Arctic Trip Tips 1 - General tips

Many of the lessons we learnt (or re-learnt) on this trip are applicable to a wide variety of trips, so I have included all of those in this entry.  A smaller set of tips, applicable primarily for polar excursions, will be included in the next post.  

1.       Motion sickness patch can cause motion sickness: The prescription patch for motion sickness is becoming extremely popular with travelers, since it provides excellent relief of symptoms without having to remember to take pills on a regular schedule. There are a couple of important things to be aware of, however, when using this medication. The first is that you may still experience some symptoms of sea sickness if the seas are particularly rough. This is not unexpected. The second is that if you wear the patch for more than three days, then suddenly remove the patch at the end of the voyage, you may end up feeling the symptoms of motion sickness (nausea, dizziness, etc.) a day or two after the patch has been removed while your body adjusts to the sudden removal of the drugs. This is a noted side effect of the medicine, but can still catch you by surprise – for example, if you are flying out a day or two after your voyage. Plan ahead, and adjust your medications appropriately.

2.       Give yourself plenty of time before and after the trip to get where you need to go. Travel in general, and adventure travel in particular, does not run on a tight schedule.  Flights, including charter flights, are often  delayed; disembarking a ship can take more time than expected; bad weather can interrupt plans; and luggage can be temporarily misplaced. If you provide a little extra time at the start and end of your trip, these disruptions are less likely to impact you and you will be able to remain relaxed instead of stressing out. Even simply over-nighting at your departure and arrival locations may give you the time that you need. For example, on this trip, the charter company responsible for returning us to Toronto changed, causing a change in arrival time. Because we were spending the night in Toronto before continuing on to our final destinations, we didn’t have to worry about exactly what time of day we got into Toronto. Some of those who had booked connecting flights had to reschedule them, because we arrived several hours later than initially expected, and they still had to clear customs and check in to their connections before moving on. In cases like these, the connecting airlines take no responsibility for the cost of rebooking the flights, since the arriving flight was a charter, not part of the connecting airlines’ service. Any additional expenses were borne by the travelers, and almost certainly exceeded the $100 cost of a hotel room for the night.

3.       Work with local experts and experienced guides whenever possible. Do research before booking your trip to make sure that the people you are travelling with are not just familiar with travelling in general, but with the area that you are heading to in particular. In adventure travel, the agenda must adapt in response to a variety of conditions, including weather. This means that flexibility is important. The more your guides know about the area, the more options you have and the better you will be able to respond to the unexpected. On this trip, each day’s agenda was posted the night before based on the guides’ best estimate of what we would encounter, and we still had numerous changes during the day. However, because our expedition lead had been to the area over 40 times, and the captain had made hundreds of cruises in the area, they were able to identify alternatives that made us feel like we weren’t missing anything.  Less experienced guides would not have been able to respond as effectively, and we would have ended up with cancelled activities.

4.       Always bring spare socks when hiking. Of course, on longer hikes, you likely already know that you should change socks every chance you get just to keep your feet dry and prevent blistering. However, even when a hike is supposed to be easy you should still bring a spare pair along. There is always the chance for something to happen – for example, stepping in a puddle or needing to rock-hop across a stream. If you have a spare pair of socks, you can easily change out of a suddenly wet pair into a dry one, preventing blisters and keeping your feet happy. If you don’t, then you have to suffer with wet feet for the remainder of the hike.

5.       Mosquito netting is your friend. Surprisingly, to me at least, mosquitoes not only live but thrive above the Arctic Circle. While bug dope (aka repellent) will work, the bugs still swarm your face, sit on your hat or glasses, and generally try to find an unprotected area to attack you. Having netting available keeps them away from your face and decreases the distractions while you are hiking. Given the small cost and weight, it is definitely worth packing netting even if you don’t think you will use it.  Of course, you should still bring bug spray for those areas not covered by your netting. And, very importantly, keep both the netting and the spray with you whenever you are on an excursion. It does you no good at all if it is sitting in your room while you are providing a feast for the local wildlife.

6.       Bring external backup devices. I have previously written about our use of a Hyperdrive external hard drive to back up our flash memory cards. This is a good, single-purpose device which can copy files from a variety of different types of cards. However, it can freeze up when things are done out of order and it does not support filtering of images because the screen size is too small and the images cannot be categorized. On this trip, I noticed several people using an iPad instead of a full-blown laptop for accessing their photos. This has the advantage that the tablet is much smaller and easier to transport than a laptop, while still providing the essential capabilities that one would want on a trip (e.g. reading eBooks and sending email). It is also well designed for performing an initial filtering of the photos, since it has a large screen, can easily move between hundreds of photos, and allows directories to be created and populated based on content. Unfortunately, the current version of the iPad does not natively support an external USB drive (this has been hacked around by some), so this limits the usefulness of the device as a backup for long trips where you will have many more pictures to store / access than can fit on its relatively small internal drive . With tablet computers becoming more popular, however, I would expect this limitation to be overcome in the near future.

7.       Walkie-talkies keep people in touch.  It can be really handy to be able to talk to others in your group from a distance.  This allows you to find each other when you have become separated and can reduce trips back to the cabin for forgotten items. For example, if a polar bear is sighted, one person may rush out on deck to see where it is, while someone else rushes to the cabin to get a camera – but then finding each other can become challenging.  In many places, such as ski areas, cell phones have been allowing people to connect remotely for years (e.g. to coordinate lunch between black diamond and green bunny-hill skiers). Unfortunately, cell phones don’t work in many places – and even if they do work, they can be expensive for these types of quick calls. Instead of cell phones, for international and adventure travel, I suggest taking a hint from your guides and using a set of walkie-talkies. They work anywhere, use rechargeable batteries, and can provide an effective link to others in your group over moderate distances.  Even a fairly basic set will provide a level of connectivity that will save you several laps around the deck looking for people.

8.       Bring ski goggles. If you wear corrective lenses, you know that one of the downsides of wearing glasses instead of contacts is that rain, snow, fog and other weather events can severely affect your vision. On this trip, the rain was so bad one day that I simply took my glasses off since I couldn’t see anything through them. It was during this downpour that I noticed our more experienced guides were wearing ski goggles, which protected their eyes and gave them a reasonable view of their surroundings. Even over glasses, these provide an enhanced weather block and are much easier to keep clean while hiking.

