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 →
Each week www.nanpa.org highlights images from the top 100 submissions of the NANPA Showcase competition. This week’s images are by: Peter Ismert, Scott Reither, Robert Strickland, David Francis, Marco Crupi, Bob Oswald, Scott Smorra.
Each week www.nanpa.org highlights images from the top 100 submissions of the NANPA Showcase competition. This week’s images are by: Eric Bowles, Betty Sederquist, Hector Astorga, Lance Warley, Ken Archer, Diana Rebman, Douglas James.
Each week www.nanpa.org highlights images from the top 100 submissions of the NANPA Showcase competition. This week’s images are by: Tony Frank, F.M. Kearney, Mark Lagrange, Gabby Salazar, Nancy Hoyt Belcher, Ian Frazier, Matthew Hyner.
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 →
When reading this short essay, remember I have no plans to abandon color photography. My feelings are that both mediums have their place. Some images are better represented in color and others in monochrome. The principles of photography carry over to both methods. The only difference is in certain images, the lack of color and the power of monochrome can stand out when applied correctly. I also prefer to use the term monochrome rather than black and white. When viewing a black and white image, we are really looking at shades of gray, not just black and white. Continue reading →
In 2006 I moved to Abita Springs, Louisiana, a quaint, little town on the north shore of Lake Pontchartrain. A year later I discovered that I lived just over a mile from The Nature Conservancy’s Abita Creek Flatwoods Preserve. Since then I have walked and photographed there dozens of times. Three ecosystems mesh at this 996 acre site– longleaf pine savanna, slash pine/pond cypress woodlands and bayhead swamp. From forests and grassy fields to the Abita Creek that runs through them, this unique convergence offers some wonderfully varied photographic opportunities.
Only about 3% of America’s longleaf pine savanna still exists today. At this preserve, not only do I get to photograph these wonderful woods, but, in an effort to give back, I’ve joined a team of volunteers that meets to plant saplings every January. Light streaming through the pine savanna is always a joy to photograph (particularly on foggy mornings,) but for a few weeks every Fall it takes on a surreal, colorful glow shortly before sunset, an effect I refer to as “fairy light.” Continue reading →