It’s hard to believe we are half way through 2018! Summer is here and the flycatchers, chickadees, and hummingbirds are nesting in the yard. I wanted to take some time to update you on some exciting upcoming book news, as well as several new additions to the workshop calendar:
My latest book project Trees: Between Earth and Heaven has been sent off to the printer. We will have copies here in late October and I have a pre-order special going that includes a signed copy of the book and a small print. This will be another gorgeous, weighty tome—on the scale of Earth Is My Witness with three gatefolds and 296 pages. Once again Wade Davis has penned an introduction, and text is by noted author Greg McNamee. Please note that there will be a tree planted by Roots of Peace for every copy of the book sold.
Interested in being in your own Human Canvas? Recently I had a request from friends to do a custom piece with them as models and it turned out magnificently. I personally will work with you in creating your own unique piece. Please reach out through our contact page.
We’ve just posted seven – count ‘em, seven – new workshops for 2019! Highlights include Holi and tigers in India, Katmai Bears (I have locked down the best time to see them), and an autumn photo journey to Romania. Native son Gavriel Jecan will be co-leading in Romania with me and he will guide us to all his favorite locations in the magnificent Carpathian Mountains. We might see bears there too! I have also posted the 2019 editions of Abstract Astoria and Mount Rainier Wildflowers.
It’s shaping up to be a very full second half of 2018 and I am looking forward to some fantastic photo opportunities in 2019 and beyond. I hope you can join me for some of them! You can also save 20% on my current and very popular print of the month featuring a bear fishing in Katmai, Alaska – one of the locations you’ll find on my list of workshops – and check out my first half images for 2018. Keep in mind just about any image you can find in any of my books, on the website itself, or the stock site is likely available as a print – contact my staff and we will set you up with pricing and details, and I’ll personally sign it before we send it your way!
The last eleven days have been packed full! Book-ended by two Pacific Northwest workshops, we photographed Mount Hood, Smith Rock, Crater Lake, Cape Perpetua and Yaquina Head. We started off exploring the Columbia River Gorge and after photographing the Milky Way over Crater Lake, we checked into a less-than-savory motel at 3am for some much needed shut eye before heading to the Oregon Coast.
Those who claim there is nothing left to photograph in the Columbia River Gorge because of the fires are misinformed! We photographed beautiful locations on both the Washington and Oregon side – it helps to know where to look. If you haven’t been there, the Columbia Gorge Interpretive Center in Stevenson is a great place to stop and explore the history of this fabled river!
Enjoy the photos – I’m home for a few days to regroup and then it’s off to Glacier Bay!
My latest book, “TREES: Between Earth and Heaven” will be available this fall, and if you preorder between now and October you’ll be sure to receive a personally signed copy as well as an 8 x 10 print of one of the book’s many images.
This 300 page book is filled with hand selected images of trees from around the world photographed over the course of my career. Photos range from vast expanses of forests to individual trees, as well as a focus on our cultural relationships with them. An introduction by Wade Davis kicks things off, and Gregory McNamee provides text that includes legends, lore, and literary accounts from across the globe relating to the great trees of the world as well as conservation efforts to protect them. I also share many of my personal views on these subjects as well as photography notes for included photos.
I’ve had a chance to visit the publisher and take a look at the early progress on this book, and I was blown away by the work that’s been done so far – this will be one any nature and photography enthusiast will want on their book shelf!
As we are in the middle of a couple of West Coast workshops where coastlines, waterfalls, and woodland streams take center stage, now is a great time to discuss the use of neutral density filters. In the summer months where overcast days become rare even in a region fabled for it’s grey skies, ND filters are a necessary tool for outdoor photography.
Simply put, an ND filter will reduce the amount of light your sensor receives without affecting the color of your capture, therefore allowing you to use a wider aperture, capture a longer exposure – or both. This is especially useful when you’re shooting outdoors on a bright, sunny day, or trying to expose for soft waves and motion in water. If you’ve done this without an ND filter, then you know how hard it can be to get the exposure correct without having a blown-out sky and over-bright highlights.
ND filters come in several stops, with the cheaper 1, 2 or 3 stop filters being common – however I highly recommend spending the extra money on a 6-stop or even 10-stop ND filter. These will block out more light, and give you the greatest amount of leeway in using your camera settings to achieve your desired results.