9.       Always use your lens shade. While the nominal purpose of a camera’s lens shade is to keep the sun off of the lens’ front element and let you take a better picture sans lens flare, while on an outdoor shoot you should always keep your shade on. In addition to protecting from the sun, it also helps to block rain, sleet, and snow from hitting your lens. This not only increases the chances of getting good pictures but reduces the time that you need to spend cleaning your gear. It is not a bad idea to keep the shade on during indoor shoots, too.  The shade can help protect the lens against damage from ungraceful moments.  (How many of you have ever accidentally hit your camera against a chair back while walking past?)

 

Terence

City Escapes Nature Photography

Home Photo Framing Basics, Part 4: Putting It All Together

 

Finally, you are ready to assemble all the parts of your photo and frame.  Here are a few hints to help it all go smoothly.

 

Though it may seem obvious, it is nonetheless critical to begin with cleaning all of your components.  Ensuring that both sides of your glass are clean, for example, will save you the headache of later discovering that the annoying fingerprint in the middle of the image is on the inside of the frame, and requires disassembling everything to remove.  Wiping down your mats and backboards with a dry, lint-free cloth will help to keep distracting flecks off the final image, and don’t forget to wipe off the frame’s rabbet – you might be surprised at how much dust and other particles are lurking about there, just waiting to announce themselves after everything is all sealed up.  After cleaning the glass (and anything else that you might use a cleaning agent on), be sure to allow sufficient time for all of the moisture to evaporate from the components.  The last thing that you want to do is to trap moisture or fumes inside the frame.

 

The next step is to attach the print to its backing board.  There are several ways to accomplish this, depending upon the size of your image, its value, and your personal preferences.  You can use anything from traditional photo corners to acid-free, double-sided tape.  Each method has its advantages and disadvantages.  One advantage of photo corners, for example, is that the print can be removed from the backing board with no damage whatsoever; a disadvantage is that the corner might be slightly visible, depending upon your framing choices.  If your print is of particular value, it is a good idea to discuss your options with a professional framer before using anything that will stick to the print in any way, such as tapes or other adhesives.  It is important that you choose materials that will not cause damage to the print over the long term.  (General household glues are not recommended under any circumstances.)

 

If you are using multiple mats, it is a good idea to use double-sided tape to keep them together.  This allows them to shift, expand, and contract without losing their spacing in relation to one another.  In other words, if you get them properly lined up and taped together, one mat won’t slide over to one side, leaving the bottom mat more exposed on one side than on the other.  (There’s nothing quite like having no bottom mat showing on one side, while the other side is extra-wide, to drive this point home.)  Then, for similar reasons, you might want to tape the mats to the backing board, making certain, of course, that your image is properly positioned before securing everything together. 

 

Carefully place your clean glass back into the frame, ensuring that the proper side is facing the artwork if using a specialty glass (see Part 3 of this series: Glass).  I find it useful to wear cotton gloves when handling the clean glass, as they prevent me from leaving fingerprints.  Lay the mat / print / backing board package on top of the glass.  If you are not using a mat, be sure to use a spacer to keep your print away from the glass (see Part 1: The Importance of Breathing Space).  At this point, I find it useful to hold the print package in the frame with my hands and carefully flip the entire piece over to check for any distracting dust flecks that may have snuck onto the image or the mats.  There are almost always some there, and it is much better to find and remove them now than after the next step.  Repeat this process until the piece is speck-free, or at least as speck-free as you care to get it.  Be patient.  This can often be the most frustrating phase of framing.

 

Securing the print package in the frame can take one of several forms.  Many ready-made frames come with glazier points already in the frame.  If this is the case, simply bend the points down over the backing board.  If your chosen frame does not come with points pre-installed, it is a relatively simple matter to do install them yourself.  Glazier points are available in most hardware stores, and they can be installed with either a flathead screwdriver or an inexpensive tool made specifically for this purpose.  (Electric glazier point guns are also available, but these are expensive, and might not be worth the money to the home framer with only the occasional framing job to do.)  A word of warning, however: while many woods are very easy to work with, some woods are quite hard (and all knots are hard).  Glazier points do not go into these woods without difficulty.  It is not uncommon to slip with the screwdriver or the glazing tool, which can lead to bruised or scraped knuckles.  Perhaps more dangerously, if you use your other hand to push on the frame in order to give you leverage, a slipped tool could result in an impaled hand.  Work carefully.  Wearing good gloves is never a bad idea during this stage.

 

Alternatively, you can use offsets, which are “s” shaped pieces of metal, to hold the print package in place.  Offsets are available in several depths, and are also widely available in hardware stores.  To use an offset, you first need to drill a pilot hole in the frame to keep the frame from splitting.  I suggest doing this part prior to cleaning the frame, as it will introduce wood shavings into the frame.  Then secure the offsets over the print package with screws.  Note: be sure that the screws you use are not too long for the depth of your frame.  Pay particular attention to the depth of the frame at the point where the screws will be attached; many mouldings have greatly varying depths throughout the moulding.

 

If you would like to add a dust covering, now is the time.  Simply cut a piece of craft paper to the proper size, and attach it to the back of your frame with double-sided tape.

 

Hanging hardware that uses a wire is usually attached about a third of the way down the frame from the top.  Sawtooth hangers are attached at the top center of the frame.  While both are equally effective for smaller frames, wire hangers are a better option for larger frames, and my preference overall, as I find it easier to adjust the positioning of a frame on the wall with a wire.  Regardless of the type of hanging hardware that you choose, ensure that it is strong enough to support the framed piece.  If you choose a wire, ensure that it is wrapped securely around the “D” rings, and that they are properly screwed into the frame.  (Watching a frame fall because the wire unraveled itself does not make for a pleasant day.)  It is not difficult to secure the wire to the “D” rings, but it is critical.  If you have questions about how to do so, ask your local framer for a demonstration.

 

Adding bumpers to the bottom corners of your framed piece is the finishing touch.  These bumpers serve two purposes: first, they protect your wall by keeping the frame away from it, and second, they allow air to circulate behind the frame, which helps to control moisture.

