FIELD TECHNIQUE: Autumn Colors in the Digital Age, Story and photographs by F.M. Kearney

The morning started out under foggy conditions in the New York Botanical Garden. The autumn colors were at their peak, but they looked somewhat subdued as they disappeared into the mist. By mid-morning, the fog had almost completely dissipated and the sun was struggling to make an appearance. As I approached a couple of Japanese Zelkova trees, I noticed that a thick stand of bushes that used to be there had been completely cleared. This allowed me to view the trees from a totally new angle, which had previously been inaccessible. I positioned one tree directly behind another one—making the one in front appear as though it had far more branches than it actually did. From a wide-angle, ground-level perspective, I was able to include much of the colorful background. Also, the trees on the far left and right leaned inward just enough to create the perfect framing elements.

The sun wasn’t quite at full power yet, but it was strong enough to create some areas of high contrast. I did an HDR compilation of five images (+/- 2 stops, 0) to balance out the difficult light.

Regular HDR © F. M. Kearney

Regular HDR © F. M. Kearney

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The Excellent Unknown by Sean Bagshaw

On the Verge, Colorado, 2014. © Sean Bagshaw

On the Verge, Colorado, 2014. © Sean Bagshaw

Images and Text by Sean Bagshaw

As outdoor photographers, we work in conditions beyond our control. Fortunately the unpredictable, whimsical and surprising elements of weather and landscape are also what can make it so engaging and fulfilling. Attempting to photograph the landscape in its defining moments has lead me to some formative life experiences, experiences that have taught me to look closely, wait patiently, see deeply and appreciate fully.

Consider an autumn photography trip I took several years ago. Excited by the promise of fall color and dramatic skies, I crossed Oregon, bound for Montana and Idaho. 1,200 miles later I arrived at Glacier National Park on the edge of an approaching storm. Hunkered in my van, I was buffeted by high winds and rain for four days, during which I was able to take photos for perhaps an hour or two. I never did see any of the famous peaks or glaciers on that visit.

Undeterred, I headed south in hopes of better weather. In the Sawtooth Range of Idaho, low cloud cover and snow kept the mountains hidden for all but a few minutes of the next four days. Windblown rain spotted my lens and blurred the aspen leaves in my low light exposures. During the long stretches of time alone in my van, I read, scouted locations, and studied the landscape and weather. I got up before dawn in order to be ready if the sun broke through. It didn’t.

Somewhere Autumn, Colorado, 2014. © Sean Bagshaw

Somewhere Autumn, Colorado, 2014. © Sean Bagshaw

The mountains were still shrouded when my time came to an end. As I drove back across the high desert of eastern Oregon, the skies opened for a brief moment, but by morning the clouds were back and it was snowing.

Despite the lack of photographs I had to show for my effort, I returned feeling invigorated and inspired. I was not ready to be indoors quite yet. The day after arriving home, I decided, on a whim, to make a quick visit to the upper Rogue River (just an hour’s drive away). After days of being immersed in gray, I was caught off guard when one of the most brilliant sunrises I’ve experienced illuminated the sky. For the rest of the day I hiked and I photographed bright fall foliage along the river in perfect soft light. On that single day I took more images than the previous nine combined, including one of my all time favorites. Those ten days will be with me forever: the cold, the gray, the quiet, the slow, the subtle, and finally the brilliant and unexpected.

Contrast that experience with the autumn photography trip I took to Colorado recently with my friend, Zack Schnepf.

The fates of weather aligned very differently for us. In two weeks we saw everything from cloudless, 80-degree days to thunderstorms, snow and 20-degree mornings. With some careful planning and a lot of luck we managed to consistently be in the right place at the right time. With such a string of ideal conditions we were working at a hurried pace and shooting continuously. We were even happy to see low clouds, drizzle and flat light one afternoon so we could justify a few hours off to take a shower and get to bed early. The photographs we took tell the story of the trip better than anything I can write.

The Rogue River is a river located in the southwestern part of Oregon, flowing from the Cascade Range to the Pacific Ocean.  The Rogue Gorge is a narrow channel formed by volcanic basalt rock that the river flows through. © Sean Bagshaw

The Rogue River is a river located in the southwestern part of Oregon, flowing from the Cascade Range to the Pacific Ocean. The Rogue Gorge is a narrow channel formed by volcanic basalt rock that the river flows through. © Sean Bagshaw

These two autumn photography experiences will always provide welcome memories. One was solitary, slow paced, introspective and moody, building to a grand finale. The other was very social and frenetic, with little time to reflect as the light and landscape of each new scene somehow eclipsed the one before. Most photography trips fall somewhere between these two extremes. Given the choice I would no doubt opt for perfect conditions every time. But, fortunately, we don’t get to choose the conditions. When the photography is less than optimal we have an opportunity to slow down, put the camera away for a while and just watch and listen. Even though we don’t know when or how, if we are patient and present, nature will eventually show us something wonderful. This excellent unknown is why I will always go outside and take photographs.

Sean Bagshaw is an outdoor photographer and photography educator based in Ashland, Oregon. He spends as much time as he can in the field on a quest for magical light. He can be found sleeping in his truck or on the ground, stumbling around in the dark, eating bad food and avoiding showers. He is one of six members of the Northwest based PhotoCascadia team. You can see more of his photography and find out about workshops and video tutorials at and


Momentary Glimpse of the Sawtooth Range. © Sean Bagshaw

Momentary Glimpse of the Sawtooth Range. © Sean Bagshaw

True Grit, Colorado, 2014. © Sean Bagshaw

True Grit, Colorado, 2014. © Sean Bagshaw

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

Lovely Bridalveil Falls in Cuyahoga Valley National Park, Ohio.

Bridalveil Falls in Cuyahoga Valley National Park, Ohio

Now that our long languorous summer is beginning to wane, particularly in the northern states, it is time to start thinking about fall photography. Let’s try something a little different.

Cuyahoga Valley, wedged between the urban areas of Cleveland and Akron, Ohio, is not your typical national park. Carved out of multiple semi-urban areas, several great tracts of land are now protected within the boundary of this relatively compact 33,000 acre park. Just two of the many highlights included here are wonderfully restored stretches of the historic Ohio & Erie Canal and the Cuyahoga River, once so badly polluted by chemical waste that it regularly caught fire.

Having been cobbled together from several disparate elements, when this park was established in 2000 it was part of an effort to bring the national park experience to more people. Located within a day’s drive of perhaps 40% of the American population, Cuyahoga Valley offers a wide variety of fun and great photography. This is particularly true around early-mid October when the woods are ablaze with brilliant autumn color. Continue reading


Story and Photo by 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 leavesresulting 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. Continue reading


by F.M. Kearney

FF-434I often look at autumn as nature’s version of information overload. With fall colors exploding all over the place, it’s sometimes hard to know exactly where to point the camera. Trying to capture everything in one frame often results in not capturing anything at its best advantage.

I’ve learned to use a variety of simple techniques to help make sense out of this visual potpourri. One way is to extract a subject out of its environment in order to help it stand out. A zoom lens is usually the best lens of choice to perform a “visual extraction.” Continue reading