Posts tagged ‘NANPA Summit’

So You Want to Publish a Book?

by Fred Perrin

A montage of the books that Friesens has published

Compared to challenges nature photographers often face and embrace in their work, creating and publishing a quality book has never been easier. You have the images, likely enough to publish a hundred coffee table books, so what’s next?

This article summarizes what you should know when considering, designing and publishing a photography book.

Before we get to that, let’s review a common book printing question today. Should I print my book digitally or through a traditional offset press? Which is best for me?

“Best” is relative to many technical, artistic and personal variables. Years ago, for professional image quality, digital cameras fell short, yet today they deliver outstanding results. Similarly, the print world has seen impressive advancements in digital press technology. Which is best? Depends. With higher quantity book runs, traditional offset printing remains an “ultimate quality, more options, and lower cost per book” home run. At the same time, print craftspeople using the newest digital presses can print lower book quantities with outstanding quality. Do your homework. If you aspire to deliver trade publishers’ coffee table book quality, does your intended printer print these books? If not, have you reviewed samples of their work? Be careful and inquisitive. There are printers printing books on digital devices much like an office copier, charging as much or more than some book printers printing books on million dollar digital offset presses. There is a quality difference. If you’re unsure of final book quantity (and most book publishers are), ask your book printer to quote multiple book quantities (e.g. 100/250/500/750/1000+) comparing traditional offset and digital prices, and provide samples of both. Depending on your book quantity range and the printer’s press options, you will quickly learn where digitally printed or traditionally offset printed book quantities are attractively or unattractively priced. You must also consider quality bookbinding, but we’ll reserve that for a follow-up article.

book on display stand

Labyrinth Sublime: The Inside Passage, by photographers Pat and Rosemarie Keough. This book opens to almost three feet!*

What’s next?


  • Have a book concept. Tell a compelling story – don’t just show photographs.
  • Showcase unique images – avoid repetition.
  • Are you a photographer or a graphic designer? If you’re a photographer, hire a professional graphic designer.
  • Hire a professional editor.
  • If you choose to personally design your book:
    • Review and compare published books similar to your concept.
    • Consider and compare font sizes and page layouts before beginning design. Design only when you have fine-tuned your intended layout(s) to your (and more importantly your intended audience’s) satisfaction.
    • Calibrate your monitor. Printers can provide kits that help measure a monitor’s accuracy at which point you may need to calibrate your monitor using a colorimeter (prices start around $100).
    • Ask your printer for a cover design template (based on your book specs).
    • You can work in RGB (Red/Green/Blue) up until you select your printer at which point you should convert RGB files into CMYK (Cyan/Magenta/Yellow/Black). Printer profiles for printing on coated paper are available for this (example: GRACoL2006 Coated1v2). Note: When color images are printed on paper the effect of the paper causes the images to look slightly darker because a computer screen emits light rather than paper which reflects light. Converting images to the GRACoL profile on its own does not simulate this effect. You can use the Proof Colors option in Photoshop to simulate this effect when printing on coated paper.
  • Review and understand book manufacturing formats, options and material specifications. Once you have an idea of book size and format, page count, paper, cover, and quantity range, request a quote. Don’t worry about future quote revisions based on changing specs and/or trying to hit a price point. This is part of the business.
  • If you are personally scanning slides, make sure your scans are of the highest quality. Send test scans to your printer for review and proofing to avoid discovering at press that your images are not at their best.
  • Send hard copy proofs as a guide to your printer especially if you will not be present at the press when the job is run (called a Press Check). You should also request proofs to see and compare to what is expected at press.
  • Sewn binding provides higher book quality and longevity.
  • Proofread, proofread, proofread (and not just by you). Errors are easy to miss – even for big publishing houses – but, once printed, impossible to erase.
  • Consider crowd funding to help pay for your book.


  • Design in RGB (can cause issues at press which prints CMYK)
  • Personally scan images unless you have a high quality scanner (by printing industry standards), you know what you’re doing, and you’ve tested your scans through your intended printer.