 

Voila! You are finished, and are now the proud owner of a beautifully framed piece of art – that you framed yourself.  With practice, all of these steps will become second nature, and you will be able to get more and more creative with your framing.  Good luck, and have fun! 

 

Jodi Gaylord

City Escapes Nature Photography

www.cityescapesphotography.com

 

City Escapes Photography Newsletter - Dec 2010

CITY ESCAPES

Nature Photography, LLC

 

 

Newsletter

December, 2010

 

 

 

New for the holidays: E-cards!

 

We have added a new feature to our website: free e-cards!  This inaugural batch of eleven cards is holiday-themed, with more e-cards for a broader array of occasions in the works.  You choose the image, add your own title and message, and send it off.  It couldn’t be easier!  The recipient will receive the card directly in their mailbox; there is no need for them to go to an outside site and log in to receive their card.  To send your free City Escapes Nature Photography e-card, go to www.CityEscapesPhotography.com, and click on “Free E-Cards” in the side panel.

 

 

Our Fall Release – The North

 

As the temperatures plummet over much of the country, you will feel right at home taking in our latest release, “The North.”  From polar bears and icebergs to wildflowers, you can travel from the Arctic tundra to the Canadian Rockies and back again in a matter of moments.  So grab a cup of hot cocoa and wrap up in your favorite blanket, and come explore the many stunning shades of blue and white to be found in the realm of snow and ice.  

 

 

Home Photo Framing Basics, Part 4:  Putting It All Together

 

Finally, you are ready to assemble all the parts of your photo and frame.  Here are a few hints to help it all go smoothly.

 

Though it may seem obvious, it is nonetheless critical to begin with cleaning all of your components.  Ensuring that both sides of your glass are clean, for example, will save you the headache of later discovering that the annoying fingerprint in the middle of the image is on the inside of the frame, and requires disassembling everything to remove.  Wiping down your mats and backboards with a dry, lint-free cloth will help to keep distracting flecks off the final image, and don’t forget to wipe off the frame’s rabbet – you might be surprised at how much dust and other particles are lurking about there, just waiting to announce themselves after everything is all sealed up.  After cleaning the glass (and anything else that you might use a cleaning agent on), be sure to allow sufficient time for all of the moisture to evaporate from the components.  The last thing that you want to do is to trap moisture or fumes inside the frame.

 

The next step is to attach the print to its backing board.  There are several ways to accomplish this, depending upon the size of your image, its value, and your personal preferences.  You can use anything from traditional photo corners to acid-free, double-sided tape.  Each method has its advantages and disadvantages.  One advantage of photo corners, for example, is that the print can be removed from the backing board with no damage whatsoever; a disadvantage is that the corner might be slightly visible, depending upon your framing choices.  If your print is of particular value, it is a good idea to discuss your options with a professional framer before using anything that will stick to the print in any way, such as tapes or other adhesives.  It is important that you choose materials that will not cause damage to the print over the long term.  (General household glues are not recommended under any circumstances.)

 

If you are using multiple mats, it is a good idea to use double-sided tape to keep them together.  This allows them to shift, expand, and contract without losing their spacing in relation to one another.  In other words, if you get them properly lined up and taped together, one mat won’t slide over to one side, leaving the bottom mat more exposed on one side than on the other.  (There’s nothing quite like having no bottom mat showing on one side, while the other side is extra-wide, to drive this point home.)  Then, for similar reasons, you might want to tape the mats to the backing board, making certain, of course, that your image is properly positioned before securing everything together. 

 

Carefully place your clean glass back into the frame, ensuring that the proper side is facing the artwork if using a specialty glass (see Part 3 of this series: Glass).  I find it useful to wear cotton gloves when handling the clean glass, as they prevent me from leaving fingerprints.  Lay the mat / print / backing board package on top of the glass.  If you are not using a mat, be sure to use a spacer to keep your print away from the glass (see Part 1: The Importance of Breathing Space).  At this point, I find it useful to hold the print package in the frame with my hands and carefully flip the entire piece over to check for any distracting dust flecks that may have snuck onto the image or the mats.  There are almost always some there, and it is much better to find and remove them now than after the next step.  Repeat this process until the piece is speck-free, or at least as speck-free as you care to get it.  Be patient.  This can often be the most frustrating phase of framing.

 

Securing the print package in the frame can take one of several forms.  Many ready-made frames come with glazier points already in the frame.  If this is the case, simply bend the points down over the backing board.  If your chosen frame does not come with points pre-installed, it is a relatively simple matter to do install them yourself.  Glazier points are available in most hardware stores, and they can be installed with either a flathead screwdriver or an inexpensive tool made specifically for this purpose.  (Electric glazier point guns are also available, but these are expensive, and might not be worth the money to the home framer with only the occasional framing job to do.)  A word of warning, however: while many woods are very easy to work with, some woods are quite hard (and all knots are hard).  Glazier points do not go into these woods without difficulty.  It is not uncommon to slip with the screwdriver or the glazing tool, which can lead to bruised or scraped knuckles.  Perhaps more dangerously, if you use your other hand to push on the frame in order to give you leverage, a slipped tool could result in an impaled hand.  Work carefully.  Wearing good gloves is never a bad idea during this stage.

 

Alternatively, you can use offsets, which are “s” shaped pieces of metal, to hold the print package in place.  Offsets are available in several depths, and are also widely available in hardware stores.  To use an offset, you first need to drill a pilot hole in the frame to keep the frame from splitting.  I suggest doing this part prior to cleaning the frame, as it will introduce wood shavings into the frame.  Then secure the offsets over the print package with screws.  Note: be sure that the screws you use are not too long for the depth of your frame.  Pay particular attention to the depth of the frame at the point where the screws will be attached; many mouldings have greatly varying depths throughout the moulding.

 

If you would like to add a dust covering, now is the time.  Simply cut a piece of craft paper to the proper size, and attach it to the back of your frame with double-sided tape.

