Shoot Better Cityscapes

Cityscape of New York City Skyline at dusk

Cityscape of New York City Skyline at dusk

With the recent explosion of photo-sharing sites on the web, it seems that landscape photography is at an all-time high. I’m consistently blown away by the caliber of imagery I see being captured the world over on a daily basis. Along with this ever-present promotion of far-flung, corner-of-the-world places comes the desire to travel to the ends of the earth to capture the most dramatic image of places few knew existed.

Did you know that over half of the world population lives in urban areas, however? This means that over 3.5 billion of us live in or near cities. Which means it’s time to polish up on those cityscape skills of yours! I enjoy shooting these concrete jungles, and with a little practice, you might find they begin to occupy a gaping hole in your travel portfolio. Read on for a few tips on how to shoot better cityscape images!

1. Shoot at Dawn and/or Dusk
This is the no-brainer, super straight-forward, can’t go wrong tip. Dawn and dusk (just before sunrise and just after sunset) are the periods of day and night when the ambient (existing) light balances with the artificial light from buildings, street lamps, cars, etc. The sky turns a deep, rich blue or indigo, the city lights pop and…VOILA! Instant cityscape! Take note that you will need a sturdy tripod and be practiced up on your long exposure shooting. Many of these images are in the range of 5 – 20 seconds, so you must take special care not to bump the camera, thus rendering the image soft.

Cityscape image of Vancouver, BC

Cityscape image of Vancouver, BC

2. Provide Some Context 
Rather than just shoot frame-filling city, why not include a bit of context in the image. Take this example of Vancouver. With its beautiful walking trails winding through coastal bays, Vancouver is a thriving urban area intertwined with spectacular natural surroundings. Consider different ways to frame and present the city that you’re shooting—these types of images can be especially attractive to magazines and other editorial outlets.

Cityscape image of Seattle with storm clouds at sunset as shot from Alki Beach

Cityscape image of Seattle with storm clouds at sunset as shot from Alki Beach

3. Search Out Dramatic Weather 
While I could put this tip in nearly every one of my blog posts regarding so many different types of shooting, I feel it is especially true with cityscapes. Many times, we find ourselves shooting cityscapes from iconic locations. These locations are popular for a reason, as often times they offer the best views and vantage points. This means it is not entirely uncommon to come away with an image that is quite similar to so many others out there. The one separating factor when shooting from these iconic locations that we can utilize to our advantage is dramatic weather. This image, taken from Alki Beach near Seattle, WA is nothing revolutionary in and of itself. However, I was fortunate to be rewarded with a stormy sunset, which separates it from many of the other images shot from this location.

Cityscape image of San Francisco's Painted Ladies at dusk

Cityscape image of San Francisco’s Painted Ladies at dusk

4. Compress the Scene for Heightened Visual Interest 
Many city overlooks feature impressive foreground and background subject matter. This serves as the perfect opportunity to pull out a telephoto lens and compress the scene. By compressing the scene, we are effectively pulling the background in very tight to our foreground, thus adding depth and dimensionality to our images which gives the viewer a much more three dimensional experience when viewing the image.

Travel image of downtown Partenkirchen, Germany at dusk

Travel image of downtown Partenkirchen, Germany at dusk

5. Use a Tilt-shift Lens for Creative Control 
The tilt-shift look has become increasingly popular of late. Just bring up your Instagram feed and see how many images come up with that snow globe, dream-like feel. It’s likely that most of those images have been given the effect after capture, but if you happen to have a tilt-shift lens in your arsenal, you can capture this type of image upon clicking the shutter button. Without getting overly technical, tilt-shift lenses let you keep a “slice” of the image in focus, thus drawing the viewer’s attention to a particular part of the frame that is different, and (at times) far more effective than just shooting at shallow apertures. Given you use it modestly, this effect can be super fun, and serves as a great alternative to shooting a traditional cityscape image.

Fine art travel image of East Jerusalem, Israel in black and white

Fine art travel image of East Jerusalem, Israel in black and white

6. See in Black and White
As is apparent in this post, it seems most of the cityscape images we see are in color. However, many cities present themselves exceptionally well in monochrome. This hazy late evening image of East Jerusalem is one such example. Next time you come home from shooting cityscapes, try processing a select few in black & white. This might help you to “see” BW cityscapes in the future.