Good luck with your book! I hope this article is helpful. If you have any book production or publishing questions, please contact me anytime by email at

Fred will be one of the featured Breakout session 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 

Fred Perrin began his career as a Kodak Technical Sales Representative for Professional Photographers. Fred has received honors from The Professional Photographers of Canada as Craftsman of Photographic Arts (Scenic/Nature Photography) and his lithographs have been presented to sixty world leaders by the Government of the United States. Fred is now VP of Marketing & Business Development for Friesens, North America’s premier book manufacturer. Friesens customers include many of North America’s most prominent museums, art galleries, publishers and photographers. Company Website:

*Pat and Rosemarie Keough detail their experience in printing and binding their beautiful book on their website at

Low Light Visions by Nevada Wier

© Nevada Wier 2014. Kerala, India: Fire dancer, Theyyam Festival. Canon 5DMarkIII,    Canon 16-35mm f/2.8,   1/125sec at f/3.5,   ISO 1600 Shutter Priority. Evaluative Metering. Daylight White Balance. Flash not fired.

© Nevada Wier 2014.
Kerala, India: Fire dancer, Theyyam Festival.
Canon 5DMarkIII, Canon 16-35mm f/2.8, 1/125sec at f/3.5, ISO 1600
Shutter Priority. Evaluative Metering. Daylight White Balance. Flash not fired.


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


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.

Barranquilla, Colombia. Carnival.

© Nevada Wier 2014. Barranquilla, Colombia: Carnival.
Canon 5DMarkIII, Canon 24 f/1.4, 1/50sec at f/3.2, ISO 1600.
Shutter Priority. Evaluative Metering. Daylight White Balance. Flash Fired.

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.

Bagan, Myanmar: Ananada Festival.

© Nevada Wier 2013. Bagan, Myanmar: Ananada Festival.
Canon 5DMarkIII, Canon 24 f/1.4, 1/100sec at f/4, ISO 1600.
Aperture Priority. Evaluative Metering. Daylight White Balance. Flash Fired.


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


Photographing Water in Motion by Jennifer Wu


Iceland waterfall - vertical

Iceland waterfall: Canon 5D mark II, 24-70 mm lens at 24 mm, f/16, Shutter speed .6, ISO 100. I used a polarizing filter. Smooth effect. © Jennifer Wu

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.

Iceland waterfall - horizontal
Iceland waterfall: Canon 5D mark II, 24-70 mm lens at 24 mm, f/16, Shutter speed 1/10, ISO 100. I used a polarizing filter.
More detail in the water with a faster shutter speed. © Jennifer Wu


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.

waterfall detail with rainbow
Yosemite waterfall with rainbow. Using 1/125 of a second or faster with a medium telephoto lens helps stop the action on a waterfall and give it some detail. Photographed with the 70-300mm lens at 244mm, f/11, 1/250 second, ISO 200.
Polarizer used to enhance the rainbow. Be careful as you can make the rainbow disappear when completely polarized. © Jennifer Wu


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.

Morro Bay rocks and surf, 10 second exposure.
Morro Bay rocks and surf, Canon 5D mark II, 24-70 mm lens at 24 mm, f/16, 10 seconds, ISO 100.
I used a 3-stop neutral density filter and a polarizer to smooth out the ocean surf. © Jennifer Wu


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.

Morro Bay sunset, 13 second exposure
Morro Bay sunset: Canon 5D mark II, F/16, 13 seconds, ISO 100.
I used a 5-stop neutral density filter to obtain the softness of the waves. © Jennifer Wu


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!

Smooth Wave, Morro Bay, 0.4 second exposure

Smooth Wave, Morro Bay, California: Canon 5D mark II, 70-300 mm f/4-5.6 at 135 mm, f/22, 0.4 second, ISO 100. © Jennifer Wu


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

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 

Interpretive Nature Photography: Art and Nature

by Jamie Konarski Davidson

Multiple exposure of fern in spin

Ferns – Multiple exposure with spin to highlight patterns and texture.

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 »

My First Experience in Multimedia Storytelling by Chris Linder

I made my first leap into multimedia storytelling after following, with considerable interest, the work of MediaStorm, a video production company founded by Brian Storm.  Their videos wove together interviews, music, ambient sounds, and still photographs into artful, dynamic stories.  As I watched them, I realized that hearing the ambient sounds and interviewee’s voice created a stronger emotional connection to the story—it just seemed more real than a photo slideshow with captions.  I wanted to be able to produce my own multimedia video, but I was intimidated…  I had never recorded audio before or used a video editing program.

