Conrad Obregon was born in Chicago and raised in New York City. He started taking photographs in 1951 and bought his first Nikon SLR in 1961. “My principal genre is birds,” he says, “and while I have had a few shows and sold some images, I consider myself an amateur.” Conrad photographs in New York City’s Central Park every week of the year, but he’s also traveled as far as Japan and Central America for photography. Read the rest of this entry »
Text and Images by Pam W. Barbour
While looking at a map of Montana, if you draw a diagonal line between Yellowstone and Glacier National Parks, the center of that line nears a special place called the Pintler Scenic Byway (recently renamed the Pintler Veterans Memorial Scenic Byway). This byway is about 60 miles long and unlike many byways in Montana, it’s completely paved for its entire length. This scenic spur gives you a break from interstate driving but at the same time doesn’t deviate too far so you can get back on track if you’re headed somewhere specific. Also known as MT HWY 1, it was the first state highway to be paved. Going east on I-90 from Missoula, you can start at the north end of the byway in the town of Drummond. Going west on I-90 from Butte, you can start at the south end near the town of Anaconda. We’ll start in Drummond. Read the rest of this entry »
Our organization is committed to growing its membership and is offering for the first time ever some Black Friday-Cyber Monday specials that you may be interested in (see http://www.nanpa.org/black-friday.php for more details!).
Purchase a Gift NANPA Membership
Give the gift of NANPA by buying a membership gift certificate (just $50) allowing a new member to redeem it for a full year of NANPA membership.
Save $50 on a 3-Day Summit Registration
The 19th Nature Photography Summit is Feb. 19-22 in San Diego and anyone can save $50 on a 3-day Summit registration if you register before the end of the day on December 1. Join us for learning, networking and inspiration.
New Members Join for $50
Do you know fellow nature photographers who would benefit from NANPA membership? If so, tell them about this weekend’s special promotion for new members to join for 1 year for only $50. An increase in NANPA members means more opportunities for learning, networking and inspiration that benefits all of us in nature photography.
More information on each of these promotions can be found at nanpa.org/blackfriday.
Use promo code BLACKFRIDAY to take advantage of any and all of these special discounts. Offers good Friday, November 28 through Monday, December 1 (EST).
Images and Text by Rob Sheppard
Rob Sheppard will be leading a Photo Walk in the California Shrublands on Thursday, February 19th from 9:00am – 12:00pm as part of the 2015 NANPA Summit in San Diego. Click here to learn more!
The NANPA Summit in 2015 is in lovely, mild San Diego. The Summit is a time to see old friends, connect with new friends, be enlightened and educated in all sorts of things related to nature photography, and even see new places through the photography of the presenters.
I am going to suggest that you take the opportunity to see and photograph something unique and special about nature while you are in San Diego or at least Southern California, something that you will not find in other parts of the country – the chaparral. This is an ecosystem, a landscape, a place of nature that is as ecologically unique as the redwoods, a place filled with biodiversity, and yet a landscape that is probably one of the least photographed of any important landscape in the country.
When people think of Southern California, so often, they only think of the big cities of Los Angeles and San Diego. Southern California, they believe, is just a place for surfers, celebrities, and a lot of cars! When I moved to the Los Angeles area over 20 years ago, many of my friends and family from Minnesota thought that I was moving to a barren, urban wasteland. Read the rest of this entry »
Nevada is one of the featured keynote speakers at the 2015 NANPA Summit taking place in San Diego, California from February 19th – 22nd. To learn more about the Summit and to register for this exciting and inspirational event, please visit www.naturephotographysummit.com.
Images and Story by Nevada Wier
Photographing in low light is particularly challenging, but immensely satisfying — if you can overcome the difficulties. However, it is these kinds of situations that stimulate me as a photographer. I know that it is these times when it is more possible to create what I call a “snowflake photo”: one that no one else has in his or her portfolio. So I seek out the difficult light and perspectives. Of course, that also means that the chance of failure is high; I have to work extra hard in these situations. I am on alert, paying attention, anticipating the action and seeking out whatever light is available.