 

Hanging hardware that uses a wire is usually attached about a third of the way down the frame from the top.  Sawtooth hangers are attached at the top center of the frame.  While both are equally effective for smaller frames, wire hangers are a better option for larger frames, and my preference overall, as I find it easier to adjust the positioning of a frame on the wall with a wire.  Regardless of the type of hanging hardware that you choose, ensure that it is strong enough to support the framed piece.  If you choose a wire, ensure that it is wrapped securely around the “D” rings, and that they are properly screwed into the frame.  (Watching a frame fall because the wire unraveled itself does not make for a pleasant day.)  It is not difficult to secure the wire to the “D” rings, but it is critical.  If you have questions about how to do so, ask your local framer for a demonstration.

 

Adding bumpers to the bottom corners of your framed piece is the finishing touch.  These bumpers serve two purposes: first, they protect your wall by keeping the frame away from it, and second, they allow air to circulate behind the frame, which helps to control moisture.

 

Voila! You are finished, and are now the proud owner of a beautifully framed piece of art – that you framed yourself.  With practice, all of these steps will become second nature, and you will be able to get more and more creative with your framing.  Good luck, and have fun! 

 

 

December’s Fun Facts

 

With Santa busy with his final preparations at the North Pole, could we possibly discuss any animal except the reindeer this month?

 

·         All of Santa’s reindeer are actually females.  Only female reindeer keep their antlers over winter.  While bucks usually shed their antlers by early December, does keep theirs until after they give birth in the spring.

·         Reindeer are also the only species of deer in which both genders have antlers.

·         Reindeer are domesticated caribou, and are the only deer to be widely domesticated.

·         They were first brought to Alaska from Siberia in the late 19^th century to combat starvation among the Native Alaskans.

·         Reindeer were, and still are, used as pack animals.  In Alaska, the first reindeer postal route was established in 1899!

 

 

If you have any questions, or suggestions for future newsletters, please email us at: relationships@cityescapesphotography.com

 

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CITY ESCAPES Nature Photography, LLC

www.cityescapesphotography.com

509-396-5154

 

Trip summary: Arctic Adventure Cruise

Hello all,

This past summer, we completed a fantastic two week Arctic cruise. Over the next several weeks, I will be sharing some of the tips that we picked up during this cruise. Most of these tips are general travel tips that could apply to adventure travel anywhere; however, there are a few that are specific to travel in the Polar regions. Before getting into these tips, however, I want to give you an overview of the excursion that we took.

This was our first adventure travel / expedition cruise, and it was very different than previous cruise experiences on the major cruise lines. In our case, the itinerary and excursions were organized by One Ocean Expeditions who rented the Clipper Adventurer ship for their exclusive use during this trip. The ship is leased to other companies throughout the year and sails in both the Arctic and Antarctic regions.

Compared to the larger cruise ships used by the major lines, our smaller ship was more personal, more interesting, and matched our interests perfectly. The Adventurer has a maximum of 120 passengers, and is well suited to expedition cruising with an ice hardened hull, a complement of 10 zodiacs, and the ability to load zodiacs from either side.  Our cabin was a little small but extremely well laid out, with two single beds (dressed in comforters), two good-sized windows (not portholes), three closets, a writing desk, a night stand, and an ensuite washroom with shower. The main lounge, where tea, coffee, water, and snacks were served 24 hours a day, hosted our lectures and served as a general meeting location. The dining room sat the entire ship for a single serving, and produced amazing multi-course meals throughout the trip.  Possibly because of the smaller number of passengers, the food was much better than my experience with the larger ships while maintaining variety and options (e.g. dinner was 5 courses, with at least 2 salad, soup, and dessert options and 3 entrees, all of which were different each day, and never repeated). There was also a well-stocked library and a back deck, with chairs, that we used for afternoon tea several times during our voyage (yes, we had afternoon tea, outdoors, above the arctic circle. Comfortably.).

Our itinerary gave us an excellent overview of the small part of the Canadian Arctic  we sailed through and  a glimpse of West Greenland.  We took a charter flight out of Edmonton to our starting point in Resolute Bay. From there, we traversed the eastern Canadian Shield visiting Beechey Island, Prince Leopold Island, and Devon Island, before heading over the north-east side of Baffin Island to Pond Inlet.  From there, we crossed Baffin Bay to Greenland where we visited Uummannaq, Ilulissat , and Sisimiut before heading down Sondre-Stromfjord to Kangerlussuaq, where we boarded another charter flight for our return to Toronto.  As one would expect on an adventure trip, our schedule was flexible and there were several times when our initial plans changed in response to weather, sea conditions, or wildlife. It was a credit to our staff that we were able to work around these interruptions (often without the passengers’ knowledge) and maintain an exhausting excursion schedule.

The focus of the trip was on wildlife and photography and excelled in both areas – a credit to the One Ocean’s team and the Captain.  The staff clearly had significant experience in Arctic expeditions, and was able to provide a variety of activities at most of the sites  where we landed. In most cases, there were at least 3 distinct options, ranging from zodiac cruises to “charging” hikes, where the goal was usually to get to the top of a local peak. There were also usually at least 2 less strenuous hikes (which was what I usually did). When we stopped at villages, there were  cultural options as well –  at least one museum visit was included as an option in each town, with the residents of Pond Inlet hosting us for a two-hour, live cultural display at their museum. This range of activities kept the passengers engaged and allowed for everyone to get what they wanted out of the trip. The One Ocean staff also gave regular presentations on a variety of topics and made frequent use of the ship’s intercom system to alert us when something interesting was happening outside that we might be missing. As one might expect, the staff included a couple of naturalists, who were able to put what we were seeing in context. What we were not expecting was the level of experience that the entire staff had, each having spent months at the Poles over dozens of expeditions. A highlight for us was a talk given by one of these naturalists about his experiences leading the last major dog sled expedition in Antarctica. Importantly from our perspective, the staff also included two resident photographers who worked closely with the passengers (in fact, we found out about this trip from one of them). They not only gave presentations about relevant topics and led photography-centric groups on excursions, but provided personalized instruction based on the individual’s level of interest, expertise, and equipment. The opportunity to learn from these experienced professionals, and to ask very specific questions, added significant value to the excursions and turned into one of the highlights of the trip for us.  

