Have you got a story to tell? Photography advice to share? Expertise in or a passion for some aspect of nature photography or the gear and technology we use? Nature photographers are pretty darn good behind the camera but not everyone is so good in front of a keyboard. That’s why we’re excited to announce that a professional ghostwriter has volunteered to help NANPA members craft their thoughts into articles for the NANPA Blog.Continue reading
Story & photo by F. M. Kearney
I’m often amazed at just how much subconscious thought and planning goes into the creation of a “simple” photograph.
A couple of years ago I was in the Thain Family Forest of the New York Botanical Garden. Located in the center of the 250-acre garden, this forest is the last remaining tract of original forest that once covered most of New York City.
I was initially attracted to a rustic log fence at the entrance to one of the forest trails. Seeing it as the perfect foreground element to lead a viewer’s eye into the photo, I positioned my tripod in the center of the trail and leveled it to the height of the fence. This was the best perspective to show the lines converging as they disappeared around the bend in the distance.Continue reading
Maybe something similar has happened to you. I was photographing along the Oregon Coast. My camera was on a tripod, it was windy and my camera strap was bouncing around causing vibrations, so I unclipped it. So far, so good. When I was done, I clipped the strap back on and took the camera off the tripod . . . and almost dropped it into the surf because I hadn’t secured the strap clips properly.
November is International Check Your Camera Strap Month, an annual event created by a couple of . . . you guessed it . . . camera strap manufacturers. But, before you dismiss this as a publicity stunt (which it absolutely is) let’s look at the reasoning behind it.
Surveys of camera manufacturers and camera repair facilities indicate that “impact damage” is the most frequent type of repair. While not all camera crashes are caused by strap problems, enough are to make this topic worth examining. I can’t prevent myself from being clumsy but I can do some simple things to protect my gear. And, one of the simplest is to regularly check my camera strap.
I love the ability to quickly unclip my strap. It comes in so handy in situations like that windy beach, where the flapping strap could ruin my photo. But it’s all too easy to clip the strap back in quickly, without thinking and without making sure it’s secure. It’s also all too easy for camera strap attachments to loosen up over time, especially with all the use (and abuse) we put them through.
So, let’s take advantage of International Check Your Camera Strap Month to cultivate some new habits. Let’s regularly check our straps and double check the connections every time we reattach the straps.
There are many kinds of camera straps, which give us tons of flexibility in how we use our gear. Properly used straps can make carrying our gear much easier and prevent a lot of falling camera accidents. But only if they are properly attached.
Story and photos by F. M. Kearney
Flowers are definitely one of the most popular subjects in nature photography. They’ve been photographed with limited depths of field to convey a soft, romantic look. They’ve been photographed with large depths of field to show the abundance of a large group. Sometimes, the sun is included for a more dynamic shot. A vast array of special effects have been employed to produce some truly stunning imagery. Indeed, flowers have been photographed in every conceivable way imaginable. However, the one way in which I hardly ever see is from the rear. I did a Google search of “Creative Flower Photography,” and out of the 100 or so results, only 2 or 3 photos featured the backside. That’s a shame because so many great opportunities are going unrealized.Continue reading
Story & photos by Jerry Ginsberg
The dictionary defines ephemeral as transient.
e-fem-e-ral — Temporary, or passing, as changing as the rocks.
In the case of the rock formations that dot and decorate our Earth, we could also add, “in transition” for the rocks do not stay the same. Even though they may look to us mortals that they do, it is only because we are changing faster than are they. Sometimes.Continue reading
Story and photography by F.M. Kearney
How can I crop out the edge of that building?
Has the traffic completely cleared the scene yet?
Are those tourists ever going to move?
If you’ve ever tried to shoot nature photos within an urban environment, you’ve undoubtedly asked yourself questions like these at one time or another. I often write about the difficulties of pursuing a career as a nature photographer in a large metropolitan city. It’s not always economically or logistically possible to escape city limits and venture into the wild to capture true nature. You sometimes have no choice but to shoot nature wherever you can find it—amidst all the inherent distractions of a concrete jungle.
I used to go to great lengths to avoid any man-made objects in my nature photos, believing that any hint of urban artifacts would lessen the impact of the natural subject. This would be true if the objects were only in the shot due to careless oversight. However, it’s an entirely different story if their inclusion is deliberate and done for creative purposes.
Cities come alive with color in the spring. You probably won’t have to go far to find a beautiful flower display. Instead of attempting to isolate it from its surroundings, try to incorporate the natural and the artificial worlds.
In New York, colorful tulips adorn the median of Park Avenue for several miles. With the traffic zooming by just a few feet away, it’s amazing that they survive. Yet, not only do they survive in this inhospitable environment, they flourish. And for a couple of weeks during the season, they really put the “park” in Park Avenue. Countless tourists photograph these flowers each year, but very few hang around until twilight. That’s too bad (well, it’s great for me since I practically have the whole place to myself), because the city and traffic lights add a lot of vitality to the scene. Instead of waiting for the traffic to clear out of the shot in the photo above, I waited for it to enter. I wanted to use the light trails from passing vehicles as a dynamic framing element for the tulips, as well as a way to help draw the viewer’s eye into the shot. I chose this particular spot in between two glass towers for more symmetry and more colorful light reflecting off the windows. Lastly, I used a 16mm fisheye lens to emphasize the “tunnel” effect of the scene. 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!).