Pano Camera app on iPhone 5
a very simple to use app that will create panoramas up to 360 degrees wide. Simply take your first image and then line up the automatically generated targets for the next shots. The final image is pretty good considering it takes next to no time to do and doesn't require a tripod.Whether you use your camera in "plain vanilla" mode or tarted up with an app or two, smartphones today provide a great alternative to a compact digital camera. If you don't need a telephoto, if you aren't using it in exceedingly dim conditions and if you don't make large prints, this may be all the camera you need. If you haven't tried some of the photo apps out there, treat yourself, they cost very little and can add a great deal of versatility to your photography.
There never was a Leica camera that looked quite like this one supposedly issued to the U-Boat service of the German navy in WWII. Certainly the very few that ever existed don't look as pristine as this as they have, literally, been through the war.
This camera seems to have the look of a real pre-war Leica II. It is engraved with "E. Leitz Wetzlar" on the top deck. The lens cap reads "Leica" and it appears to have a 50mm Elmar f/3.5 lens. But as well marked and beautiful as it is, and in spite of the silky smooth controls, this is a fantasy that never existed. This is really a Russian Zorki rangefinder, copied to a very large degree from a Leica II, and produced in huge numbers between the end of WWII and the mid 1950s.
Whoever worked on this camera was able to strip down, repair, paint, engrave, and reassemble what is today a beautiful looking camera. To a Leica collector it is very easy to tell this is a fake with telltale features including chrome front screws which should be painted black. The shutter release is without the internal threading for a Leica cable release and the internal rangefinder cam that connects the lens to the rangefinder system is entirely the wrong shape.
So, we know what it is not: what it is - even as a fake - is quite fascinating. Not only was the craftsmanship on this camera outstanding, but someone knew a great deal about WWII German U-boats. The camera is supposedly presented at Wilhelmshaven, Germany, where the Kriegsmarinewerft built and launched U-boats. There is a rear presentation plate to "the brave submarine commander, in grateful recognition." There is also an engraving indicating that the commander was in charge of the U-boat flotilla "Weddigen", the first Nazi flotilla to be formed in 1935. The usual German eagle, swastika and "M", supposedly for "Marine", are emblazoned on this little camera.
Other fantasy Leicas have appeared on the market but few of them have the extensive engraving and presentation plaques that have been added here.
Have I put any film though it? No, and I doubt I will. As a camera is it more of a collectible than a user as I would hate to blemish the beautiful finish on this interesting "Leica". Have you ever encountered one of these Russian fakes? If so, share your experiences here.
Every now and then I like to dig through the mountain of negatives that I have stored in binders on my bookshelf. These were taken between 1970 when I started taking photos and today, although recently the production of negatives is way down. I take a few out every now and then to see what I can do with the latest processing tools I have at my disposal. This image was taken in about 1980 in the northern Saskatchewan town of Uranium City where Jan and were teaching. This abandoned truck was parked on the side of a hill but had recently been pushed into this position as there were tire tracks visible in the snow. I am certain the truck didn't get there on its own as there was no engine in the vehicle!
This was shot on Tri-X ASA 400 film in my trusty old Spotmatic II. You had to be careful about how old the weather was as film has a tendency of shattering inside the camera if you try to advance the film on very cold days - of which there were many just south of 60 degrees north. In extreme conditions we used to tape "Hot Shot" heating packs to the back of the camera so things continued to work.
Uranium City and area was a playground for photographers who liked old, abandoned things. As the only way to move equipment in and out of the area was by air or barge, it was too expensive to move salvaged material down south once people were done with it. That lead to old equipment, old vehicles, old mines and even old town sites just left where they were last used and this truck is an example of what was left behind.
I still pull out my film cameras from time to time. There is still a particular fell to using a simpler film camera and the results, while requiring a little more work to processes, are still of
Abandoned Hotel at Lake Manitou
We came across this abandoned and flooded building at Manitou Lake, Saskatchewan, about an hour and a half south east of Saskatoon. Manitou Lake is a terminal lake and extremely salty. This building started life in 1923 as the "Martin's Tourist Hotel". In1962 the Wardley Brine Shrimp Co. converted it into a shrimp packing factory which it operated for a number of years. It has long been abandoned but was kept in relatively good nick with a coat of paint every now and then. The recent flooding at the lake has caused the water level to rise to the point that it is effecting the structure of the building and I doubt if it will last much longer. Image taken with my trusty old iPhone 3GS and processed "in camera."
The answer to this question depends on what kind of photographer you are. If you prefer capturing the details of your surroundings, a telephoto zoom or even a macro lens may be a good choice for you. If you are a “big picture” photographer who prefers to capture sweeping vistas encompassing all you see then a very wide angle lens may be best for you. For me, if I could only take one lens on a Baltic cruise, it would be a Canon 24mm - 105 f/4 IS on my 5D or, on a small sensor crop camera like a T4i, a Canon 15mm - 85mm f/3.5-5.6 IS.
A Baltic cruise is largely urban exploration via cruise ship. Most itineraries are very port intensive with many ports along the way. Rarely will you get the chance to escape the city you are visiting to find wide open spaces and thus rarely will you need a telephoto lens longer than 135mm. In a city setting you will probably find a moderate wide angle to moderate telephoto zoom will serve you well. These lenses aren't particularly heavy so you can schlep one around on even the longest shore excursion. They are also small enough that taking it in and out of your day pack or wrestling on and off mass transport should be easy. Finally, a small camera/ lens combination means that you should be carrying a smaller camera bag. This means should should hear, as I did upon entering a museum in Zurich, the dreaded words “zu groß“, which meant I had to leave my huge camera bag with the nice matron at the front desk rather than be allowed to knock around the museum with it.
The modern Canon image stabilized lenses promise to increase stability by three stops. That means that an f/4 lens could give you sharp images as if your were using an f/1.8 or f/2 lens. An f/3.5 - 5.6 lens could behave as if it were an f/1.8 - 4 lens. This means you should be able to get decent shots even in dimly lit churches and museums if they allow you to take photographs.
Gourdon Harbour Detail with f/2.8 Lens
Please remember this “three stop advantage” assumes you are a steady shooter. Never trust this rule of thumb - check it out for yourself. Long before you leave on that cruise, make certain you have the lens you are going to travel with in hand and visit your own local churches and museums that allow you to take photos inside. Experiment with various shutter settings to determine just “how low you can go”. You may find that, depending on lighting conditions and whether you are using the wide or telephoto setting or bracing yourself against something solid, your results vary. Knowing this ahead of time will save you experimenting while on tour somewhere and prevent disappointment later.
I also pack a second, single focal length (prime) lens like a 50mm f/1.8, 35mm f/2 or the new Canon 40mm f/2.8. While not really much faster than either of the lenses I have recommended (once the image stabilization is taken into account), a fast lens like this is very small and easy to bring along. It also does a much better job of delivering a very narrow depth of field that will throw the background out of focus and let your main subject "pop". This effect comes from a wide aperture, not from image stabilization, so an f/2.8 lens will be able to provide a narrower depth of field than an f/4 lens used at a similar distance and focal length.
To sum up then, take a moderate to wide angle zoom lens, augment it with a fast prime and test your ability to handhold your camera and lens combination before you go.