Posts tagged ‘Nature Photography’

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 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 

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 »

NATIONAL PARKS: Everglades National Park, Story and photographs by Jerry Ginsberg

As cold weather approaches in northern climes, a nature photographer’s thoughts often turn to warm destinations for a winter photo trip.

Everglades National Park stays warm year-round. It includes 1.5 million acres on the southernmost tip of the Florida peninsula. Established just after World War II, Everglades protects the last remnant of a precious primal wetland from the land-hungry development and agriculture that has gobbled up the rest of South Florida.

Everglades

Everglades

The major characteristics here are dictated by the primordial flooding and resulting overflow of Lake Okeechobee every summer. All of this water makes its way southwest as the venerable and slow-moving “River of Grass.” More a shallow sheet of water than a conventional river, the life-giving liquid has created vast areas of sedges, tropical grasses and countless raised hammocks. Tiny islands of loose land pop up from the swampy river and support small trees that take advantage of the increased drainage provided by their slightly increased elevation.

Great Blue Heron

Great Blue Heron

This fertile land is home to a variety of wild creatures. First among them are many species of birds: herons, egrets, ibises, hawks, anhingas, cormorants, coots, moorhens, gallinules, pelicans and the occasional osprey and roseate spoonbill. Many of these birds can be found and photographed nearly anywhere in the park.

In the relatively dry months of winter, water levels are low, and many birds congregate in and around the ponds along the roads. Check Mrazek and Eco ponds, Florida Bay and Snake Bight for spoonbills and the western islands and sandbars off Chokoluskee for white pelicans.

Royal Palm Alligator

Royal Palm Alligator

After the birds come the famous reptiles. While most folks are familiar with the alligators that populate this area, less well-known are the crocodiles. Both are near the limits of their ranges here, and the two comingle in the brackish waters—a unique combination of salt and fresh waters. A word of warning: While appearing slow and somewhat sluggish, these carnivores are capable of moving very quickly, so keep your distance!

Gators often hang out in the sloughs along the Anhinga Trail in the Royal Palm area, Nine Mile Lake, and along the tram roadway in Shark Valley. Crocodiles are seen infrequently. Your best bet is the waterways in the Flamingo area.

The fabled Florida panther with its severely dwindling numbers may or may not be present in the park. The likelihood of seeing one in the wild is virtually non-existent.

West Lake

West Lake

At any time of year, the best photography is available during the low-light hours of early morning and early evening. Winter is the dry season, so true storm light will likely be hard to come by. Still, these subtropical skies can be dramatic at any time. Some of the best spots for sunrise and early morning light are West Lake, Nine Mile Lake, Florida Bay and right along the road to Flamingo, the southernmost headquarters of the park. For late afternoon light, I favor Paurotis Pond and Eco Pond.

During your time in the Everglades, try taking the tram ride through Shark Valley and a boat tour from the visitor center in Everglades City. Explore Big Cypress National Preserve and less well-known (but worthwhile) Biscayne National Park, only a few minutes east of Homestead.

The close-by section of US highway 1 through Florida City and Homestead offers a good choice of lodgings and restaurants. Rent any regular passenger car in Ft. Lauderdale or Miami Airport if arriving by air. Don’t forget to pack sunscreen and insect repellent.

Note: There has been a recent infestation of deadly Burmese pythons in the Everglades, so exercise extreme care.

Jerry Ginsberg is a widely published freelance photographer and co-founder of Master Image Workshops. He has photographed all 59 U.S. national parks as well as most of the parks of South America using medium-format cameras. More of Jerry’s work can be seen at www.JerryGinsberg.com. Email – jerrygi@comcast.net.

South Texas for the Wildlife Photographer by Jeff Parker

Painted bunting by Jeff Parker

Painted bunting by Jeff Parker

Images and text by Jeff Parker

The desolate landscape of the South Texas Brush Country doesn’t look like much, but the biodiversity makes it one of North America’s best places for wildlife photography. It definitely ranks high on my list!