The ship saw 16 polar bears during our trip, and I personally saw 9 – averaging over one per day until we left Canada (missing several while I slept). My most memorable viewing came when the Captain parked the boat on the edge of an ice floe for about half an hour so we could observe a polar bear on the floe. The bear did not appear to mind us being there: although it did charge the ship once to see if we would back away, it spent most of its time looking for seals and sleeping. As we finally pulled away, the sun came out and gave the bear’s fur a glowing white silhouette as it stretched. Absolutely awe inspiring! In addition, we had several other viewings from both zodiacs and the ship. The staff was extremely diligent in making sure that there were no bears near our landing sites, so we never saw a bear from land – an important safety consideration since polar bears will hunt humans and they are extremely fast. I had an excellent musk oxen sighting, with a small herd letting our group approach fairly close, as well as several distant sightings where the musk ox looked like brown boulders that moved. I also had two close walrus viewings, one from a zodiac where we were able to watch for about 15 minutes before he slid into the water and one where the walrus was sitting on an ice floe that passed by our cabin window as the ship moved between stops late one night. We were told that we saw narwhals as well. Unfortunately, apparently, during the summer, all you can see are the blows – the tusks and most of the narwhal remain underwater and invisible. So while I saw a blow spout, I wasn’t able to clearly identify the type of whale.

Overall, the trip exceeded my expectations – and everyone I talked to seemed to feel the same way. The ship was fantastic, and the wildlife encounters more than you could hope for. However, the staff of One Ocean really made the trip everything I could hope for: they focused on making sure we saw the wildlife and landscapes we went there to see. A few snapshots from the trip are viewable at our Flick site.

 

Terence

City Escapes Nature Photography

 

 

Home Photo Framing Basics, Part 3: Glass

 

Photo frame glass is all the same, right?  Wrong!  In the third installment of our series on home photo framing basics, we take a closer look at what is arguably the most taken-for-granted component of a frame: the glass.

 

Glass, as a material, is truly fascinating.  Though it appears to be a solid, it is actually a liquid; it can block or magnify light; it can be so clear that it is practically invisible, or completely opaque.  We acknowledge one of its many dichotomous traits when we speak of things such as a lake being “as smooth as glass,” yet who among us does not know to be careful around glass, lest a broken piece or a rough edge leave us wishing we owned stock in Band-Aid?  For photo framing, however, we need only focus on a few main characteristics of glass: its ability to block ultraviolet light, its reflectivity, and its weight.

 

Most, if not all, ready-made frames that include glass use the same type of standard glass.  This glass blocks about 45% of UV light and is highly reflective, meaning that glare can be a problem under particular lighting situations.  This glass is fine for many applications, but for particularly valuable (whether for monetary or sentimental reasons) prints, the home framer might want to consider upgrading to a higher quality material. 

 

The two main types of glass to consider, both available at most framing shops and many glass shops, are museum-grade and conservation-grade.  Both block 99% of UV light – a significant improvement over standard glass.  By blocking more of the ultraviolet light, these glass types extend the life of your print, both by preventing colors from fading, and by helping to prevent degradation of the actual print itself.  The primary difference between the two glass types is how much of the “good” light they allow through to the print.  Museum glass is the highest quality framing glass available.  It has low reflectivity, which means that glare is significantly reduced, and high light transmission, resulting in the truest color rendition and incredible clarity.  We have found that museum glass is especially effective at transmitting deep, dark colors: no other glass will display a richer black, for example.  It is also quite useful for works with three or more mats and for shadowboxes, as it retains its clarity of light transmission regardless of how far from the glass the print or keepsake lies.  Being the best, of course, comes at a price: museum glass is also the most expensive of all frame glass.

 

Conservation glass, meanwhile, while equal to museum glass in UV light blockage, has a slightly lower light transmission rate.  This means that colors do not appear quite as true or as rich, though this effect is much less noticeable for lighter colors than for darker ones.  Conservation glass is available in two styles: clear and reflection control, and they are how they sound: clear has a standard, glossy finish, while reflection control has a matte-like finish.  Both styles are notably less expensive than museum glass.  While a significantly higher quality glass, conservation clear will look much like standard framing glass in that light can create flares and reflections under the right conditions.  Reflection control glass does just that: glare and reflections are significantly reduced under those same lighting situations.  However, depending upon how the reflection control is achieved, the trade-off might be a decrease in clarity and sharpness, especially for prints that have three or more mats and for shadowboxes. 

 

Two last factors should be taken into account when considering your glazing needs: the size of your project and how likely it is to suffer damage.  We’ll deal with size first.  All types of glass are heavy, and for large framed pieces, it is not uncommon for the glass to rival or surpass the weight of the frame itself.  This can not only make the display of your piece more challenging, as the heavier the piece, the greater the need for substantial wall support, but it can also make transport more difficult and expensive, and increase the likelihood that the piece will be accidentally dropped.  For truly large pieces, professional framers will often use much lighter acrylic in lieu of glass.  Most home framers will never frame any piece large enough to require acrylic, but for the exceptionally adventurous types who want to try their hand at large-piece framing, know that acrylic is a much lighter option. 

 

Acrylic is not just for large pieces, however; it is also useful for situations where breakage is a major concern, such as in a child’s room or in a high-traffic area.  Most acrylics are shatter-resistant, making them safer to use in such situations.  (I once saw a beautifully framed, with glass, painting in a cruise ship pub -- a ship that sailed the open ocean, with all of the commensurate rocking and rolling.  This beautifully framed -- with glass -- painting was well attached to the wall, so that it would not fall because of the ship’s movements.  However, this beautifully framed – WITH GLASS! – painting was hung right next to a dart board.  It did not survive the first evening.)  Acrylic is also available in conservation and reflection control varieties.  Everything has a drawback, of course, and the major drawback of acrylic is that it is much easier to scratch than glass, even during routine cleaning.  It seems illogical that a material that is more difficult to break should be easier to scratch, but such is unfortunately the case here.