One is definitely constrained by the quality of their equipment. Sorry, an iPhone is not going to be the camera of choice for photographing at night or inside a hut lit by a candle – unless you are going for an abstract with high noise. Many digital camera sensors are not able to produce a relatively noise-free image at an extremely high ISO. Unless you have a top-of-the-line camera that can handle 1600 ISO or more, the highest exploitable ISO for most cameras ranges between 400–1600 ISO. Another limiting factor is the lens. If you are using a zoom lens that has a minimum aperture of f/4.5, it is going to be problematic. Not only will you not have a fast enough shutter speed, the lens will not be able to quickly and accurately focus in dim light. And, it is critical to pay attention to the focusing. During the day in strong light focusing quickly is easy and accurate; it only takes a quick press of the focus button to be accurate (I use the back * button on my Canon for focusing and to set a specific focal point). In low light it is important to squeeze the focus button until you see the focus alert signal in the viewfinder. Sometimes I have to use manual assist. Occasionally I need to shine a flashlight on my subject so I can focus.
Sometimes I use flash but not for a primary source of light, rather to pop color or stop the action with a slow shutter speed. A flash is always a secondary source of light. I usually go to the highest ISO that I am comfortable using and on my Canon 5D MarkIII I rarely go above 1600 ISO; if I can I much prefer to stay at 800 ISO or lower. I photograph primarily on Shutter Priority, but in low light I sometimes switch to Aperture Priority when I want to stay at a wide-open aperture. However, I do like slow shutter speeds (and I’m not afraid to hand-hold at ½ sec. or slower) in combination with flash, either for panning or having a flash stop the action within a blur, so there is sharpness within a sense of motion. I carry a number of different gels for my flash so the flash outputs blends seamlessly with the ambient light. I usually keep my white balance on Daylight unless there is an abundance of red, and then I use Auto (red is a difficult color to desaturate, it tends towards purple).
I make sure my exposure is absolutely perfect; better too light than too dark. I constantly check my histogram. At a high ISO you do not want to have to lighten your image in post processing and expose ugly noise. Honestly, I rarely use a tripod. I don’t like to walk around with them. The photographs I’m showing you on this blog are all hand-held. In fast moving situations it is difficult to use a tripod, and in crowds – forget about it! Knowing how to use flash appropriately is a big key to success.
I mentioned earlier that it is important to anticipate so that one can be in the front of a crowd. I am used to “wiggling” myself into a good location. There is a fine line between being assertive and aggressive, but I don’t want to end up in the back of a huge crowd.
I expect a lot of failures; in fact I mostly have failures in these kinds of situations, as they are technically and often socially difficult. However, all I need is one great image! I try as many shutter speeds as possible; depth of field is not a critical concern to me at these times. I try slow shutter speeds with or without panning, usually with the flash on. I turn the flash off and work with natural light. I try everything! I always say, “If you don’t try, you don’t get”. And, often what one gets is that magical snowflake image.
Nevada Wier is a multiple award-winning photographer specializing in the remote corners of the globe and the cultures that inhabit them. Her journeys have her crisscrossing the world in search of compelling travel experiences and images. To read more about Nevada, view her extraordinary photography and get information about her photo workshops and tours, visit her website at www.nevadawier.com.
This is the second entry in the From Photography to Filmmaking monthly column by Drew Fulton. To see the previous posts, visit the archives.
When I first started to dabble in the world of the moving image, I didn’t think much about the storytelling side of things. I simply started shooting what was essentially a moving photograph rather than a video clip. What do I mean? Basically, I took all of my experience as a photographer and applied that to making video. I didn’t make any changes to the way I composed or created images. I simply did what I had always done except now I was making videos! I won’t say that this was totally wrong, but it sure was far from right. Let’s take a few minutes to really think about how our audience watches video and the fundamental differences between watching video and looking at a photograph.
Text and photos © Jennifer Wu
Photographing moving water at varying shutter speeds produces different looks, from a silky effect to frozen detail. When photographing the ocean surf, waterfalls, streams or any moving water, I often bracket the shutter speeds to create a variety of results.
In the vertical waterfall image in Iceland, above, the water appears smooth and gauzy. The horizontal image of the same waterfall, below, presents more detail, permitting more shape with enough blur to endow the shot with a sense of motion. I like both effects, so I vary the shutter speed to get more or less detail. When bracketing the shutter speeds, review each image on view screen to judge the results. If you see silky water with no detail where it is all white, move to a faster shutter speed. If there is too much detail where the water looks like ice, use a slower shutter to add enough blur for a velvety water effect.