In the spring of 2009, a client asked me if I would be interested in documenting a month-long undergraduate research experience in the Siberian Arctic.  I immediately jumped at the opportunity, with one requirement: the chance to produce a multimedia video.

Watch the full edit of Chris’s first multimedia video produced at MediaStorm:

Watch the full edit of Chris’s first multimedia video produced at MediaStorm:

That July, I found myself in Siberia, wading through knee-deep permafrost goo, battling legions of abnormally large mosquitoes (audio recorder in one hand, DSLR in the other).  At the end of that month, my hard drive brimmed with over 20,000 images and about a hundred pages of interview transcriptions. The thought of the next step nearly overwhelmed me: how to create a coherent, compelling story from this mountain of material.  I decided to enlist the experts at MediaStorm for some one-on-one training.

A month later, I knocked on the brushed-aluminum door of MediaStorm’s office in New York.  Storm introduced me to my mentors for the week: Bob Sacha, an award-winning photographer-turned-multimedia-producer, and Maisie Crow, a talented up-and-coming multimedia journalist. In five short days, we needed to turn my pile of photographs and interviews into a living, breathing, multimedia story.

Sacha quickly introduced me to the MediaStorm process.  First, we poured over the material, starting with the interview transcripts.  The edited interviews, he explained to me, would form the backbone to the story.  Once the interviews were on the timeline, Sacha showed me how to choose music and integrate ambient sound recordings I had collected in the field.  Lastly, we added my photographs and credit slides—it was complete!

Looking back, those five days at MediaStorm really changed my trajectory as a photographer.  From a pragmatic standpoint, my new skills opened up a whole new avenue of funding opportunities, allowing me to keep photographing the stories I love.  Since 2009, I have produced dozens of multimedia stories and worked as the lead cinematographer on an hour-long documentary production.  Some of the videos have simply been a series of images set to music or a voiceover. Others have been more complicated, such as a series of videos on ocean robotics that involved filming interviews in front of a green screen and incorporating historical underwater footage.  An unexpected benefit to my multimedia training is that my photography skills have improved as well.  Now, it’s easier for me to break down a story idea into the elements I need to illustrate with my photographs.  In essence, I have evolved into a better storyteller.

Chris Linder Congo River video

Linder also produced this multimedia video about water quality research in the Congo:


At the 2015 NANPA Summit, I will be co-presenting a Breakout Session with fellow photographer and filmmaker Morgan Heim on the lessons we’ve learned producing multimedia.  There you can find out our most critical multimedia storytelling tips, like: whatever you do, don’t forget the…

To see more of our work, visit our websites: and

The 2015 NANPA Summit takes 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 Early bird registration ends on October 31st! 

Chris Linder works part-time at the Woods Hole Oceanographic Institution as an Expedition Multimedia Specialist and runs a freelance photography and filmmaking business.  Chris focuses on communicating the stories of scientists working in the field.  In the last ten years, he has documented over 40 scientific expeditions from Antarctica to the Congo.  Chris’s images have appeared in museum exhibits, books, calendars, documentary films, and magazines worldwide.  He is the author of Science on Ice: Four Polar Expeditions.


Flip Nicklin: A Life Among Whales

Flip Nicklin is one of the featured keynote speakers at the 2015 NANPA Summit taking place in San Diego, California from February 19th – 22nd. Flip will also lead of one of the Pre-Summit Boot Camp sessions. To learn more about the Summit and to register for this exciting and inspirational event, please visit Early bird registration ends on October 31st! 

Humpback whale mother and young; Hawaii.

Humpback whale mother and young; Hawaii. © Flip Nicklin


Forty feet below me she hovers quietly. She’s 45 feet long and 80,000 pounds, and her bulk hides her 15-foot-long calf. The calf makes his way out from under her chin to take a few breaths at the surface. On his way back to his mother, the young humpback spots me near the research boat and gives me a good look. After 35 years of photographing cetaceans professionally, situations like this still bring a smile to my face.

