Story and Photos by Greg Vaughn
Fun facts about Instagram: as of January 2016, there were 400 million Instagrammers uploading over 80 million photos every day. The hugely popular social media platform may be best known as a favorite of fan-hungry celebrities and with those who want to quickly share a snap of their latest meal, but it is much more than that. Instagram has become a showcase for outstanding photography of all genres, including nature, wildlife and landscape. Continue reading
An arctic ground squirrel posing in Denali National Park. It is sitting surrounded by tundra vegetation at the height of fall color in late August. Photo by Mitch Baltuch.
Text and Images by Mitch Baltuch
With the advent of digital photography, the proverbial shoebox moved from cardboard to silicon. The computer, or more correctly, the hard drive, became the shoebox. Along with this change came a significantly larger amount of images. The cost of film and processing no longer applied and everyone felt very comfortable in both shooting more images and using the high-frame rate capture setting on their camera. The result: a huge mountain of images. For many, this meant a mountain of chaos if they did not have a workable digital image management strategy.
Interestingly, with the advent of workflow-centric software tools, it is easier than ever to manage the images we capture and provide rapid, efficient search capabilities that allow us to find any image, for any purpose, in a very small amount of time. In addition, while not exactly fun, the job is no longer the mind-numbing, tedious task that it used to be.
To make a molehill out of the mountain that is digital image management, there are two requirements:
- An image management workflow
- A complimentary tool that allows one to efficiently perform that workflow
American Bison by Lee Hoy
Text and Images by Lee Hoy
As a wildlife and landscape photographer, I am constantly amazed at the plethora of colors that even a tiny damselfly can exhibit. It is capturing the palette of nature’s colors that often lures us out of bed early each morning, but what do we do when color just doesn’t cut it? What about when we are trying to communicate texture, form, grandeur, or movement and color becomes a distraction?
As a young boy, my parents would take me to the Wichita Mountains National Wildlife Refuge in Oklahoma where I was captivated by a giant woolly beast that embodied the American west. I have photographed the American bison on many occasions and often find color images to be disappointing. It was only after I bought Silver Effex Pro 2.0 and began to learn its capabilities that I realized black-and-white images were the ticket to revealing to others what drew me to bison in the first place. The deep crevices in the shaggy coat, the splintering of the tips of the horns, the soulfulness of the eyes, and the jagged wrinkles in their hindquarters were expertly represented through black-and-white. Continue reading
Story and photographs by Ralph A. Clevenger ©
Photographically painting with light has been around for about 100 years. It was made popular by distinguished photographers Man Ray and Barbara Morgan in the 1930s and 1940s. Photographer and inventor Aaron Jones was a master of the hosemaster light painting system and brought the technique into the commercial photography world in the 1980s (see http://aaronjonesphoto.com/). Personally, I’ve been fascinated by it ever since seeing O. Winston Link’s steam locomotive images from the 1950s. Continue reading