Experience has taught me to exploit compositional techniques that help my nature images take on a more compelling story-telling quality. One such technique that I employ frequently is juxtaposition. This fancy word is formed by joining the Latin root “juxta”, which translates to “next to”, to the word “position”. Compositionally speaking, this means placing the subject next to some object in order to set the stage for a compare-and-contrast scenario. In some cases it is the similarity of the subject to the secondary object, whereas in other cases it may be the difference between the two that is stressed. More often than not, what results is a more inviting look and feel to the final image. In this article, I will delve into more detail about juxtaposition and highlight some examples from my own images. Continue reading →
Black skimmers are my enigma bird. Just when I think they couldn’t possibly be around, they show up in droves. Then when I think it’s a perfect day to see some, they’re nowhere to be found. Continue reading →
Landscape photographers are exhilarated when a prominent portion of the landscape becomes illuminated with golden sunshine, especially when the sky directly behind it is a stormy dark gray. Unfortunately, these incredible displays of spectacular light are unpredictable and usually fleeting. Fifteen years ago I decided to use my Canon Speedlite to provide the blast of light I needed to light a rock ten meters across a raging river. My first flash attempts were futile since the Speedlite didn’t add any additional light to the rock. I pondered the situation for a while and finally realized I had “murdered” my Speedlite. Using ISO 100, a polarizer, stopping down the lens to f/22, and allowing the camera to set the zoom on the Speedlite’s flash head to 24mm to match the lens being used all conspired to make it impossible to light an object only ten yards away. Continue reading →
“What lens should I bring (into the field with me)? Is a question I hear many, many times a year while conducting tours, classes and workshops. While I joke about this, often saying: “well, all of them”. To an experienced photographer the question on the surface seems silly. To be truthful however it is a very valid question, on more than one front. While I usually address the issue up front in classes before we hit the field, I and other experienced photographers should be more aware that this is not as obvious as we think it is. Continue reading →
Unmanned Aerial Vehicles (UAVs), otherwise known as drones, have been in the news a lot lately, not always on a positive note. Reported sightings near airports, sport stadiums and large crowds or urban settings have caused alarm and consternation from public officials and the FAA, which has led to negative and (sometimes) alarmist coverage from news organizations. Of course, the problem lies with inexperienced and reckless users rather than with the exciting technology these UAVs offer for the gathering of unique and useful images and footage.
Using a drone in Tanzania.
As an avid landscape and wildlife photographer with a background in commercial aviation (my day job), I became intrigued with the possibilities of utilizing UAVs. They can be fitted with stabilized cameras to record images and footage not otherwise obtainable except at great expense with manned fixed-wing aircraft or rotorcraft. The rapid technological advances that enabled adaptation of this technology to small UAVs from their larger military cousins have produced capabilities that rival ground-based camera systems. The latest is the DJI Phantom 3, which allows stabilized 4K footage and 12 MP DNG files. It also provides full camera control through a controller-mounted tablet. The DJI Inspire 1 Pro is fitted with a MicroFourThirds (MFT) sensor that takes 4K video, 16 MP stills and has the unique feature of interchangeable lenses. Thus the capabilities for capturing exciting and memorable footage and images have become a reality.
I enjoy shooting early on winter mornings. Besides capturing the beautiful light that occurs just before sunrise, I’m unencumbered by the masses of casual photographers and sightseers that tend to venture forth later in the day. Sometimes, however, I find that I’m out a little too early—long before sunrise or even the magic light of the day.
In the Northeast, too early means little more than bare branches dominate the scene. What initially might seem like a bleak subject, bare branches can reveal a multitude of creative options. Also, if the moon is out, it will shine like a beacon in the darkened sky and add even more interest to the shot. Continue reading →
For many aspiring wildlife photographers capturing beautiful portraits of their favorite birds or animals in the wild is often their primary goal. This is certainly an understandable and a worthwhile endeavor. When I began photographing wildlife over thirty years ago, I was inspired by the striking wildlife photos of Leonard Lee Rue III and Erwin Bauer. I carefully studied how they used the light, controlled backgrounds, and placed their subjects in the frame to create pleasing wildlife portraits. I pursued the perfect wildlife portrait relentlessly and over time accumulated a large collection of. As time passed I became less and less satisfied with my wildlife photography. I desired more evocative images with impact. I felt as though I really needed to elevate my images to a higher level. I will discuss some of the methods I’ve used to achieve that goal and continue in my evolution as a wildlife photographer. Continue reading →
The landscape of the Colorado Plateau is ephemeral, a changeling, although to beings with short life spans this land seems immutable, a constant. But in canyon country stunning changes can occur in a single afternoon, altering the course of a stream, stranding a waterfall, even creating a new unheralded cascade. Thus, it has always been in Havasupai, named for the people of the blue-green water.
Havasupai, the mythic side canyon hidden well to the west of the South Rim summer mayhem and adjoining Grand Canyon National Park, has always been near the top of my favorite locations to photograph. I’ve been lucky to shoot this desert Shangri-la a dozen times since the late 70’s, with a progression of cameras from 4×5 to 67 Pentax to a variety of digital formats. For years I blithely assumed that the interwoven terraces of travertine below each of the three great waterfalls, Havasu, Navajo, and Mooney, would always be there to compose as one of the most artistic foregrounds imaginable. Continue reading →