First published in English, TREES Between Earth & Heaven is now available in Italian and German as well. While I always recommend that you support your local bookseller, here are online links for purchasing:
Australia | Canada | Italy | Germany | UK
USA: There are also half a dozen signed copies left at my studio in Seattle – Order today, they will be gone soon!
The following is an excerpt from “The New Art of Photographing Nature“. Pick it up in my online store and check a gift off your list for the photographer in your life!
SCALE: HOW LARGE SHOULD THE SUBJECT BE?
AW: In these three shots of a spotted owl, we see how the owl changes in importance according to its relative size in the frame. In my opinion, no image is stronger than the other; they simply say different things. The first composition is a shot of old-growth forest that happens to have an owl as an element (80mm lens). In the second, the owl is clearly more evident, and still enough forest shows to create a strong sense of place (200mm lens). But in the third, I’ve eliminated most of the forest and the owl is clearly the dominant element. It is a more rewarding view of the owl, and of the textures of the trees, which you can now fully appreciate. The sense of forest is definitely gone (400mm lens).
MH: In each of these images, the owl relates to his surroundings in a different way. In the first, he is hardly visible, blending in beautifully with his surroundings. It is interesting that here, the light-colored branch, rather than being a detracting element, actually leads our eye right to the owl. The forest, with its strong vertical lines, is clearly the dominant element in the frame. If I had a story to illustrate that emphasized the need to save lots of habitat to provide for one owl, I would use this version.
In the middle frame, there is much more of a balance between the bird and the forest. The owl stands on its own, without being overpowered by the trees. This would be a classic opening shot for a story on spotted owls and old-growth forests.
In the last image, you have a portrait of the bird. Now, too, the lighter limbs of the trees actually take over as the strong linear elements in the composition. The owl’s soft shape stands out against the harder lines of the tree trunks, without losing the feeling of camouflage we had in the first version. Unless I had text I wanted to drop out of the space on the left, I’d crop this to a vertical to emphasize the owl even more.
For more insights and technique tips, check out “The New Art of Photographing Nature”!
For all the convenience online shopping and warehouse stores might offer these days in terms of your holiday shopping, it has a huge down side – a lock of uniqueness. Avoid the same big-box items and front-page flash sale gifts that might SEEM like a great idea, but end up getting limited use before they are stowed away and forgotten!
I have a limited number of Chromira prints available encompassing four iconic images from my Open Print Collection, signed and ready to be sent to you for the holidays! Save 30% through Monday, November 26th.
Purchase or not, I wish each and every one of you Happy Holidays!
Hot Springs Zen – 18 x 24″
$700 $490
Enlightenment – 19 x 48″ panoramic
$1200 $840
Life Lines – 16 x 48″ panoramic
$1200 $840
Spirit Horse – 18 x 24″
$2,265 $1585
As the calendar prepares to turn to 2019, I’m looking to travel and photograph as much as possible. That means checking the calendar and listening to feedback from YOU and offering more chances to attend workshops that generally fill up quickly. I invite you to join me for four newly posted U.S. workshops!
Follow the links below to learn more about each workshop. Sign up today to reserve your spot. Early birds can register before December 1st for a 200$ Discount!
April 25 – 28, 2019
Olympic Peninsula Workshop with Art Wolfe
May 1 – 5, 2019
Moab, Utah Workshop with Art Wolfe
May 8 – 12, 2019
Appalachia Photography Retreat
May 15 – 19, 2019
Abstract Astoria Photography Retreat
Today is the official publishing date in the U.S. for Trees: Between Earth and Heaven. Back home in Seattle, we’ve been sending out early signed copies for the past couple weeks – so if you may be the lucky ones to have pre-ordered from us, you either have it or it’s on it’s way! There’s no other way to put it – it’s a beautiful 11×14 nearly 300 page book that exceeds even my demanding expectations, and feedback from those whom have received their copies affirms this!
Of course, a book about trees is naturally a book about our environment. Rest assured that in coordination with Roots of Peace, two trees are planted for each tree used in the manufacturing of these books.
To get your copy, and to support a local small business and the work that makes these books possible, you can order your copy from us in my online store, or from your local bookseller. Alternatively, there’s always this option!
The following is an excerpt from “The New Art of Photographing Nature”, and for more photos of the natural world, specifically magnificent trees world-wide, check out my latest recently published book “Trees: Between Earth & Heaven”!
MAKING ORDER OUT OF CHAOS
The elements that go into making a good image are basically the same for photography as for art, with one significant difference. An artist is faced with a blank piece of paper or canvas and has to construct a whole image by putting together the design elements–line, color, form, space, perspective–all of which he must create for himself. A photographer is given all these same elements in his viewfinder and basically subtracts the material he finds distracting and unessential to his statement.
Good photography is decision-making. It is not a passive process. The eye must learn to detect the essential and make it into a meaningful arrangement. Initially, nature appears random and chaotic. Our mind needs to make order out of chaos, to create relationships between things in order to understand them. When we look at something, we subconsciously focus our attention on some aspects and ignore others; we filter everything through our experience and our emotions.
