What’s become an annual trip to Namibia was particularly great this year, with different views of Sossusvlei, great wildlife views in Etosha National Park, and fun with abstracts at an old diamond-mining ghost town slowly being inundated with sand. The quiver tree forest was spectacular too, though the moon was full when we were there which somewhat inhibited photographing the Milky Way at night. I also came away with some great new elephant shots for the upcoming book project. Enjoy!
I am leading another Namibia tour in August 2020. You can get on the preregistration list now to be the first notified when trip details are posted. This trip will sell out, don’t miss out!
Today marks the 50th anniversary of the National Wild and Scenic Rivers System. Created by Congress in 1968, (Public Law 90-542; 16 U.S.C. 1271 et seq.), it aims to preserve certain rivers with outstanding natural, cultural, and recreational values in a free-flowing condition for the enjoyment of present and future generations. The Wild and Scenic Rivers Act safeguards the special character of these rivers, while also recognizing the potential for their appropriate use and development. It encourages river management that crosses political boundaries and promotes public participation in developing goals for river protection.
For more information including how to locate a local protected river, check out the National Parks page on the Wild & Scenic Rivers Act.
I had an amazing session with Elephants a few days ago in Botswana! I spent hours in a stuffy, sunken blind, but was rewarded late in the afternoon when several elephant herds began to show up for a drink and a splash. It was about ninety degrees here, and they played in the cooling waters just five feet in front of us. The elephants were very aware of us and we were splashed intentionally many times – we had a major cleaning session afterwards since the churned water had turned to liquid mud.
This lasted for over an hour and I shot thousands of frames; the results are full of the personality and affection these amazing animals possess.
The task of editing has been daunting to say the least. I am working on a book with fellow UW alum & biologist Sam Wasser, who has been instrumental in using DNA to track endangered species, especially orcas and elephants, and now Dr. Wasser is trying to use DNA to track illegal shipments of ivory and shut down major poaching cartels. It makes my work look easy by comparison, and those of us who work with and care for the well being of these animals and their place in the world are so very grateful for his work.
This excerpt is from “Photographs from the Edge”, which not only details the stories behind some of my most well-known captures from across the globe and throughout my career, but is also filled with tips and tricks and equipment information.
June 2013: Canyon Wall Reflection, Kimberley, Australia Canon EOS 5D Mark III, EF 24-105mm f/4 lens, f/4 for 1/1250 sec., ISO 2000
The nature of the photo: The Kimberley region of Australia sits in the far northwestern part of the continent. The area is known for its sandstone and limestone gorges and steep cliffs. The land has a maximum height of a little over 3,000 feet, but the terrain is so steep that the country is difficult to move through except by boat along the coast.
The fine art world has long been important to me, since that was what I studied in college. Many painters have influenced my own work. The image here reminds me of the work of Gustav Klimt and his homage to the pointillist painters of his time. These included a series of paintings of women with very ornate dresses.
As I traveled by boat through the inlets and canyons along the coast in the Kimberley area of northernwestern Australia, I found that the reflections of the canyon walls in the water reminded me of the color palette and design within Klimt’s dresses. In this image, you can see the ocher-colored cliffs reflected in the disrupted surface of this saltwater inlet, along with the blue sky above.
I love these moments where the abstraction takes on all sorts of forms that remind you of other things, things that become metaphors for me. You can get lost looking at the details of this image, seeing “faces” and other shapes. I find that these abstracted pieces with embedded images draw the viewer into them.
In the center of this photo, I see the eye and ears of a goat. Other people will see something entirely different. That’s how an image like this one can engage people on a very different level than simply one of recognition.
Photo tip: Water is a wonderful reflective surface in nature and offers so many opportunities for the observant photographer. Look for reflections, both on still water and on water that is disturbed and creating unique patterns and rhythms. Be careful of using a polarizing filter with reflections because it can remove key elements of those reflections on water.
September finds me spending the month in Africa with good friends and plenty of subjects. We’re currently in the midst of our Namibia photo journey after having spent some time in various locations around the southern regions of the continent. We began our travels in Kenya, where we were able to capture much of the region’s wildlife over the course of several days spent at Maasai Mara National Reserve; lions, zebra, cheetah – and much, much more. This location also provided several shots that will look great in the book on elephants I’m currently working on! Giraffes and several species of birds were on display as well. Derived from the Maasai language, the term “Mara” describes the flora and fauna spotted nature of the wide open spaces, and wildebeest mingled with the other wildlife in the area to dapple the landscape.