 

So, which glass option is right for your particular framing need?  The most honest, but unfortunately least helpful, answer is that it is largely a matter of personal taste.  A few guidelines can help, however.  First, consider the value of your print.  Is it expensive, irreplaceable, or high in sentimental value?  Then you might want to upgrade to conservation or museum glass.  Consider where you will be displaying the piece.  Should you consider the extra safety of acrylic?  What is the lighting like there?  Are you likely to have to deal with glare and reflections?  If so, you should consider a reflection control glazing.  And finally, what is your budget?  Standard glass, when included in a frame, will cost you nothing extra, while conservation glass requires a slightly larger investment and museum glass has the potential to give you sticker shock.  If you find yourself undecided, it is worth a trip to the frame shop to see the visual difference that each type of glass makes.  As the saying goes, a picture is worth a thousand words. 

 

Jodi

City Escapes Nature Photography

 

City Escapes Photography Newsletter - Nov. 2010

CITY ESCAPES

Nature Photography, LLC

 

 

Newsletter

November, 2010

 

 

 

Thanks for Coming to Our Second Show!

 

We want to extend a heartfelt “Thank you!” to everyone who came to see us at our second gallery show.  Our Arctic release was a big hit, and it was great fun finding out which image(s) each of you found most interesting.  We even had a few visitors who found images of places with personal connections, and I loved hearing their stories.  Most especially, a huge debt of gratitude goes out to Linda at Badger Canyon Herb & Tea for allowing us to take over a quarter of her shop for two days, and for finding it amusing that a moose was watching her the entire time.  (For those who were not able to make it, “The Stare – Bull Moose” directly faced Linda’s counter.  It was a good thing that she likes the image!) 

 

 

Show Special Extended – Buy a Print, Get Greeting Cards Free!

 

In honor of the success of the show, we have decided to extend our show special through December 19^th:  buy any print, framed or not, and receive a 5-pack of our Overview Greeting Cards free!  (Limit one free 5-pack per client per day.  For included images, see our Greeting Cards section on our website, http://www.cityescapesphotography.com .)

 

 

Home Photo Framing Basics, Part 3:  Glass

 

Photo frame glass is all the same, right?  Wrong!  In the third installment of our series on home photo framing basics, we take a closer look at what is arguably the most taken-for-granted component of a frame: the glass.

 

Glass, as a material, is truly fascinating.  Though it appears to be a solid, it is actually a liquid; it can block or magnify light; it can be so clear that it is practically invisible, or completely opaque.  We acknowledge one of its many dichotomous traits when we speak of things such as a lake being “as smooth as glass,” yet who among us does not know to be careful around glass, lest a broken piece or a rough edge leave us wishing we owned stock in Band-Aid?  For photo framing, however, we need only focus on a few main characteristics of glass: its ability to block ultraviolet light, its reflectivity, and its weight.

 

Most, if not all, ready-made frames that include glass use the same type of standard glass.  This glass blocks about 45% of UV light and is highly reflective, meaning that glare can be a problem under particular lighting situations.  This glass is fine for many applications, but for particularly valuable (whether for monetary or sentimental reasons) prints, the home framer might want to consider upgrading to a higher quality material. 

 

The two main types of glass to consider, both available at most framing shops and many glass shops, are museum-grade and conservation-grade.  Both block 99% of UV light – a significant improvement over standard glass.  By blocking more of the ultraviolet light, these glass types extend the life of your print, both by preventing colors from fading, and by helping to prevent degradation of the actual print itself.  The primary difference between the two glass types is how much of the “good” light they allow through to the print.  Museum glass is the highest quality framing glass available.  It has low reflectivity, which means that glare is significantly reduced, and high light transmission, resulting in the truest color rendition and incredible clarity.  We have found that museum glass is especially effective at transmitting deep, dark colors: no other glass will display a richer black, for example.  It is also quite useful for works with three or more mats and for shadowboxes, as it retains its clarity of light transmission regardless of how far from the glass the print or keepsake lies.  Being the best, of course, comes at a price: museum glass is also the most expensive of all frame glass.

 

Conservation glass, meanwhile, while equal to museum glass in UV light blockage, has a slightly lower light transmission rate.  This means that colors do not appear quite as true or as rich, though this effect is much less noticeable for lighter colors than for darker ones.  Conservation glass is available in two styles: clear and reflection control, and they are how they sound: clear has a standard, glossy finish, while reflection control has a matte-like finish.  Both styles are notably less expensive than museum glass.  While a significantly higher quality glass, conservation clear will look much like standard framing glass in that light can create flares and reflections under the right conditions.  Reflection control glass does just that: glare and reflections are significantly reduced under those same lighting situations.  However, depending upon how the reflection control is achieved, the trade-off might be a decrease in clarity and sharpness, especially for prints that have three or more mats and for shadowboxes. 

 

Two last factors should be taken into account when considering your glazing needs: the size of your project and how likely it is to suffer damage.  We’ll deal with size first.  All types of glass are heavy, and for large framed pieces, it is not uncommon for the glass to rival or surpass the weight of the frame itself.  This can not only make the display of your piece more challenging, as the heavier the piece, the greater the need for substantial wall support, but it can also make transport more difficult and expensive, and increase the likelihood that the piece will be accidentally dropped.  For truly large pieces, professional framers will often use much lighter acrylic in lieu of glass.  Most home framers will never frame any piece large enough to require acrylic, but for the exceptionally adventurous types who want to try their hand at large-piece framing, know that acrylic is a much lighter option. 

 

Acrylic is not just for large pieces, however; it is also useful for situations where breakage is a major concern, such as in a child’s room or in a high-traffic area.  Most acrylics are shatter-resistant, making them safer to use in such situations.  (I once saw a beautifully framed, with glass, painting in a cruise ship pub -- a ship that sailed the open ocean, with all of the commensurate rocking and rolling.  This beautifully framed -- with glass -- painting was well attached to the wall, so that it would not fall because of the ship’s movements.  However, this beautifully framed – WITH GLASS! – painting was hung right next to a dart board.  It did not survive the first evening.)  Acrylic is also available in conservation and reflection control varieties.  Everything has a drawback, of course, and the major drawback of acrylic is that it is much easier to scratch than glass, even during routine cleaning.  It seems illogical that a material that is more difficult to break should be easier to scratch, but such is unfortunately the case here.