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7. Try Something New
As I say with most every tutorial I write, try shedding the above “rules” of shooting better cityscapes and let your heart and creative vision guide you. Try a new angle, a new time of day or night or a different lens. Look for new and intriguing ways to capture your city. Save up some money and book a helicopter for a completely different view of what’s below. Find something that excites you, and then run with it. Good luck!

Photography: Vision & Problem Solving

The Osguthorpe Barn near Park City, UT. Captured by Adam Barker Photography.

For those of you who live in or near Park City, UT, you will quickly recognize this barn. It is certainly one of the more photographed structures in northern UT. And rightly so! The Osguthorpe Barn (or McPolin Barn depending on who you talk to) has greeted visitors and locals alike traveling in to Park City since 1921. Simply put, it is a classic.

I have photographed here many times before, I’ll

do so many times in the future. It is the utmost in Americana, and I enjoy the challenge in finding new ways to capture the barn and its surroundings.

I arrived at this location later in the morning, and low fog was just beginning to thin out. I was excited to be at this spot with conditions I’d never seen before! I worked through several compositions, but none of them really worked as a whole.

Finally, I settled on a wider angle image, utilizing cattails as my FG subject. I’ve shot from this exact location before in the winter, but this time the grouping of cattails seemed more elongated towards the barn, and a vertical composition seemed more appropriate.

I actually began composing this image with my 16-35mm lens. I wanted to incorporate a more complete wide angle foreground, but I still wanted to maintain emphasis and hold the viewer’s attention on the barn itself. With the 16-35mm stopped down for maximum DOF, the scene felt busy, and my eye simply wouldn’t settle on the barn as I’d like it to.

Finally, I chose to pull out my 24mm tilt shift lens. By both tilting my plane of focus and shooting at a wide open aperture of f4.5, I was able to have my cake and eat it too.

The cattails are selectively blurred, giving context and providing the FG filler that I was looking for. Yet the sharp contrast in sharp vs. blurred takes the eye directly to the barn. Why didn’t I just shoot my 16-35mm wide open? Being a super wide angle f2.8 lens, it wasn’t giving me quite the separation that I needed from a DOF standpoint. Why didn’t I throw on a longer lens and utilize a shallow aperture to achieve that separation? Throwing on a longer lens would have effectively flattened this scene. I would have gotten that separation, but I would not have achieved the depth I get from a wide angle composition–I would not have that immediate, engaging FG element grab the viewer in the same way it does from a wider angle approach.

Much of photography is about simple problem solving. It all begins, however, with a clear vision of what you hope to capture. Know what you want out of a location. Know what type of image you hope to come away with. This will serve as your mental blueprint as you work through the small problems to achieve your final photographic goal.

Recap: Pictureline Seminar–Conquering Composition

I want to take a quick moment and thank everyone who came out to the sold out event last night at Pictureline Inc. As always, it was a fantastic experience with a wonderful audience that was engaged and full of energy. If you didn’t make it out last night, you can check out my presentation above, thought it obviously won’t include my commentary throughout the presentation. As always, many thanks to all of my sponsors that help to do what I do! Thank you Arcteryx, Suunto, Mountain Khakis, Singh Ray Filters, Manfrotto School of Xcellence and Mark Miller Subaru!

Pictureline Presentation Aug. 23

I’m very pleased to announce a special evening at my favorite camera store, Pictureline–coming up in late August. I’ll be discussing one of the biggest challenges we face as photographers–creative composition. Check the link below for details and to sign up for the seminar. My last two presentations at Pictureline have filled up quickly. Get your seat now!

http://www.pictureline.com/events/conquer-composition-adam-barker-seminar.html

Pre-visualization in Ski Photography

With snow totals thus far this winter far below normal, my portfolio of fresh work has been looking a bit meager. Nearly 50″ of fluff fell from the sky last week, which means it was a busy one for yours truly. It felt good to finally get out and get some work done. One of the challenges, however, remains in the high avalanche danger that exists in the backcountry. This means we’ve been doing a lot of shooting in resort. Couple this with the lack of light during the stormy days, and it makes for some challenging obstacles in capturing unique and fresh imagery. Essentially, as a photog in these conditions, you must address two things: unless you have pre-public access to freshies in resort, you must deal with all the tracked out snow in the foreground and background of your image. Secondly, in greybird conditions, you must add contrast to the scene, which means most often that you’re shooting in the trees.