A 6-stop filter will be good enough to expose for blurred waves and streams, and capturing the scene without an over-bright sky, while a 10-stop will create the foggy dream-like haze of water in motion. In either case, you will cut down on blown-out areas of your photo, balancing out the tones while keeping true-to-life colors and exposing for the proper amount of detail.
Though most of my use for ND filters involves apertures in the 11-13 range to capture all the details of a landscape, or as low as 5 for a scene that may not need all the details sprawling to the horizon, an ND filter will also allow you to open up your very wide. This way you can photograph a specific subejct outdoors on a brighter day while still keeping your aperture wide enough to achieve an out of focus background.
It’s almost time for the annual Katmai, Alaska workshops series! The trip at the end of July is sold out, however a few spaces are still available for the second workshop I’ll be leading from August 1st through the 7th.
This is a Katmai experience like no other due to the exclusivity of the location, my decades of experience visiting this region, and of course our close working relationship with local experts and accommodations. We know these bears well, and most importantly where to get the best access to capture unique shots safely. This time of year, the rivers and streams are full of salmon and the bears are so occupied with the fish that they hardly give our groups a second glance.
Along with the expertise of the location and the philosophy behind it’s significance, we will also discuss all aspects of photographing in the field including techniques for composition unique to Katmai. Sign up now online, or give my office a call at 1-206-332-0993 and secure your spot. This trip WILL sell out so don’t hesitate!
It’s an understatement to say that New York is a great city to walk and photograph. During my recent visit to the East Coast for dates to present Photography As Art and spend time with some good friends, I was able to amble about on my reconstructed foot, in particular, photographing around The World Trade Center. I also took to the skies in a helicopter at dusk to capture the city from above. It doesn’t get much better than that – Enjoy the photos!
I’m excited to be bringing Photography As Artto the City of Brotherly Love this weekend. Three more sleeps till I see all the smiling face of those whom are already signed up! If you’re in the area and haven’t registered, there are still some spaces remaining. This is the LAST seminar on the calendar for the year – as much as I love presenting them, I’ve got some catching up to do with other trips, workshops, and upcoming book projects – so you can bet I’m going to enjoy every minute of it!
If you aren’t familiar with Photography As Art, the focus is on using your camera – any camera, mobile phone included – to capture and create uncommon and visually imaginative images using design principles and art history as your guide. We will discuss the work that has inspired me while expressing just how accessible creating beautiful images can be without having to travel far afield, or re-hashing the same old “same old”.
This has become a finely tuned seminar, and one I feel can be enjoyed and appreciated by photographers of all ages and skill levels; a valuable mindset to have when starting out, as well as an important new perspective on your goals as an experienced shooter. The feedback I’ve received in my most recent dates in Montreal and New York are overwhelming – come and spend your Saturday with me!
Save 20% on the Print of the Month – Parting of the Red Sea. Captured on my annual trip to Katmai National Park, Alaska, a brown bear hunts for a meal while Sockeye salmon circle just beyond reach! The green of the water in contrast to the bright reds of of the spawning salmon create a natural frame for the fishing bear. A few trips to this location are upcoming in August, but on the verge of selling out – check out the events page for more info!
The remaining dates for Photography As Artin 2018 are happening over the next couple of weeks! A seminar that keeps evolving, PAA is a finally tuned machine and I’m excited to bring it back east for four dates over the next two weekends!
Check out Photography As Art in the following locations beginning in just a couple of days! I’d like to ask give a special thanks to Canon and Epson for sponsoring these events.
This seminar is designed to completely change the way you view photography, and my intent is to inspire you to bring unique artistic visions to life using your camera as both brush and canvas. With an emphasis on the abstract, imaginary landscapes, and capturing metaphors the lessons learned here can be applied anywhere and with whatever equipment you have available – no globe-trotting or a plethora of fancy gear required.
If you’re on the west coast, I’ll be back in the Pacific Northwest for a couple of workshops before the month is through. A few space remain for the Columbia River Gorge workshop, and there is room for just one more for the Oregon Coast!
Some people are amazed to learn that I still enjoy getting out to photograph wildflowers. The greater truth is that I just enjoy getting out to photograph – anything. It fuels my soul, and as long as I can walk and hold a camera that’s where you’ll find me, out in the field working the subject, whatever it may be.