Shutter Speed Choice:
How fast or slow the water is moving is a factor to help decided shutter speed for the amount of blur or detail. A slow versus fast moving stream will have different effects at the same shutter speed. In addition, wider-angle lenses show less apparent motion compared to a telephoto from the same distance.
Several factors to help decide the shutter speed:
- The flow rate of the water – slower shutter for more blur with slow moving streams
- The amount of blur or detail you want – slower shutter for more blur
- Distance to the subject – the water flow appears faster the closer you are
- Focal length of the lens – slower shutter for wide-angle lenses for more blur
Waterfalls all fall at the same rate weather they are a faint stream or large waterfall. They gain momentum with the distance. The air resistance is the only factor that will effect the rate of water falling.
I photographed the waterfall in Iceland while leading a photography tour with Jim Martin. In the horizontal image, I used a .6 second shutter speed for a satiny effect, while the vertical image has a 1/10 shutter speed to show more detail.
In Yosemite, 1/125 of a second contributed some detail in the fast moving waterfalls. By contrast, I prefer 1/15to 1/30 of a second to smooth the slower moving water on the floor of water the valley.
Use a really fast shutter speed to stop the action of moving water. For waves at the ocean, I use around a 1/1000 of a second to get the detail in the splash. Each droplet freezes.
In the next examples, the ocean images have a 10 to 13 second exposure to blur the water, transforming the surf into a fog.
Tripod: Using a STURDY tripod will be necessary for the slow shutter speeds. They are still a good idea for higher shutter speeds as they aid in fine-tuning the final composition. Keep in mind it is often windy at the base of a waterfall or around the ocean surf. Weigh down the tripod if necessary to avoid vibration or tipping.
Exposure: when taking a photograph, I decide whether the shutter speed or f/stop is the most important and set that first. Normally, I use manual mode and set the shutter speed first, followed by the f/stop. Next, I set ISO, ideally the native ISO for the camera, such as ISO 100 for Canon, or 200 for Nikon. Native resolution produces the least noise. If the shutter speed is too slow, I raise the ISO to the proper exposure. Finally, I add a filter, as discussed below.
Shutter Speed: In order to get slow shutter speeds for the satiny effect, try photographing in low light conditions since full sun may demand too fast a shutter speed for slow motion. For example: photograph at low light near sunrise or sunset on sunny days, with the subject catching the first or last rays of light. Exposure it easier when he water is in the shade; be aware that your color temperature will change, shifting toward blue. Overcast conditions work well most of the time.
Filters: Using a polarizer will reduce your shutter speed time by about two f-stops. Turn the polarizer to see the effect on shiny rock surfaces and note how the reduced glare reveals detail and form. However, be careful when using a polarizer so as not to take out desired colorful reflections. Neutral density filters (not graduated neutral density filters), grey in color, will reduce the light to the sensor, allowing for a slower shutter speed.
Ideas: Water in all its forms is a dynamic subject open to many approaches. I like photographing streams in the shade with green leaves reflected onto streams in the afternoon (Yosemite’s Fern Spring is good for that). Photographing along Yosemite’s Merced River at sunrise provides the opportunity to capture the warm reflections of the mountains in the river. Fall colors, the leaves lit with sun and the water in shade reflect leaves, is a perennial favorite.
Tips for keeping the lens dry:Use a lens hood to keep spray off the lens. Carry a hand towel or pack towel to dry the camera and tripod when you return to the car from the shoot.Use a chamois cloth to wipe the droplets off the lens. Chamois are used to wipe cars dry and it works just as well on the lens. If you are in heavy spray from waterfalls, the ocean or from rain, it is helpful to carry a small sized soft absorbent pack towel to wipe the lens of most of the water, then use the chamois as it will otherwise get soaked too fast and become useless.
Tips for cleaning sea spray: First, use an air blower (not canned air) to remove any bits of sand or dust that might scratch the lens.
Next, wipe down your camera and lenses with a damp cloth to clean off the salt from the sea spray. Do this as soon as possible.