Pre-visualization, or the ability to “see” the shot before it actually takes places, is crucial to finding success in these conditions. Not only will it help you do what you need to do from a technical standpoint, but it will also help you in communicating with the athlete to make sure that all the variables line up to get a keeper image. Read on for a behind the scenes look at a particular powder sequence shot through the trees of Snowbird Ski & Summer Resort.

The first step is finding an alley in the trees. Most often, you see something from above the shot and then ski down to the side (making sure not to track out your shooting frame) where you can then get underneath and find a legit angle on the action.

The first photo you see here is essentially the first thing I see when settling on a spot from which to shoot. It’s a decent alley with adequate contrast and spacing for the skier. It’s not perfect, but it’ll do–especially if photog and athlete can combine to make the magic happen. At this point, I’m trying to envision a shot that will a) work within the space I’ve settled upon b) convey enough action to feel as though it’s part of a continuous line and c) work naturally and smoothly for the athlete.

Once I’ve settled upon a frame, I’ll envision a line and then pick out the points within that line that will shoot best. Choosing these select points of the line is crucial to both establishing your focusing zone (if utilizing AF) as well as communicating to the athlete where you hope to capture the climactic action. It’s important for them to know where “the shot” is as this will dictate how they ski the line and how they look (form-wise) throughout the line.

This second image displays the line envisioned, with several select points highlighted. As can be seen from the graphic, the skier was to enter skier’s left of the tree in the middle of the frame in a right -hand turn, transition to a left-hand turn and then skiing out of frame to skier’s left of the blurred tree in the LRH corner.

In my mind, the select points of the line most likely to render legit images were weighting in to the right-hand turn (#1), transitioning out of the right-hand turn (#2), weighting in to the left-hand turn (#3) and finally, skiing out of frame with contrail behind (#4).

Complicating things a bit further, I chose to prioritize the select points that would allow me to utilize the same focus zone(s) in my camera throughout the sequence while still allowing me to keep the general framework of the image intact (blurred trees in FG, etc.). These prioritized points were #1 and #4.

This was all communicated to athlete Parker Cook before shooting the a single frame. The line, as well as the select points were well understood. I chose my focus zones in my camera that would allow me to follow focus on the action, and still maintain the framework of the image (this is where previsualization is crucial).

The images below show the focus zones selected as they apply to the frames as they were being photographed (utilizing AI Servo on my Canon 1D MkIV).

Finally, the finished product below without the focus zones.

Were there other possibilities with this particular shot? Absolutely. I could have approached it in a way that filled the bottom part of the frame. But as a horizontal image, placing the action smack dab in the center of the frame nearly kills its chances of running as a double spread.

I could have chosen to pre-focus on just one spot, but I wanted to maximize my potential for keepers. There are plenty of times when I choose to go with one shot, rather than the potential for several, but this was not one of those times.

So what does this all illustrate?

1. Pre-visualization is key in both envisioning and capturing five-star imagery.

2. Pre-visualization is key in communicating your vision to the athlete, who plays an integral role in this whole process.

3. The more focus zones your camera has, the more latitude you have in framing up follow-focus shots like this. This image would have been much more difficult, if not impossible with a camera that only has 7 or 9 AF zones.

4. The more confident you are in your AF system, the more likely you are to utilize it, which opens up many more possibilities than simply pre-focusing.

Remember that this is all happening in a matter of seconds! Think it all through before-hand. The more you do this, the more intuitive it will all become. Good luck!

Recap: Telluride Photo Festival

AdamBarkerPhotography image of Dusk at the Dallas Divide near Telluride, Colorado

I had the recent pleasure of participating in the Telluride Photo Festival. As its namesake implies, this festival is located in one of the premier locations for fall foliage in the Rocky Mountains. Telluride is hopelessly beautiful, rugged and even a bit remote. It’s a classic mountain town, with over the top log homes, deluxe lodges and a bustling main street with an eclectic array of galleries, eateries and boutiques.

AdamBarkerPhotography image of Telluride, Colorado in fall.