As spring gives way to summer, the snows on the mountains around Seattle melt away to reveal wonderful meadows of wildflowers. Mt Rainier is perhaps one of my favorite destinations for wildflowers, and so many can be found just a short walk from the parking lot. For those familiar with the area I like to head to Paradise, drive past the main parking lots and down the hill maybe half a mile, parking where the road crosses Edith Creek. From there you hike up towards the mountain and the wildflowers will soon surround you with a rushing creek and smooth boulders to work with. Hiking maybe a mile will afford beautiful views of Mt. Rainier filling the foreground with flowers.
When you head out to photograph wildflowers, one’s first instinct is to often isolate a perfect blossom at a 45 degree angle and go home happy. I call this the trophy shot – It looks just like the image on the packet at the home and garden store. We all have them, myself included, so get that shot – and then open your mind to more creative possibilities.
When I have lead workshops to Mt. Rainier in the past, I’ll let the students know that we have “arrived” at our destination for the next hour and they will politely line up on the trail and begin to photograph the first flower they see, usually right from the very direction they had approached it. After all, that’s why we’re here, no? No! We’re here to stretch our creative imaginations, to see in new ways, and uncover new possibilities. Consider how you approach the flower as you would any subject. Over the years I have critiqued so many photos and the answer is all too often the same, get lower and get closer.
My approach is generally to first walk through the area and get familiar with the myriad of options, perspectives, background possibilities, subtle differences in lighting. I’ll look at the subject from all sides possible before choosing a location to begin. Remember, recolonizing, fragile, easily accessible meadows like those of Mt. Rainier don’t allow for venturing off established trails. So please be aware of your surroundings, trail markers and warning signs.
Initially, I will photograph the larger scene with a wide angle lens (16-35, always with a polarizer adding a 2 stop hard ND filter as needed) helping to establish a sense of location. This can be useful later when trying to remember where I was when the image was taken, perhaps a hold-over from shooting slides when it could be three months before I would see any results from the days’ efforts. The wide angle lens allows me to include the surrounding plants, trees, terrain and mountains leaving the to flowers become a pattern of color in the lower foreground. I’ll look for leading lines in the pattern, gentle curves, a way for the viewer to interact with the image as they move through the foreground, middle ground and background – an old, well established formula from view cameras that still works today.
As I move in closer, I continue shooting with the wide angle lens, allowing first, a group of flowers and then individual blossoms to dominate the frame. This gives me the ability to still tell the story of location and environment through the greater composition. When people first purchase a wide angle lens they see it as an opportunity to get a greater view of the distant vista, to include the mountain and the surrounding hills – and are all too disappointed with the results. It’s not until they begin to see the wide angle as a tool for getting in close to the subject, I’m talking within inches – not feet, do they begin to see the possibilities.
Once satisfied, I’ll switch to my 70-200 lens and look to limit the composition to just the flowers themselves. Here I begin looking for those ubiquitous motifs in nature, patterns of petals filling the frame, alternating colors, lines and form, positive and negative space. Ultimately zooming from the wide end up to 200 mm abstracting the subject as I bring the viewer to see the flower in a unique way. I’ll then put on extension tubes which allow me to focus even closer. As you abstract the elements of the flower, digital photography now allows you to “rack focus” with a middle ground f-stop, say f11, shooting several images as you move the shallow depth of field marching towards the back of the composition, knowing later you will combine them into one image with a sharp focus throughout.
What about wind and movement? Use it! Sure you can purchase a “Plant Clamp” to hold the flower steady in a light breeze but why not use the movement to your advantage just as you would with flowing water in a stream. Try longer shutter speeds to abstract the flowers to a wash of color. Even introduce your own movement by intentionally panning with the camera up, down or sideways during the exposure. You may be surprised by the results, perhaps pleased even.
Working the subject I will be changing my location, moving in closer, shooting from the side as well as directly overhead – ultimately I may even spread the legs of my tripod to where it is less than 12 inches off the ground and be lying on my side in the dirt – why? Because it’s about unique perspectives. Flowers aren’t usually photographed from directly overhead nor do most people bother to look at them from the ‘flowers’ perspective. Great images are generally not made at a comfortable standing height having just walked up to your subject!
Don’t wait for the sunny day to go out and look for wildflowers – your best bet is an overcast day with even lighting. A sunny day is great for a picnic, and the flowers are beautiful to look at – yet the shadows caused by the direct sun put too much contrast in the image. The strong highlights and shadows will take away from the varied hues of the flowers, as well as giving you much less information to work with when editing your videos in a tool such as Adobe Lightroom. Overcast and even rainy days are some of my favorite for flower photography. Good thing I live in Seattle!
