Just one of Canada’s innumerable peaks, the last light of day shows this one to its best advantage.
Story and Photos by Jerry Ginsberg
Our American West is sprinkled with many spectacular national parks. Even a quick glance at the map will reveal that these preserves of nature are just islands in a sea of a burgeoning population surrounded by spreading towns and cities that often press against many of the parks’ very borders.
In sharp contrast, our Canadian neighbors have a nation of almost exactly the same size as the U.S., but with only about one tenth of our population. As a result, they enjoy roughly ten times more elbow room. With the exception of relatively small pockets of people, western Canada enjoys lots of wide open spaces. As long as we bring our passports along, those fine folks will let us share their pristine parks and vast wilderness.
The Pool frozen over at sunrise, Central Park, New York, NY (HDR compilation of 5 images).
Story & photography by F.M. Kearney
That time is quickly approaching. That time of year when many photographers will pack away their gear and patiently wait for the first colorful blooms next spring. Yet, winter isn’t completely devoid of color, as some might assume. In fact, if you carefully plan what you shoot and when you shoot, you may be surprised at the amount of color you can coax out of this often-overlooked season.
This story was originally published in 2015. Good advice for today! DL
Story & Photography by Kerrick James
Like many of us, my love of photography began with the wild landscape. My early years were spent emulating icons like Ansel Adams, David Muench, and Eliot Porter. I followed the grand landscape dream all over the American West, and after years of chasing light and doing “pure” landscapes with no signs of humanity whatsoever, I began to feel a little boxed in, as if I was repeating my favorite lighting formulas everywhere I went, and missing something I could sense, but not see. Continue reading →
From the Editor: As pointed out in Gary Crabbe’s post on making mistakes, this is something that we all do. With the myriad of settings available on today’s sophisticated digital cameras, it’s easier than ever. This post appeared four years ago, and the lesson is as relevant today as it was then. DL
Without a doubt, one of my favorite of all the national parks to photograph is Grand Teton.
Perhaps it’s the starkness and beauty of the Grand Teton Range, but there is so much more to what makes this national park an endless source of fascination for photographers.
The main area of the park is accessible via what is called the inner and outer loop. The outer loop is Highway 191, which connects the town of Jackson with Yellowstone National Park to the north. The inner loop takes one closer to the base of the range.
As you enter the park from Jackson (located five miles south), you immediately encounter the view of the majestic Grand Teton Range.
One of the most iconic views is from a location known as Schwabacher Landing. The Snake River dissects the park. Some tributaries and beaver ponds have formed, creating the opportunity for beautiful reflections and foregrounds.
Continuing north along Highway 191, one will come across a parking lot area and overview of perhaps the most famous of all the park’s viewpoints, Snake River Overlook.
Ansel Adams’ iconic image from this location captured back in 1942 has been seared into the memories of many landscape photographers.
The scene today looks much different from Adams’ time as pines have grown and obscured much of the Snake River. Rumors have persisted over the years that the park may one day cut back these pines to once again reveal the scene as Adams captured it 76 years ago!
This past fall, I had my group on location at predawn. As you can see, the river was perfectly still and as the dawn hues arrived, the snow-covered peaks of the Teton Range reflected beautifully, allowing me and my group to create this image.
Oxbow is a location that one can photograph at both ends of the day. My favorite time is morning but I have made some nice images during and after sunset. Sunset works better if there are some clouds in the sky.
Other icons of Grand Teton National Park are the T.A. Moulten Barns, located on Mormon Row just off Antelope Flats Road.
This scene is generally photographed in the morning as first light hits the peaks. I decided a couple years ago to try photographing this scene at sunset and came away with this image.
At sunrise, this location can be overrun with photographers. When I captured this image, I had the location to myself.
This lone barn has been restored recently along with other barns and old homes in the Mormon Row Historic District.
Regardless of the time of year you chose to photograph Grand Teton National Park, one thing will remain constant – the beauty will overwhelm your senses!
Having begun his professional career over 40 years ago as a sports photographer, Don successfully transitioned into the world of fine art landscape photography in 2002. For seven years he was a contract photographer for Sports Illustrated and still keeps active in sports as original co-team photographer for the NHL’s San Jose Sharks. The rest of his time is spent on his landscape photography work. Don is renowned for his work as stock photographer for Getty images and as a landscape workshop instructor, teaching 17 workshops per year. He has had cover images for over 30 books internationally. His work has been displayed in the Getty Museums around the world. Don teaches landscape workshops around the western United States from eastern Utah to Kauai. Don is affiliated with Topaz, Helicon Focus, SmugMug Pro, MindShift Gear, Think Tank, and B&H Photo. He is also part of the pro teams at both Singh-Ray and Lexar. In 2014, Don was named to the Sony Artisan of Imagery team of professional photographers. He has written three books: Refined Vision, The Photographer’s Guide to the Big Sur Coast, and On the Edge. He has also recently released a 22-chapter video series titled: A Simplified Method to Processing which followed his successful video series A Simplified Method to Workflow in which he teaches his innovative approach to post-processing. All can be ordered on his web site (www.donsmithphotography.com). Don and his family live in the Monterey Bay area of California.
It’s time for a winter break—join Daniel to photograph in Bosque del Apache Wildlife Refuge, New Mexico, one of the top birding hotspots in North America! Winter is the best time to photograph the thousands of sandhill cranes, snow geese, and various ducks that migrate through the area. Endless photo opportunities in this world-famous wildlife refuge make it the perfect destination to enhance your photography skills.
We will sneak away to White Sands National Monument for an evening and morning shoot of these beautiful white dunes. Relax… Transfers, touring, meals, hotel, and one-on-one time with Dan in the field are all included. A perfect long weekend getaway!
Like many of us, my love of photography began with the wild landscape. My early years were spent emulating icons like Ansel Adams, David Muench and Eliot Porter. I followed the grand landscape dream all over the American West, and after years of chasing light and doing “pure” landscapes with no signs of humanity whatsoever, I began to feel a little boxed in, as if I was repeating my favorite lighting formulas everywhere I went, and missing something I could sense, but not see. Continue reading →
It is easy for digital photographers to get lazy out in the field — “Oh, I can fix it digitally, later. . . .”
There is nothing necessarily wrong with that approach, but I like to try to get it right in the field, preferably all in one shot. And sometimes that takes a few tricks.
Take the image below I just photographed.
A long exposure can give a nice abstract feel to an image. Using a polarizer slows down your shutter speed about 2 stops helps give you that longer exposure. Combined with a small aperture and low ISO, I had a nice long 30 second exposure to really abstract the water on the lake.
But what about the sky? It is a lot brighter than the darker foreground here and will overexpose. I could shoot it in two different exposures and add in the properly exposed sky later, but I’d rather get it one shot.
So I pulled my 3 stop Graduated Neutral Density filter out of my bag and held it over the lens to bring down the light in the bright sky and equalize the exposure. Voila – you get the image all in one shot. A little more work up front, sure, but worth it to me. (And less work on the computer, later!).