My focus throughout the week was threefold: teaching a  three-day workshop on capturing the complete outdoor image, attendee portfolio reviews, and a seminar on environmental active lifestyle imagery. All told, it was a busy week full of beautiful imagery, lots of laughs and new relationships forged with wonderful people. I was joined by my trusty assistant/sidekick, Nate Sorensen and we had a blast driving countless dirt roads through a winding maze of foliage, underbrush and cattle guards in search of inspiring locations for my workshop. The Mark Miller Subaru Outback was a rally machine! Minor note, however: the road tires that came with Suby are not meant for some of Colorado’s finer dirt road shred sessions.

AdamBarkerPhotography image of Mark Miller Subaru Outback at Dallas Divide near Telluride, Colorado

Located at the head of a deep box canyon, Telluride (elev. 8,750 ft.) is already a significant hop, skip and jump above sea level. That should give some indication as to how tall the surrounding peaks are. The San Juan mountain range makes up a healthy portion of those surrounding peaks, and they’ve long been a fall photography destination at the top of my list. They did not disappoint.

An AdamBarkerPhotography image of fall foliage in first light at the Dallas Divide near Telluride, Colorado

Huge, sprawling stands of aspen were peppered with yellow, orange and green splotches of color, only to stand in stark contrast against sky scraping peaks like Wilson Peak and Mt. Sneffels. Spending the whole week in the area, it was interesting to see nature’s subtle nuances as colors ebbed and flowed each day. It’s amazing how much an area can change overnight, and we were certainly witness to this in many of the classic drives in the area.

Photo of Adam Barker teaching a workshop at the Telluride Photo Festival

There are countless sunrise/sunset photo locations in the area, and we were fortunate to have gorgeous dawn skies at both the Dallas Divide and West Dallas Creek Road. Especially with clear skies and uninteresting weather, dawn/dusk are some of the best times to capture saturated, even colors with deep skies. The lack of direct light, and the glow emanating from the far horizon make for fantastically detailed landscapes that have a rich, subtle glow to them. It wasn’t uncommon to see most people show up to similar locations 20 minutes or so after we’d begun shooting. By that time, skies were pale, and we were preparing for first light.

AdamBarkerPhotography image of fall color at sunset at Lizard Head Pass during the Telluride Photo Festival

We were blessed with ominous clouds and killer color at Lizard Head Pass one evening for sunset. Low light and intermittent overcast skies made for fantastic directional lighting as well as soft, diffused indirect light. The greatest thing about fall is the way the landscape and color changes with different types of light. The workshop was a huge success, and my group of students was fantastic–always eager to learn and practice some of the new technique they’d learned with their Singh Ray Filters.

AdamBarkerPhotography image of Mark Miller Subaru Outback at Dallas Divide near Telluride, Colorado

Towards the end of the week, five straight days of 5 am wakeup calls had caught up to us. I took a breather from sunrise shoots and focused my efforts on portfolio reviews. I was pleasantly surprised at the quality of work. It’s always an inspiration to see work from other photographers (whether aspiring or veteran) and it never fails to give me a new outlook on the world in which we live.

I wrapped up the week with a seminar on environmental active lifestyle imagery. Many thanks to my sponsors Arc’teryx, Clikelite Backpacks and Mountain Khakis for providing some schwag to share with the crowd. I can honestly say there are few places as majestic as Telluride. The photographic opportunities are endless, the people are kind-hearted and the Telluride Photo Festival proved a perfect forum for learning and photographic enrichment from some huge names in the business (Tim Kemple, Rob Haggart, Kristen Fortier (Men’s Journal), Mark Lesh (Skiing mag), Julia Vandenoever (Backpacker Mag) Tom Till and many, many more. Keep an eye out for next year’s lineup–should be a doozy!

Composition and the Visual Journey

The Visual Journey by AdamBarkerPhotography

I talk often about creating a visual journey in each image for the viewer. This image of a group of friends out for a stroll underneath the Brooklyn Bridge serves as a good illustrative example. Have a read below as I break down exactly how I’ve constructed a visual journey through the inclusion and arrangement of particular compositional elements within the scene.

1. It’s natural to begin the visual journey at the bottom of our frame. This applies to both landscape and portrait orientation. Most often, I will place an element at or near the corner of the frame, taking the viewer from the very edge, into the meat of the frame. This is obviously accomplished with the fence, starting in the bottom RH corner of the frame.