Scientists classify South Texas as a “semi-arid, sub-tropical” region. The result? Lots of wildlife! That includes a large number of bird species living at the far northern edges of their ranges.

Many—e.g. Kiskadee, Green Jay, Audubon’s Oriole, Couch’s Kingbird—are known as “South Texas Specialties.” And spring migration dramatically boosts the number of photogenic subjects that fly your way. By the end of April the summer breeders, such as Painted Buntings, Varied Buntings, and Scissor-tailed Flycatchers have arrived.

The best photography occurs when the animals grow hot and thirsty and flock to water to drink and cool off. Painted Buntings, in particular, really like their baths! This makes late-May and June prime photography time in the South Texas Brush Country.  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 »

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

Dewitt_97A3277 copy_01

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.  

Read the rest of this entry »

Documenting Diversity: the Madrean Archipelago Biodiversity Assessment

by Charles Hedgcock

 

During the revolution Martín Luis Guzmán rode the train through Navojoa and looked over at the sierra and felt what we all do when we see its green folds rising up off the desert. We all wonder what is up there and in some part of us, that rich part where our mind plays beyond our commands, we all dread and lust for what is up there.

-Charles Bowden, The Secret Forest

 

In 2009 the Tucson based environmental group “Sky Island Alliance” launched a visionary initiative to explore, document and protect one of the world’s premier biodiversity hotspots, the Madrean Archipelago of the North American continent. This 70,000 square-mile region of sky-island mountain ranges, surrounded by “seas” of desertscrub and grasslands, straddles the borderlands of the southwestern United States and northwestern Mexico.

Commonly referred to as the Sky Islands, the Madrean Archipelago is a globally unique region where several major biogeographic provinces overlap, creating a region of biological richness found nowhere else on Earth.  This richness caused Conservation International to name the region one of the world’s Biodiversity Hotspots in 2004.  Despite its proximity to the U.S. border, the Mexican portion of this remote and rugged area has received little biological study; thus the Madrean Archipelago Biodiversity Assessment (MABA) was born, an international effort to study a globally important region.

Arizona Walking Stick

Arizona Walking Stick. © Charles Hedgcock

With support from U.S. and Mexican experts in the fields of botany, entomology, ornithology, herpetology, mammalogy, and other disciplines, MABA expeditions are truly international and provide an opportunity to collect critical biodiversity data, foster graduate and undergraduate research, raise awareness about conservation in the region and develop important relationships with landowners, and land managers, on both sides of the border.

I have had the good fortune of being invited to participate in the MABA expeditions as the lead photographer since its inception. I often accompany a herpetologist into the field and provide photographic vouchers of the reptiles and amphibians we encounter. In addition, I document habitat types and capture images of the biologist at work.

After a day in the field, I continue to photograph herpetological, botanical, and entomological specimens brought back to camp by other teams of biologists. These animals must all be photographed that evening so that they may be returned, unharmed, to their point of capture the next morning. My images not only help document the diversity of life found in these remote mountain ranges, but also help to tell the story of this amazing project, its expeditions, and the many people involved.

Major findings from MABA expeditions include the discovery ofseveral new plant species as well as documenting many plant species previously unknown to the state of Sonora. MABA entomologists continue to make new discoveries, documenting more than 10 species of invertebrates that are new to science. Range extensions for a variety of species are frequently recorded.

Green Ratsnake

Green Ratsnake; Sonora, Mexico. © Charles Hedgcock

One of the greatest achievements of the Madrean Archipelago Biodiversity Assessment has been the development of a growing, online database of biodiversity. It is a remarkable natural history tool that provides access to the region’s foremost collection of specimen records and species observations for anyone seeking to learn more about the Sky Islands. This database currently contains nearly 78,000 animal records and almost 35,000 plant records for the states of Arizona, New Mexico, Sonora, and Chihuahua.  These data represent the products of MABA research expeditions as well as data from herbaria, museum collections, agencies and scientific literature. The database (www.madrean.org) is freely accessible to all.