 

So, which glass option is right for your particular framing need?  The most honest, but unfortunately least helpful, answer is that it is largely a matter of personal taste.  A few guidelines can help, however.  First, consider the value of your print.  Is it expensive, irreplaceable, or high in sentimental value?  Then you might want to upgrade to conservation or museum glass.  Consider where you will be displaying the piece.  Should you consider the extra safety of acrylic?  What is the lighting like there?  Are you likely to have to deal with glare and reflections?  If so, you should consider a reflection control glazing.  And finally, what is your budget?  Standard glass, when included in a frame, will cost you nothing extra, while conservation glass requires a slightly larger investment and museum glass has the potential to give you sticker shock.  If you find yourself undecided, it is worth a trip to the frame shop to see the visual difference that each type of glass makes.  As the saying goes, a picture is worth a thousand words. 

 

 

November’s Fun Facts

 

In honor of Thanksgiving, this month we’re all about turkeys! 

 

• Female turkeys are called hens, males are toms, and babies are poults. 
• Only toms gobble.  Hens cluck.  The gobble is a mating call, and can be heard up to a mile away.
• Wild turkeys can fly at up to 55 mph for short distances, run at 20 mph, and glide for over a mile.
• Domestic turkeys cannot fly.  They have been bred to be significantly larger than their wild counterparts, with an emphasis on the breast meat.  This extra size and weight makes them too heavy to fly, and even interferes with normal breeding.
• Yes, Benjamin Franklin really did want the turkey, not the bald eagle, to be the national bird of the United States of America.  In addition to its status as the only poultry bird native to the Americas, Franklin described the turkey as “though a little vain & silly, a bird of courage, [who] would not hesitate to attack a grenadier of the British Guards who should presume to invade his farm yard with a red coat on.”
• In bowling lingo, three strikes in a row is called a turkey.
• Big Bird is a superficial turkey: his costume is made of close to 4,000 dyed turkey feathers.
• Every year since 1989, two turkeys, one official and one “alternate,” have been given official presidential pardons just before Thanksgiving in a special ceremony at the White House.  Rather than being cooked for dinner, each year the two turkeys have been sent to live out their natural lives in a park.  For the first 15 years, the birds were sent to the petting zoo at Frying Pan Park in Herndon, Virginia.  (Given the name of the park, I imagine they remained nervous birds.)  Since 2005, the turkeys have all been flown to Disneyland.

 

 

If you have any questions, or suggestions for future newsletters, please email us at: relationships@cityescapesphotography.com

 

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CITY ESCAPES Nature Photography, LLC

www.cityescapesphotography.com

509-396-5154

 

City Escapes Photography Newsletter - October 2010

CITY ESCAPES

Nature Photography, LLC

 

 

Newsletter

October, 2010

 

 

 

Come See Us at Our Second Show – and Get a Sneak Peek at Our Fall Release

 

We are thrilled to announce our second gallery show, this time in Kennewick, Washington.  Friday and Saturday, November 5th & 6^th, 2010, will find our photographs – including more than ten as-yet unreleased images -- on display at Badger Canyon Herb & Tea, 210 N. Edison, Suite 258, Kennewick (just off Clearwater in the Marineland Village shopping center).  We will, of course, be on hand to answer any questions, regale you with stories of our adventures, or simply stand back and let you soak up a little of nature’s beauty.  If you are a tea lover, this show is not to be missed, either, as not only will you be surrounded by gorgeous photographs, but Linda has dozens upon dozens of fantastic teas from the world over to tantalize your taste buds.  Come join us – we’d love to see you there!  Hours are from 10am – 5pm Friday and 10am – 4pm Saturday.  Mention our October newsletter and get a free 5-pack of our Overview greeting cards with the purchase of any print!  (Limit one free 5-pack per person per day.)  This offer is good on any internet orders received by the close of the show, as well!

 

 

Bulk Holiday Card Special

 

The holidays are fast approaching, and if you run a business, you might already be preparing greeting cards to send to your clientele.  We can help!  Order 25 or more boxes of our holiday greeting cards and get a 5% discount.  Hurry -- only 100 boxes are available at this special rate.   Contact us at customer-support@cityescapesphotography.com for more information.

 

 

Home Photo Framing Basics, Part 2:  Acid-Free Materials

 

In our second installment of our series on home photo framing basics, we look at acid-free materials: what they are, when to use them, and whether the “acid-free” label can be trusted. 

 

In photo framing, the term “acid-free” is applied to those substances that have a neutral or slightly alkaline pH.  This is important for conservation purposes as the acids in framing materials can cause degradation, yellowing, and brittleness of framed photographs.  Some acid-free materials are acid-free by nature, while others have had the acids in them neutralized and/or a buffer added.  (Buffers create a reserve of alkalinity in the material, which will react with the acids produced to create a neutral pH, delaying the onset of damage to a print from acid-containing materials.)  Anything from mat boards and foam boards to the glue, tape, and even the ink used to sign or label photographs might be labeled “acid-free.”

 

When acid-free materials should be used is, to a certain degree, a matter of personal choice.  Certainly a print that has significant monetary value should be framed using only acid-free materials.  However, any print that you wish to preserve for many years, whether monetarily valuable or not, should be framed with acid-free materials as well, as these materials can add decades to the life of a print.

 

What causes acidity in the majority of framing materials?  In short, wood.  Lignin and other substances found in wood and wood pulp are major culprits in the deterioration of paper products.  Newsprint, for example, still has most of the wood’s original lignin, and it is this lignin that is responsible for its rapid yellowing.   Because most mat board and the paper coatings of foam board are, like most other papers, made from wood pulp, they too have lignin in them, unless it is first removed from the pulp.  If the acids created by the lignin in a mat come into contact with the photograph, it will, over time, cause what is known as “mat burn,” or the browning of the print from the edges inward, as the acids make their way further into the interior of the photo.  If the mounting board is not acid-free, it will eventually attack the entire photograph, “eating” the print from the back to the front.

 

Before we go any further, I should point out one inalterable rule of photo framing: under no circumstances should corrugated cardboard ever be used in any capacity during the framing process.  It is highly acidic, and will do an inordinate amount of damage in a very short time.  I have seen it used as mounting boards, as filler boards behind mounting boards, and as spacers between mats to create a shadow effect.  Even as a filler board, with a mounting board between it and the print, corrugated cardboard is so acidic that its outgases will penetrate the mounting board and begin to damage the print in a matter of months. 