2. The fence takes us directly to the anchor or main subject of the image, placed strategically in our LH thirds intersect. What makes this subject so much more appealing is the area of high contrast in which the people are found. Backlit mist creates a bright area, against which their shapes are starkly defined. Our eyes will ALWAYS travel to the areas of highest contrast in an image.

3. From the subject, the eye travels up to the Brooklyn Bridge. This was placed strategically in the upper LH part of the image–again helping the viewer to explore and digest every inch of our photographic frame. The bridge also serves as a perfect top counterbalance to the fence in the bottom part of the frame.

4. The bridge leads us directly to our secondary subject, or counter subject–the shapely pylons and archways over the bridge itself. Naturally, from there, the eye heads back to the bottom RH corner, and the visual journey starts once again.

Ideally, this visual journey will connect itself from beginning to end (as we see here), requiring little effort from the viewer to dive back in for a second, third and fourth time. Sometimes this is done through proximity of compositional elements (as seen here). Other times, it can be an out and back sort of thing. However you do it, give the viewer an obvious start and finish.

Exceptional images are like Thanksgiving Dinner–you just can’t help but go back for more. Make it easy on the viewer by creating a visual journey through the thoughtful and strategic placement of subjects and secondary or counter subjects in the frame.

Are You ______ Enough?

For every professional photographer out there and every amateur that has ever aspired to going pro, there’s one question that has likely been intrinsically asked once or…several hundred times. “Am I good enough???”

Am I good enough to succeed? Am I good enough to turn heads? Am I good enough to stop page turners? Am I good enough to get published? Am I good enough to grab fans? Am I good enough to sell prints? Am I good enough to land this job? Am I good enough to make a full time living doing this crazy thing? Am I good enough to win awards? Am I good enough to be good enough???

It’s natural to ask, and if you’re truly committed to being at the top of your game, it’s probably a question that you will never quit asking yourself entirely, regardless of the accolades, big jobs, published work and all the other goodness that comes your way with all that fame and fortune. I think there is an evolution to this question, however–and it’s one that comes with experience, ups and downs, success and failure, shout outs and snubs…

Nowadays, if you’re serious about being a professional photographer, you must simply be asking yourself this: Am I…enough?

Am I smart enough? Am I diligent enough? Am I committed enough? Am I fearless enough? Am I responsible enough? Am I punctual enough? Am I creative enough? Am I humble enough? Am I confident enough? Am I tough enough? Am I fit enough? Am I passionate enough? Am I accountable enough? Am I diverse enough? Am I focused enough? Am I personable enough? Am I cutthroat enough? Am I hard-nosed enough? Am I pliable enough? AM I…ENOUGH?!?

I. Am.

I bet you are too.

Better Fall Photography

Storm clouds and fall color in northern Utah's Wasatch Mountains.

Storm clouds and fall color in northern Utah's Wasatch Mountains.

Fall is quite possibly my favorite season. Perhaps it’s because the change in the air is so dramatic. Color, crispness, cooler temps–it’s allllll good. Fall pushes photographers everywhere to dig out both their camera and their personal commitment to creating meaningful imagery. It’s exciting to see the lanscape change so drastically, and quite honestly–there’s beauty in nearly every direction. Nothing fuels a photographer’s fire like gorgeous subject matter at a stone’s throw from nearly every canyon drive.

I’ve had opportunity to get out quite a bit with several workshop students and shoot some of fall’s finest here in northern Utah. The weather, however, has been challenging for the most part, with clear skies and warm temperatures. It has forced us to get creative and really search for meaningful shots without dramatic skies. We did luck out one morning with fantastic storm clouds, and we took full advantage, knowing it was a gift.

An AdamBarkerPhotography workshop student shoots first light at Silver Lake, Brighton, UT.

An AdamBarkerPhotography workshop student shoots first light at Silver Lake, Brighton, UT.

While gorgeous in their own right, colorful leaves don’t themselves a memorable image make. I imagine you, just as countless others, have come home from your fall photography forays only to find your images were flat and struggled to convey the sense of grandeur that you witnessed in person. The challenge, is depth. Conveying depth in our fall images is what really helps to take the viewer “there”. A flat mountainside with pretty leaves just won’t cut it. Sure, it’s pretty. But does it have impact? Probably not. Read below for a couple of tips on creating fall images with depth.

Fall color in Utah's Wasatch Mountains.

Fall color in Utah's Wasatch Mountains.