 

Charles Hedgcock will share his experiences working with the MABA project and discuss some of the techiques he uses to document the amazing diversity of life found during the numerous MABA expeditions 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 program and others like it, please visit www.naturephotographysummit.com

The Flint Hills by Scott Bean

Out in the Flint Hills by Scott Bean

Out in the Flint Hills by Scott Bean

Text and Images by Scott Bean

Talk about landscapes in Kansas and a lot of people are going to think of the stereotypical image of Kansas – one big flat wheat field. Kansas certainly does have some flat regions, especially in the western half of the state. Kansas also has a lot of wheat fields – which are beautiful in their own right. However, Kansas has a number of unique landscapes that may surprise a lot of people. The Flint Hills are one of the unique physiographic regions of Kansas. They are an especially interesting area as they contain some of the last large contiguous areas of tallgrass prairie. The interesting topography of the Flint Hills and the flora of the tall grass prairie combine to make for wonderful photographic opportunities.

Wide open views and gently sloping hills are characteristic of the Flint Hills. I like to use a wide angle lens to try and capture the sense of space and the unique shapes that can be found out in the prairies, but short to medium telephoto lenses are also useful to bring in details of the hills and focus attention on the lines and textures of the region. Magic hour light can really bring out the contours and shapes of the hills, and sunrises and sunsets are often full of amazing colors.  Read the rest of this entry »

Photography from Your Car by JP Bruce

Sandhill crane photographed from my car!

Sandhill crane photographed from my car!

Text and Images by JP Bruce

Do not let what you cannot do interfere with what you can do. – John Wooden

Having trouble with mobility? Can’t cover the distances you used to? Rough terrain look too imposing to try? Whether this is permanent or temporary I wrote a book to show that you don’t have to give up your photography due to this limitation. I had polio as a two year old and have needed a brace and crutches for mobility since then, so I have learned how to adapt. I want people with and without mobility limitations to see that quality photographs can be made while staying in or near a vehicle.

There are many advantages of photographing from your car. The car can transport you to many places in a short time. Many animals are used to vehicles passing on the road and will ignore them so your car makes a good blind. Your vehicle is a solid base so with the addition of a support such as a beanbag or window mount you eliminate camera movement (remember to turn off the motor!). As a bass fisherman I used my boat as a large tackle box. Now, as a photographer I use my car as a huge camera bag. I have all my equipment available without worrying about weight, so I’m ready for any photographic opportunity. Read the rest of this entry »

Web of Water: Four NANPA Members Collaborate for Conservation

Web of Water

Web of Water

 

Check out The Web of Water Project – A Collaboration between NANPA Members jon holloway, Ben Geer Keys, Clay Bolt, and Tom Blagden 

The Web of Water project is a unique partnership with Upstate Forever, Fujifilm, Hub City Press renowned writer John Lane, photographers jon holloway, Ben Geer Keys, Clay Bolt, and Tom Blagden and corporate sponsors. The goal of highlighting through fine art photography the beauty, fragility, and critical importance of the Saluda-Reedy watershed and Lake Greenwood was a five year undertaking.

The Web of Water project tells the story of the watershed and those that depend on it for food, water, business, or recreation. A unique combination of beautiful and alarming images raise awareness about the watershed’s importance to the surrounding landscape and communities, current threats to the watershed’s health, and steps that citizens can take to preserve this precious natural resource in their midst.

This project will provide Upstate Forever with new opportunities to educate the community. Photography is one of the most powerful communication tools in assigning a higher sense of value to our environment. Often in the field of research, the visual connection between science and community is the untold story. This project will help bridge the gap and become a catalyst for community responsibility, awareness of cause and effect, and provide the public with unique opportunity to directly make a difference in the future of South Carolina.

www.webofwaterbook.com

 

Here are a few images from the Web of Water Project:

 

Eastern newt, Jones Gap State park, Image by Tom Blagden

Eastern newt, Jones Gap State park, Image by Tom Blagden

Read the rest of this entry »

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