Enjoy the new photos, and check back on the block soon for more photos from Namibia!
This coming February, I’m proud to present the Japan Photo Journey – an intensive photography workshop and journey to one of the great places to visit in the winter time for truly unique photo opportunities. Both myself and Gavriel Jecan will be with you and 9 other participants over the course of an 11-day workshop that begins in Tokyo before heading to the mountains to photograph the snow monkeys enjoying their hot springs.
Once the monkeys have had their fill of our small group, we will head to Japan’s northern island, Hokkaido. In the winter here, the days are short – but the stunning sunrises and sunsets can be lengthy, making this an ideal shooting location with expanded periods of time to shoot in ideal lighting conditions. The rich forests and mountains here provide the perfect backdrop to photograph the many bird species that congregate here, here including the symbolic Japanese Crane, whooper swans, and the very large Steller’s sea eagle.
The days may be a bit shorter, but they will be full of adventures and opportunities. By the time the sun goes down there will be plenty of time for everyone to enjoy a nice warm bath before we have a meal together, after which we will engage in lectures, critiques, and of course cheerful banter. Though our day shooting may be over, teaching is my passion and it’s in these moments where we regroup and discuss the day where perhaps the most knowledge is gained and shared.
Limited space is available, so register today to ensure your spot!
I can’t believe how fast the year has gone by! It started out a bit slow with a surgery recovery but has been a busy summer, and fall is off to a bustling start as well. As it stands now, there are only two more workshops left on the calendar for the rest of the year that aren’t sold out that will see us visiting locations on opposite sides of the country, but the same goal in mind – capturing gorgeous fall color!
In October I’ll finally be home from the month I am currently spending in Africa, and will be hosting my Lake Quinault Photography Retreat. Myself and my assistants will assist participants in a very intimate hands-on experience, both in terms of capturing the lush, earthen sensations of the Quinault Rainforest as well as a printing lesson and demo from our home base at the historic Lake Quinault Lodge. We have opened the invitation up to partners and spouses as well, so if they would like to come along and enjoy the lodge while we are in the field, they are welcome to join our group for meals and critiques.
Following that, I’ll be heading east to the Great Smoky Mountains to experience the fall color on the east coast – it’ll be interesting to compare and contrast! This will again be a small group affair, limited to 8 participants for some hands-on instruction in the field with group discussions and critques.
Act quickly, these sell out rapidly as we near the workshop dates and they are just around the corner!
This excerpt is from “Photographs from the Edge”, which not only details the stories behind some of my most well-known captures from across the globe and throughout my career, but is also filled with tips and tricks and equipment information.
July 2014: Rufous Hummingbird and Chick, Seattle, Washington, USA Canon EOS-1D X, EF 200-400mm f/4L IS USM EXT lens +1.4x, ƒ/20 for 1/125 sec., ISO 4000
The nature of the photo: All hummingbirds are remarkable birds for their amazing flight abilities. However, the rufous hummingbird, a bird about three-inches long and weighing about a tenth of an ounce, has the longest migration of any U.S. bird its size. It may go the distance from Alaska to well into Mexico, and some scientists think it may go as far as Panama.
I have spent 30 years developing and cultivating a Japanese-inspired garden around my house in Seattle. It has filled in nicely, creating a wild space by my home. I planted some black pines in my garden early on to provide year-round structure and color, besides refuge for birds and other wildlife. I have steadily shaped and pruned them bonsai style to help them fit into the space of my garden.
In 2014 as I was working on my trees, I found a bird staring me in the face. As I looked down past the bird, there was the nest. A rufous female hummingbird had chosen to nest in my beloved black pines! That sort of discovery still excites me after so many years connecting with nature.
A hummingbird nest is so tiny, no more than 2 inches across. The bird covers her nest with lichen, so it is easy to miss in the lichen-covered black pine. But luck had been with me, so I quickly descended from my stepladder and forgot about pruning the trees that day.