 

What should you look for in acid-free materials?  That depends largely on two considerations: how long of a life-expectancy you expect the print to have, and how much money and time you are willing to invest in your framing project.

 

There are varying degrees of “acid-free”.  The highest quality materials are made from cotton rag paper.  These are innately acid-free, as they are not made from wood pulp at all, but rather, as the name suggests, cotton fibers.  Often referred to as museum- or archival-grade, cotton rag is generally the longest-lived of the mat and mount boards, and is available from most framing shops.  However, it is not generally pre-cut and off-the-shelf, and it tends to be the most expensive of the boards; it therefore does not fit easily into the home photo framer’s arsenal.

 

Conservation-grade mats and boards are made from traditional wood pulp that has had the pulp acids removed, and the resulting paper is buffered.  By some estimates, conservation-grade materials will last well over 100 years before damage begins.  Conservation-grade materials may or may not be available in pre-cut sizes at your local frame shop.  (In my experience, non-national chain frame shops, and frame shops that focus mostly on art and framing supplies, have a better selection of pre-cut, conservation-grade materials than national chains and larger craft stores.)

 

Mats and boards simply labeled “acid-free” are generally composed of three layers: an inner core covered on either side by a paper liner.  These are the most common pre-cut, acid-free materials at the disposal of the home framer.  Many frame shops will have a wide variety of pre-cut sizes and colors available, making them an easy choice for the home framer.  However, these products are not as acid-free as the labeling would have you believe.  In most cases, it is only the outer paper linings that have been treated to be acid-free; the inner core is made from the same material as non-acid-free boards.  These mats and boards will provide some additional protection to your print in the short term, but the acids in the core will eventually reach the print through leaching and out gassing. 

 

Do these drawbacks mean that these materials should be completely avoided?  Absolutely not.  These are the most readily available and least expensive acid-free mats and boards, and they suit many home framing projects perfectly – especially when you are not inclined to cut your own mats or pay to have a professional cut them for you.  Anything of significant sentimental or monetary value should be framed with either conservation- or museum-grade materials, but it is perfectly appropriate to use the easily available, pre-cut, “acid-free” labeled materials on many other prints.  It is up to the framer to decide the level of protection appropriate to each individual print.  Let’s face it: not every image we want to frame and display needs the red-carpet treatment.  If you do use these materials, you can help to extend their useable lifespan by sealing them with an acrylic matte finish, available at most framing and art supply stores.  Make sure that you are in a well-ventilated area and spray the mats evenly and completely, especially the bevels and the edges where the core is exposed.  The spray will slightly darken the mats’ surface, which is one reason an even coat is so important.  Be certain to allow the spray to completely dry before using the mats; you don’t want to introduce any moisture into the interior of the frame.  This technique will not give your print the equivalent protection of using conservation- or museum-grade materials, but by sealing the exposed edges of the beveled paper core, it helps to prolong the cleanliness of the frame’s interior environment – and thereby slow the degradation process.

 

In a similar vein, the rabbets of wooden frames should also be sealed, and for the same reasons.  Most ready-made frames have the rabbets already sealed through paint or some other finish that coats the wood.  Thus, the home framer rarely has to do anything at all to the rabbet.  At times, however, the rabbet is raw wood.  In these cases, to create an acid-free environment, the rabbet needs to be sealed with either some version of a wood sealant (shellac, paint, etc.), or aluminum frame-sealing tape. 

 

Of course, to create and maintain an acid-free environment, any adhesives used must also be acid-free.  Fortunately, with the rise of scrapbooking, the availability of acid-free (sometimes referred to as “archival”) adhesives has skyrocketed, while their prices have fallen.  It is always a good idea to ask your local frame-shop professional about any particular adhesive you are considering, as their qualities vary widely, and each has distinctive pros and cons.  Like the acid-free paper products, adhesives have a hierarchy of “acid-freeness”: true museum mounts use Japanese rice paper and rice-starch paste, but they can be challenging to work with and fall far outside the realm of the typical home framer.  Linen tapes fall into the conservation-grade level, but they are generally thick and can leave impressions or grooves on the print being mounted.  Acid-free paper tape is thinner and therefore leaves no grooves, but it is not strong enough to hold works of substantial weight, including mats.  Adhesive sheets can be fantastic, but are not reversible.  Mylar photo corners can be employed to safely mount the print, possibly eliminating the need for any adhesive at all, but they cannot be used to hinge mats to mounting boards.  (They also come in a much greater range of sizes than most of us realize.  They are not limited to the commonly found 1/2 inch-size, but rather are available in sizes all the way up to 3”.  For even larger prints, mounting strips are available that can be cut to the desired size.)  Spray adhesives, while useful for many framing projects, are not generally acid-free.  Most household tapes and glues are not acid-free either, and/or they will react with the chemicals in photographic paper in ways that can harm the image.  They should therefore be avoided.  And as Vivian Kistler, an authority on conservation framing techniques, says, when it comes to using duct tape in your framing projects, “Don’t even think about it.”

 

 

October’s Fun Facts

 

In Halloween’s month, when humans dress in frightening costumes and make light of the macabre, it seems only fitting that our “fun fact” subject should be something that gives many people the willies: the black widow spider.  As with many of our creepy-crawly friends, it is only the female that is a danger to humans.  Not only do the males rarely bite people, but their venom sacs are too small to pose much of a threat even if they did.  And no wonder: males are about 1/4 the size of females.  Nor are the males black: they are usually gray or brown, and if they exhibit the tell-tale hourglass at all, it is normally yellow or white.  Only the females display the bright red coloration that we have come to fear.  Of course, not all females have an hourglass-shaped marking, or indeed any marking at all, but any markings a female black widow does have will be bright red.  And just to keep things, um, colorful, there are also brown widows and red widows in the United States; white widows in Africa, the Middle East, and Asia; grey widows in South America, Australia, and Africa; and the list goes on…

 

 

If you have any questions, or suggestions for future newsletters, please email us at: relationships@cityescapesphotography.com

 

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CITY ESCAPES Nature Photography, LLC

www.cityescapesphotography.com

509-396-5154