The lives of whales aren’t always serene, though. Only a few days after I spot the mother with her calf, our research team finds a dozen male humpbacks fighting over a female. The battle is brutal; many of the whales have open bloody scrapes on the tops of their bodies. Despite whales’ occasional reputation as “gentle giants,” I would never use the word “gentle” to describe these violent, occasionally fatal encounters in the winter breeding grounds off the coast of Hawaii. Read the rest of this entry »

Photographing the Nighttime Landscape by Roman Kurywczak

by Roman Kurywczak

night photo of Park Avenue, Arches National Park

Moonlit Night at Park Avenue, Arches National Park. Sigma 12-24mm lens @ 12mm, f/4.5, ISO 100, exposed for just over an hour. Photo by Roman M. Kurywczak

I have been photographing nighttime landscapes for about 20 years now, capturing images of star trails like the one pictured above with good success (even in the film days). The arrival of digital cameras and their high ISO capabilities has allowed me to push the boundaries of nighttime landscape photography and allowed me to capture the milky way and stars just as we see them. I released my e-book on that subject in February 2011 but wanted to revisit some of the images I had captured with the Sigma 12-24mm lens. The above image is the newest version of my cover shot, but this time the illumination you see is from just the moon. A rock solid tripod and ballhead are a must for this genre of photography. A wide-angle lens is also a must; the Sigma 12-24mm lens is now my lens of choice for my Canon 1D Mark III bodies. For those of you with crop sensors, the 10-20mm F3.5 EX DC HSM should be your go to lens, but keep in mind that any wide angle lens will work (Tip: you should be around 20mm max on a full frame sensor with the settings I will be providing). Read the rest of this entry »

Vision and Craftsmanship by Ron Rosenstock

by Ron Rosenstock


“There are no rules for Technique, only solutions. Today’s Darkrooms may soon be replaced with electronic consoles. Yet after thirty years, Steiglitz’s advice to me remains constant: ‘The only thing that matters is the finished photograph.’ “

Arnold Newman, 1965


As a teacher of photography, I often quote Arnold Newman because he is speaking about the essence of creating a meaningful photograph.

My background is in the traditional, large-format, black and white school of photography of Edward Weston in the 1920s, and later of Ansel Adams. I worked with a camera similar to that used by Weston and Adams, an 8”x10” view camera, so called so because the film was 8×10 inches. My camera, ten film holders, and tripod together weighed 40 pounds. Cumbersome equipment, but that was just the way it was if you wanted to make high quality images. Back in the 60’s and 70’s it was called fine art photography.

Many years have passed but the basic principals are the same. In the dark room we could crop the image, increase or decrease exposure, increase or decrease contrast, burn and dodge areas to lighten or darken those areas selectively. We can do all this and more now with more ease than ever before. Read the rest of this entry »

Wilderness: As It Was In The Beginning

The Bitterroot Mountains and Clearwater Basin

Proposed Wilderness in the Clearwater Basin of Idaho’s Bitterroot Mountains.

By Krista Schlyer

This week marks the 50th anniversary of The Wilderness Act. Americans will be greeting this occasion in myriad ways. Wilderness lovers and protectors will be lauding our foresight as a nation to recognize the value of wilderness and codify that value with strong protections; many will be celebrating the 750-plus wilderness areas now protected under the act. Some will assess the uncounted acres of wilderness that have been lost to development, exploitation, and political failure, as well as the floundering health of this landmark legislation. A few members of Congress will be devising new ways to skirt or dissolve the act, along with every other environmental safeguard. And many Americans will watch the week pass never knowing there was anything special about it.

To me, The Wilderness Act may be the most hopeful piece of legislation ever passed, based on one of the noblest ideas humanity has ever conjured. Wilderness as a valued concept, as a state of being that must be protected, acknowledges three important realities: that untouched, undeveloped, forever-wild land has value in and of itself; that we as a species if given the opportunity will destroy it; and that for so many reasons, impossible to articulate, we need to live in a world where large areas of wild land exist outside of our reach and exploitation. We need it, as Wallace Stegner said, for “our sanity as creatures.”

When President Lyndon Johnson signed The Wilderness Act into law September 3, 1964, he stated: “If future generations are to remember us with gratitude rather than contempt, we must leave them a glimpse of the world as it was in the beginning, not just after we got through with it.”

I have worked for more than a decade as a conservation photographer and writer, and during that time I have documented numerous locations that epitomize Johnson’s divergent states of the land, “the world as it was in the beginning” and the world “after we got through with it.” The wilderness, and the once-wilderness, and some places that exist in sad limbo somewhere in between. Each has something to offer to the story of wilderness.

