We are sometimes asked if folks with special dietary needs will have difficulties finding things to eat on a cruise ship and the answer we give is always the same - there is always a way to accommodate your specific requirements.

Your first action is to identify what you need in the guest profile you fill in on the cruise company's website once you have registered for a cruise.  If you require Kosher or gluten-free meals, they can be provided for you as long as you let the cruise company know four weeks in advance.  If you are booked for a cruise, do this now!  If you have ANY questions about having your needs met, don't wait until you are on the ship, phone your travel agent or the cruise line today and discuss this with them - better to know in advance what is possible than to have surprises once on board.

You will notice that vegetarian and vegan diets are not listed on the guest profile as cruise companies work to meet these needs every day on every cruise.  There is always a selection of fresh fruit and salads on the buffet and two or three vegetarian selection in the restaurants.  The secret, whether you eat in the restaurants or buffet, is to get to know the head waiters.  They will consult with you about which items on offer meet your needs and what they can do for you if there are none that interest you.  In the restaurant, the head waiter can bring you the next day's menu and help you make a selection that works - or they can help you order off menu.  There always seems to be excellent vegetable stir fry and curries to order and the kitchen will go out of its way to meet your needs - you just need to identify what you require as soon as possible.  Head waiters are programmed to produce acceptable solutions to each guest's dietary needs so your request will not be the first they have had.

At the buffet, talk to the servers behind the line and if they are not able to help you identify vegetarian or vegan options then ask what else they can make for you - the kitchen is not far away and can make off menu items just like in the restaurant.  I have found that working with the same waitstaff each evening means that they remember your needs and will more readily be able to help you.  In the regular restaurant this will not be a problem.  In the "Anytime Dining" restaurant where you may be seated anywhere, you are going to want to sit in the section with the same head waiter so he/she knows what your requirements  are.  In the buffet line, try to speak to the same servers or locate the same head waiter on the floor to deal with.

As with anything else on a large cruise ship, you need to be proactive in identifying your needs, deal with the same staff as often as possible and give staff some lead time to meet your requests.  Remember, if you don't get the assistance you need, ask to speak to the guest relations representative on board as soon as possible so you are not disappointed during your adventure.

Throughout May and June, 2013, we will be drawing for one Craft and Vision ebook each week.  Simply comment on each week's new blog posting and be eligible for the draw.  While you need to leave an email address so we can contact you, it never appears on the web site and we do not collect or sell emails.  You will never see an email from us unless you win.

Craft and Vision ebooks are inspirational reading for all photographers.  The books are not about the equipment you should buy or the buttons you should twiddle.  Instead, they will help you hone your photographic potential by improving your vision of the world while bringing new excitement and impact to your photos.  For years I have enjoyed these books and have learned a great deal from them.  Treat yourself - leave a comment and perhaps walk away with an ebook that will inspire you to new things.  Watch for weekly announcements on Twitter and Facebook or drop back here from time to time.

Our first draw is from May 8 to 15.  Drop by here and leave a comment.

Pioneer Town, California?  Ghost town in British Columbia?  Nope, the HO model railway at the Living Desert, Palm Desert, California.  You can make even the smallest scenes seem like they are real by using a telephoto lens, shooting from ground level and using a wide aperture.  This gives the image the same perspective as if you were very small and standing on the ground. The wide aperture gives a narrow depth of field similar to a life size landscape.  To complete the illusion, you need to watch the background to ensure there are no "giant" people standing in the background tol spoil the illusion.

Another Living Desert shot taken at "ground level" (actually I was crouching down) with a narrow depth of field - notice how the waterfall in the background is out of focus.  Converting the picture to B&W gives it more of a period feel, I think.  The small model fireman on the train gives away the fact it's a model and not the real thing, but I like the overall look and the tonal range in this image.

Give this a try next time you are near anything miniature.  Just image you are small enough to walk around in the scene and shoot from that "eye level". Use a long lens and a wide aperture and you should have images that look very real.

In this age of super saturated images, it's sometimes easy to forget the simple beginnings of photography when everything was rendered in black and white, sepia or, for a real change, selenium.  When you strip away the colour from an image you are left with only tonal values from white to black, as well as the shapes and texture of the scene. 

To create an effective black and white image you need to look at a scene in front of you differently.  You need to pay attention to the highlights and the shadows, where they fall in the image and how they relate to one another. You need to ask yourself if there are sufficient differences between the lights and the darks of an image to give a pleasing range of greys in a final picture.  If all the colours have the same tone, the final image will appear flat and muddy.

Looking for  shapes and their textures in a scene help to determine where the interest will be and where the shapes should be placed in the final image.  This is a great place to rediscover the rule of thirds.

The image at the left was photographed at the Living Desert in Palm Desert, California.  The adobe walls in the original image were great but the texture was lost amongst the colour.  Stripping away most of the colour and toning the image slightly brought out the texture in the wall and cacti and the complimentary shapes of all of the picture elements.    The colour image had too much information in it and the composition appeared to be quite flat. 

Sometimes a picture has so few colours in it that it is, by definition, already monochrome.  The image to the left of Paris rooftops had shades of grey and beige and not much else - a flat and optically boring image.  By converting it to a high contrast black and white image, all the boring colour was stripped away leaving only the shape and texture of the roofs to contemplate.  The image has the added advantage of looking like a black and white etching or antique postcard and I think the image now reflects the age of the buildings themselves.

It takes a while to train your brain to think in black and white but once you start noticing shape and texture, you will be on your way to making some very compelling images.  You can start by taking some colour images you already have and converting them to black and white in your favourite image editor.  You will soon begin to see which ones lend themselves to being rendered in black and white.  Once you can see the difference, you will be ready to go out and experiment in monotone images.