1. Establish compositional zones. Find foregrounds, middle grounds and backgrounds for your images. Longer lens shots fall images here in the Wasatch are particularly well suited to this, with intersecting ridge lines and areas of strong color.

Late light long lens landscape at Snowbird, UT

Late light long lens landscape at Snowbird, UT

2. Search out broken light. Spotty clouds cast spotty or broken light. This random placement of lit and shaded areas carries viewers through the frame and creates that near/far perspective that helps to convey three dimensionality.

An AdamBarkerPhotography workshop student waits for evening light amidst swirling storm clouds.

An AdamBarkerPhotography workshop student waits for evening light amidst swirling storm clouds.

3. Use a polarizing filter. Even better, know where and how to use it most effectively. A polarizer will help to reveal full color in the foliage, by removing the natural sheen or reflection. Additionally, and perhaps more importantly (especially on those boring, crystal clear days), a polarizer will deepen skies, helping to add depth and interest to your fall photos. A polarizer is most effective when shot at 90 degrees to the sun–find those compositions that help the polarizer help you!

Dawn light and fall color at Park City's iconic Osguthorpe Barn

Dawn light and fall color at Park City's iconic Osguthorpe Barn

4. Change your angle to the sun. Fall color takes on a completely different look, depending on your angle to the sun. Front lit aspens can appear dull and washed out, but as soon as place that light source behind them, they glow with life. This is a technique you can use to capture stunning imagery even into the mid-day hours.

An AdamBarkerPhotography workshop student, enveloped by backlit aspens.

An AdamBarkerPhotography workshop student, enveloped by backlit aspens.

5. Use Grad ND Filters. Not sure what they are? Search this blog or get on the Google. I use Singh Ray filters–the best! There’s absolutely no better tool out there for balancing difficult dynamic ranges and allowing you to capture dramatic skies.

Storm clouds and lightning bolt at first light over Utah's Wasatch Mountains.

Storm clouds and lightning bolt at first light over Utah's Wasatch Mountains.

6. Get out there. The golden rule of landscape photography. Simply being there will allow you to make magic. It’s too easy to stay home and wait for what you think might be the perfect conditions to capture that five-star fall keeper. How do you know that you haven’t already missed it? Nothing helps to get the creative juices flowing like being out in nature. You’re sure to find something that floats your boat, and then some. Forget the boring weather forecasts or lackluster color-get out there and find a way to excel behind the lens.

Interested in putting this into practice in the field with yours truly? Check out my workshop page for details.

Instinct: Use It

Lupine Wildflowers and sunstar at sunset along the Duchesne Ridge, UT

Lupine Wildflowers and sunstar at sunset along the Duchesne Ridge, UT

Simply put, last night was a gift. It was amazing. It was perfect. It was everything you could ever want behind the lens bottled up into four minutes of ridiculous organized chaos and color and mosquitos and sore knees and…wonder.

I wondered if I captured “it”. I wondered how “it” could be so overwhelmingly gorgeous. I wondered if anyone else had seen “it”. I was certain no one else had seen it like I had. It was impossible. In fact, it was UNpossible. There was no way that anyone else in the world had witnessed nature in such harmony as I had.

At least, that’s what I was telling myself. And I believed it.

Instinct is what you rely on when logic leaves your brain. And believe me, when you get conditions like this in front of your lens, logic will depart. In a hurry. You’ll be left with the most beautiful scene anyone on this earth has ever laid eyes on, and you’ll be bumbling around like a teenager in a Victoria’s Secret store.

Take a deep breath. And rely on what you have done so many times before. Which brings me to my point–if you haven’t done it “so many times before”, you’ll not have much to fall back on when things hit the fan in a good way.

Practice really does make perfect. And in the end, it is a simple practice of sorts that will capture moments like this for all of time. The more you shoot, the more you learn. The more you learn, the more capable you are of handling whatever happens to present itself in front of your lens. Interestingly enough, we only think of practice coming in handy when things go bad. But what about when things go…good??? When conditions are best for capturing five-star imagery is when you will feel the most pressure to perform. Because there’s no reason you shouldn’t come home with something spectacular. And really, there’s no excuse if you’ve done your homework and have…practiced.

Shot with Canon 5D MkII, 16-35 2.8 II, Singh Ray 4-stop Reverse ND Grad, Gitzo tripod