The Anacostia River, in Washington DC, was once a wild paradise of rich diversity that nurtured a sustainable civilization of native people and abundant wild plants and animals. By the time we were finished with it, the native people were extinct, the river’s waters were so toxic and filled with human waste that 2/3 of the catfish now have cancerous tumors, and swimming in the river was pronounced illegal out of public health concerns. The building of a nation brought the Anacostia wilderness to its knees almost two centuries before The Wilderness Act was signed. It didn’t stand a chance.

catfish with cancerous lesion

Brown bullhead catfish with a cancerous lesion in the Anacostia watershed, Washington DC.

But a handful of designated wilderness areas along the US-Mexico borderlands, did stand a chance, and still do, in theory. Lines drawn by Congress, or at least approved by them, continue to demarcate roadless wild lands under the Wilderness Act, but in name only. Since 2005 and the Real ID Act, the borderlands have been stripped of environmental protections by the US Congress. The Wilderness Act no longer applies along 2000 miles of some of the wildest most biodiverse lands in the United States. It was a matter of political expediency. Despite the presence of many endangered species and imperiled ecosystems, (and despite ample evidence that border walls and militarization do not stop human migration), the government didn’t want environmental safeguards slowing down the military machine.

rabbit at border wall

Desert cottontail rabbit at the US-Mexico border wall under construction in southern Arizona.

A different type of machinery stands at the door of a third location, the Clearwater Basin in Idaho, one of the United States’ wildest remaining mountain landscapes yet to receive protections under the Wilderness Act. Advocates began proposing a wilderness designation for the Clearwater decades ago, only to see the acreage whittled away in the interest of timber extraction, road construction and off-road vehicle use.

salmon in river

Salmon heading upstream to spawn in the Clearwater Basin.

All three of these places present a different struggle and opportunity within the discourse about wilderness. The Anacostia offers a cautionary tale about what often becomes of a wilderness unprotected. In this watershed the most economically disadvantaged citizens of the nation’s capital continue to eat fish and swim in a river long ago abandoned by most as a toxic waste pit. But even now, despite centuries of abuse and neglect, there are opportunities to undo some of the harm we have done and re-create this river through restoration and in some places re-wilding.

Kayaker on the Anacostia River.

Kayaker on the Anacostia River.

In the borderlands, where every day the US government is eroding The Wilderness Act and wilderness itself, environmental protections could be returned to the land, if Congress were just to act in good faith and honor our most treasured environmental laws.

Kit foxes in the US-Mexico borderlands.

Kit foxes in the US-Mexico borderlands.

The Clearwater, its crystalline waters, salmon runs and old growth cedar forests, are on the precipice of protection, awaiting the state and local communities to express their faith in the importance of clean water and air and open wild spaces where people can get lost and learn to love the land in a way no other experience can afford them.

And all three of these places offer one singular hope for the wild species that inhabit them, the hope of a future to live their lives in this great ecosystem of Earth. The beaver, catfish and cedar waxwings of the Anacostia River; the jackrabbits, green jays and kit foxes of the borderlands; and the salmon, black bears and wolves of the Clearwater, all depend on us. Our pact with wilderness, made 50 years ago this week, and our commitment to honor that pact, will determine their future, and ours.

Beaver swimming in the Anacostia River.

Beaver on the Anacostia River.


Krista Schlyer is a photographer and writer living in the Washington DC area. She is a senior fellow in the International League of Conservation Photographers, and author of the book Continental Divide: Wildlife, People and the Border Wall, winner of the 2013 National Outdoor Book Award. View more her work on her website at

Schlyer will give a presentation on “Nature At The Borderlands” 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 Early bird registration ends on October 31st! 




Take It All In And Give It All Back by Dewitt Jones

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by Dewitt Jones

I took the podium and looked out over the room: seven hundred men and women, some of the finest nature photographers in the world. This was the North American Nature Photographer’s Association’s (NANPA) Second Annual Forum and it was my job to bring it to a close.

That morning, I had holed up in my hotel room trying to come up with what I would say. My mind wandered back over my own career as a photographer — not so much the photographs but rather the experiences and the lessons I had learned.

I thought about the natural cycles I had so often witnessed while photographing – the seasons, the tides, the rising and setting of the sun. How many thousands of times I had I watched them? Like watching the smooth muscle of the planet — the things our little orb can’t help but do. Like watching the earth breathe.  

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