If you do get sea spray on the front element of the lens, use some lens cleaning fluid on a wipe or tissue and use that to remove it. Use lens cleaning solution and do not use abrasive or solvents. Wipe in a circular motion from the center outward. Do not put fluid directly on the lens. If it is very misty, bring the fluid and wipes with you to the ocean.
Another option is using a UV filter when at the ocean to protect the front element of the lens from the salt in the sea spray and you can clean the filter after the shoot in the same way as mentioned above.
Clean the camera eye-piece in the same way if it is needed.
Have fun photographing moving water and creating inspiring images!
Jennifer Wu, a professional photographer since 1992, is best known for her nature, landscape and night photography. Jennifer was named by Canon USA to the elite group of photographers, The Explorers of Light. View more of her work and check out her book and workshop offerings at www.jenniferwu.com.
Jennifer will speak on “Nature’s Elusive Beauty” in one of the breakout sessions at the 2015 NANPA Summit taking place in San Diego, California from February 19th – 22nd. To learn more about the Summit and to register for this exciting and inspirational event, please visit www.naturephotographysummit.com.
Images and Text by Gordon and Cathy Illg
It’s not that one or two things or even a hundred things are beautiful – every single aspect of the natural world is beautiful, even the very air around us. Using high-energy particles from the sun as brushes and electrons orbiting atoms in our upper atmosphere as a canvas, impossible abstracts are painted across the night sky in neon colors. Of all the astral phenomena that draw our eyes to the heavens, the aurora is the most spectacular. And, it requires no special equipment to view it, only a willingness to stay out when most people are asleep (and to endure some cold temperatures).
The Cree called it the “Dance of the Spirits,” and in the Middle Ages it was regarded as a sign from God. Today we call it aurora borealis after the Roman goddess of the dawn and the Greek name for the north wind. Its most basic form is a static green band, usually stretching across the northern horizon. As it becomes more active, pink, red and even violet are added to the palette. These colors can fall down in curtains or dance across the heavens in twisting waves, as if responding to music we cannot hear. A photographer could point a lens at the same spot all night, taking one photo after another, and never repeat an image. Read the rest of this entry »
by Jamie Konarski Davidson
What does interpretive nature photography mean? Nature is nature, art is art, and never the two shall meet, right? For some, perhaps this is true. But only for those who have never walked in the woods, sat in a flower garden or watched the sun meet the day or settle in for the night. Or for those who have never stopped long enough to explore a dandelion or to watch a butterfly break free of its chrysalis. Nature IS art, in its finest and purest form. Capturing this essence is what nature photographers live for. It is what makes us unable to imagine doing anything else. It is what brings me peace, healing and joy. It is what pushes me as an individual to be present in the moment and to slow down long enough to see and feel and connect.
So, how do we do this and what do the results look like? Most of us begin our photographic journey with our eyes, hands and mind — seeing something, grabbing the camera and figuring out how to set the camera correctly. This is natural, as we need to see our subjects and to learn how to use our equipment to capture the moment. The sticky piece in this equation is “correctly.” True, technical knowledge is necessary. What is missing, and what makes our work express the “art in nature” is vision and heart. When we see and connect at the heart level, our work begins to shine, and what we share with the world resonates at a deeper level than a pretty picture. Read the rest of this entry »
Text and Images by Lee Hoy
As a wildlife and landscape photographer, I am constantly amazed at the plethora of colors that even a tiny damselfly can exhibit. It is capturing the palette of nature’s colors that often lures us out of bed early each morning, but what do we do when color just doesn’t cut it? What about when we are trying to communicate texture, form, grandeur, or movement and color becomes a distraction?
As a young boy, my parents would take me to the Wichita Mountains National Wildlife Refuge in Oklahoma where I was captivated by a giant woolly beast that embodied the American west. I have photographed the American bison on many occasions and often find color images to be disappointing. It was only after I bought Silver Effex Pro 2.0 and began to learn its capabilities that I realized black-and-white images were the ticket to revealing to others what drew me to bison in the first place. The deep crevices in the shaggy coat, the splintering of the tips of the horns, the soulfulness of the eyes, and the jagged wrinkles in their hindquarters were expertly represented through black-and-white. Read the rest of this entry »