The camera makes no such distinctions or evaluations. It records everything it sees. It is, therefore, the photographer’s responsibility to edit the camera’s view and select those elements to be captured. Understanding what goes into making a strong composition can improve a photographer’s personal statement. Freeman Patterson stated it beautifully when he wrote: “The camera always points both ways. In expressing the subject, you also express yourself.”
In a good composition, one has the distinct impression that nothing could be added to or subtracted from the picture. This sense of completeness–of balance–is the key. Balance does not, however, imply symmetry. Asymmetrical compositions can be balanced. We will explore these concepts as we move from chapter to chapter, discussing where to place the subject, how to make it stand out, how it relates to the other elements within the frame, and what creative options you have to work with to make a stronger photographic statement. There are some guidelines that can be followed, but none of them are so absolute they should be adhered to constantly.
Art Wolfe: “In the first image, the tree is silhouetted against a much lighter pink sky. In the second, it is against a part of the cloud closer in value to that of the tree, but the composition is still not quite there. In the third, the cloud is now in complete balance with the value of the dead tree, and I have recomposed the tree to fill out all four corners of the composition. To my eye, it is a more harmonious image.”
Martha Hill: “We are talking about very subtle distinctions here. Many people will like the first image over the third because of the luminous quality of the pink background. And it is clearly a matter of personal taste.
What makes the third photograph so appealing to me is the ethereal quality of the light. The background colors gradate very subtly from pink to lavender to blue in an even tonality, giving a sense of serene harmony and balance. The linear design of the tree branches is weighted slightly off-center, thus creating a delicate imbalance.
The spatial depth in the picture is also ethereal. As in an Asian painting, the sense of three-dimensional space is ever so subtly there, as the lighter tone of the tree brings it forward from the background. The branches reach to the edges of the frame, also bringing the tree to the frontal plane of the picture space. To me, this third version is shibui, which in Japanese describes something of an understated, highly refined elegance.”
For more insights and technique tips, check out “The New Art of Photographing Nature”!
If you follow the blog and my Events page, you know being idle is not my strong suit. In looking at the upcoming schedule, it become apparent I had some time to work with – and to that end I’m offering two of my most popular workshops to late April and early May that many of you have been waiting for an opportunity to join. These are always sell-outs, so if you’re interested be sure to sign up ASAP to guarantee your spot!
As an added bonus, sign up before December 1st and receive an early bird discount of 200$ off each workshop!
Olympic Peninsula Workshop
April 25 – 28, 2019
From the dense evergreen forests to the expansive coastal landscapes bordering the Pacific Ocean, there is a lot to cover on the Olympic Peninsula. Wildlife, Waterfalls, the Ocean, the old growth forest – this location has everything, and we’ll do our best to cover as much ground as possible!
Abstract Astoria Workshop
May 1 – 5, 2019
This workshop has become a signature destination with so much to offer that repeat attendance is common. Not only is Astoria a historic location, holding the title of first permanent settlement on the Pacific coast, it’s also home to plenty of great places for us to dine and chat after our days shooting.
Click the links above for more information about these two JUST added workshops, but don’t hesitate to get signed up before they are full!
Today’s high ISO cameras are amazing at freezing motion, a technique I use and love on any wildlife shoot these days I have been capturing images that I couldn’t have imagined in the days of film – or even 8-10 years ago, for that matter. Flying bears, macaws tack sharp against a dark cave, every drop of water perfectly captured from the spray of an elephant – what’s possible now is incredible!
AI often try and remind myself to slow down every now and then; drop the ISO back down to 100 and stop down the aperture and let the motion move across the image. Ernst Haas was one of my early influences, a person who’s work I continue to admire. He was a pioneer of using this technique to show the motion in his subjects.
It takes some experimentation and often you won’t really know if you have any successful images until you’ve edited and evaluated them. Some may still show the eyes of the animal in reasonably sharp contrast to the blurred legs in motion – I like this look – but I also like those images that make me think of ancient drawings on a cave wall, where nothing is particularly defined and the entire animal is abstracted in it’s motion and the background a blurred canvas.
I won’t always see the potential in these images immediately. Some I shot on film many years ago I nearly tossed out but decided to file away at the last second. I pulled them out years later and found a new appreciation for their abstract qualities and I’m glad I did!
If you’re interested in more photos captured with this technique, check out Rhythms From the Wild.
You may have guessed that I LIKE BEARS! I have been photographing Alaska’s bears since the early 1980s and I feel this is the best photograph of a brown bear I have ever taken – and that’s just not the adrenaline talking!
When you visit a location as often I have, you begin to recognize the ‘locals’, and I have a history with this bear. She’s a young female I’ve photographed in years past, catching fish like none other. This year she had two cubs demanding her attention and was still the best. As the male bears splashed and thrashed at fish, she was like an efficient machine; feeding her cubs was her prime objective. I knew exactly what she would do and focused on her.
Limited to an edition of 100, #1 is a glorious 40 x 53″, very nearly life size! Be the first to own this archival print and 10% of the retail will be donated in your name to the University of Washington’s Center of Conservation Biology (they’re the scientists who do significant work in the DNA tracking of poached endangered species!).
Be the bear, not the salmon!
