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 »
“Silken Touch” Hemerocallis (Hemerocallidaceae)
New York Botanical Garden
I was setting up atop a small hill when I heard the sound of quick footsteps. Seconds later, they stopped. I heard a click, and the footsteps sounded again followed by another stop and another click. This pattern repeated several times. With my curiosity stirred, I finally looked up and saw a man briskly walking through a cluster of daffodils. He would stop just for a moment to take a quick photo, then walk a few feet away and take another. That kind of “rapid-fire photography” usually results in mediocre snapshots. Creative photographs take time. Often, deciding what to do with your background can make the difference between a mediocre shot and a creative one. Read the rest of this entry »
Marsh Landscape, Fishing Bay Wildlife Management Area, Maryland
Or, why I never get to take an afternoon nap during my photo shoots
In the film days of yore, I always counted on an afternoon nap during my photo shoots on nice sunny days. The high contrast of a sunny afternoon proved too much for film to capture details in both the highlights and shadows. Since I didn’t want to shoot under those conditions, what else was I to do but check the inside of my eyelids?
Thanks to digital technology those napping times are over, but I can’t complain about this new digital stuff. The one advancement I love that has raised the playing field in nature photography is high dynamic range (HDR). Read the rest of this entry »
What the Pros Don’t Want you to Know
With the professional bird photographers hot on my trail, I’m going to reveal, right now, the top secrets of bird photography. I’m ready to sacrifice myself for the betterment of every one of you who want to photograph birds. All are welcome, but if anyone asks, I had nothing to do with this.
Jim Clark, uh, I mean Ansel Wolfe Lepp.
P.S. You never heard this from me.
Read the rest of this entry »
Rich Mountain Road, looking down into Cade’s Cove, Great Smoky Mountains National Park, TN.
While summer is still with us, it’s not too early to start thinking about good spots for fall photography, particularly if you happen to live in a northerly latitude. Luckily, one of the best in America is within a day’s drive of more than one-third of the nation’s population: Great Smoky Mountains National Park.
Popularly called “The Smokies,” this big park is split equally between Tennessee and North Carolina. Three gateway towns provide access: Cherokee, North Carolina, in the south; the combined area of Gatlinburg and Pigeon Forge, Tennessee, on the northern edge; and the small, quiet village of Townsend, Tennessee, bordering the northwest corner of the Smokies. All offer a wide variety of lodgings and restaurants to suit every budget and taste with Gatlinburg being a bustling tourist mecca. Read the rest of this entry »
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 »
Text and photography by Cheryl Arena Molennor
Another rainy night rolls into the early morning hours, and I anticipate the end of the storm as the sunlight begins to break through the clouds. It is about 7:30am and the first glimpse of light beams through the thick blanket above. As it reaches ground level, the light reflects off of the colorful flowers in my garden, creating the most beautiful sparkling bed of jewels. Each time this happens, I am inspired to grab my macro lens and my tripod and head outdoors for a photo shoot.
I have always been fascinated by the magical images that can be created with water drops, reflections and refractions, so a few years ago I began experimenting with different ways of capturing this beauty in my garden or even in my home. The images below demonstrate a few of the techniques that I use for this type of macro photography:
The 7up Technique: For this image I filled a very clean glass with 7up (you can also use plain seltzer water). Then I inserted the pink gerbera flower in it while the bubbles were still very fizzy, and used a tool called the McClamp to hold the flower in place. After a few minutes the bubbles start to settle on the flower. I highly recommend using manual focus for this technique and it is also helpful to use a tripod and cable release to prevent any camera shake. Read the rest of this entry »
…or, how I learned to stop worrying and love telephoto zooms for landscape photography
Story and photograph by Jim Clark ©
Trees in meadow @ sunrise – Canaan Valley NWR WV (c) Jim Clark
Ever look at those images you captured with a wide-angle lens and feel like something was missing? The scene was magnificent and you feel stymied as to why the grandeur did not translate in your final image? It might be because you included too much of the scene in the composition. Read the rest of this entry »
Sea Otter 08212013 Southeast AK (c) Jim Clark
Story and photograph by Jim Clark
In the last issue of eNews (Part I), I wrote about a private cruise along the Alaskan Coast where I was invited to teach photography. In that piece, I emphasized the importance of keeping your equipment and yourself safe and weatherproof when photographing from a small boat. Now that we are warm and cozy, and our equipment is protected from the fickle elements of the weather, let’s explore some shooting techniques.
Unless you are photographing from a ship (remember, a boat fits on a ship, but a ship cannot fit on a boat), a tripod is not going to be useful. There is too much wave action and other vibration-causing variables, such as boat motors, breaching whales, splashing seals and such. Handholding your equipment is the way to go on a small skiff. Having the luxury of great technology today is helpful in achieving sharp images when handholding gear. Read the rest of this entry »
Story and Photo by F.M. Kearney
After the Fall, (c) F. M. Kearney
The brilliant colors of autumn have faded. Most of the leaves have already fallen; only a handful of stubborn diehards remain clinging to the trees. I used to think that come the end of October, the “show” is over until I started noticing all the little holes in these weather-beaten leaves. If the sun is placed directly behind them, a multitude of interesting sunbursts can be created.
I specifically look for low-hanging leaves with an unobstructed line of sight of the sun in the background. Exposure is best determined manually. Auto exposure will only drive you nuts as the meter bounces from one extreme to another with each subtle movement of the leaves—resulting in a series of inconsistent exposures. I simply spot-meter the area of the sky next to the sun and lock it in. Now, no matter how much the leaves want to dance around, the overall exposure will remain the same. For a more dramatic image and to better emphasize the sunbursts, I’ll sometimes slightly underexpose the sky. So as not to underexpose the leaves as well, a flash is a must. Fill-flash isn’t always strong enough in these situations, so I usually turn it off and use the flash at normal power. If necessary, I increase its output by a stop, which restores detail in the leaves as well as any lingering traces of color. Read the rest of this entry »