I wanted to photograph the mother as it raised its young, so I set up my camera about 10 feet away from the nest. Even that close, hummingbirds are really small, so I needed to use a 200-400mm lens at 400mm plus a 1.4x converter. I could then take pictures from the lawn chair without being so close to the nest as to disturb the mother. I had a field day for the next two weeks as this hummingbird raised its young.
Photo tip: Wildlife photography is rarely about just capturing the animal in a photograph. Timing can be critical to getting the remarkable, striking shot. You have to keep shooting, always paying attention, to be sure you do get that shot. Shooting your camera continuously will not necessarily get the shot, though, because the key moment may be between frames.
Simply put, black bears are very challenging to photograph. Their inky fur absorbs light, and if you try to get the correct reading off it, everything else gets overexposed. Whenever possible I try to shoot a variety of perspectives of the same subject. Even with the advances in digital technology, there is still no substitute for getting the correct exposure the first time out. In the days of film, we bracketed in the hope that one frame would nail it. Now we can happily get immediate results, but too much time spent fooling around with your camera settings may result in losing the shot as the bear (or whatever wildlife you are photographing) shambles away.
In this recent shoot in British Columbia, the light conditions were overcast, not from fog, but from smoke from forest fires burning from California to Canada. This actually helped me get the correct exposure much more easily than I would have had the sky been clear and sunny, adding even more contrast to difficult lighting evaluations. The end result – black bears doing some coastal fishing, with some success! I was photographing these bears with both an EF100-400mm f/4.5-5.6L IS II USM and an EF200-400mm f/4L IS USM EXT lens in an attempt to get the subject at different depths in this colorful and unique environment.
Maybe it’s time to think small, macro small. September and October in the Pacific Northwest present wet dew laden mornings which are perfect for photographing tiny intimate landscapes, insects in your garden, abstracting details of a flower into a wash of color, or a spider’s web suspending drops of dew.
When I talk about “macro photography” I’m not limiting myself to 1:1 or greater magnification. Macro to me is really anything that might fit in my 2 hands. A clump of clover or a close-up of a Macaw’s back showing detail in the feathers, fall into my definition of “macro photography” as does a butterfly’s wing or dandelion seed head filling the entire frame.
People often ask me what I would recommend for a macro lens and honestly I don’t generally carry one; they add too much weight for how often I find myself using one. Instead, I carry a set of extension tubes, practically weightless when compared to adding another lens to my bag, and at my age, less is definitely more (as in more walking, more shooting and more time out of the chiropractors office!)
I’ve asked Jay Goodrich to provide a few technical details on macro lenses and how extension tubes work:
To understand macro lenses you must first understand how a lens focuses on a subject. As you twist the focus ring, the glass optics inside move forward and back. Want to focus closer? Move the glass further from the sensor. Want to focus at 1:1 magnification? (1:1 happens when the object you are shooting is the same size on the sensor as it is in real life such as a quarter or butterfly’s wing filling the frame) Then your lens must be able to move the optics away from the sensor a distance equal to the focal length of your lens (This will vary based on the crop factor of your sensor). In other words if your 100mm lens can move 100mm from the sensor, you have a ‘macro lens’ able to focus close enough for objects to appear life size on the sensor. A 100mm macro lens will be able to achieve 1:1 (lifesize) at twice the distance from your subject than a 50mm macro lens would.
But what if your 100mm lens is not a “macro lens”? That simply means it is not able to move the optics a full 100mm from the sensor. Perhaps it can only move them 75mm and thus it can’t quite focus close enough to fill the frame with the butterfly’s wing. An extension tube is spacer that fits between your camera and lens and they come in various thicknesses. Having no glass at all they do not impact your image quality as a magnifying filter (also used for macro photography) would. So if you were to put a 25mm extension tube on the back of your “non macro” 100mm lens – you would then be able to achieve the full 100mm (75+25) of extension necessary to photograph your subject at 1:1 or 1x magnification.
So what does Art use in the field? He will add extension tubes between his 70-200 f4 lens. Without them, the lens has a minimum focusing distance of 1.2m and a magnification of .21x (about 1/5th life size). Adding a 25mm extension tube allows him to move in closer and achieve .42x life size. Stack additional extension tubes behind the lens and he’s able to focus even closer yet – all without adding an additional lens to his bag.
If you enjoy shooting macro subjects, an investment in a true macro lens is worthwhile. While extension tubes allow you to “make one” on the fly, they must be removed to allow the lens to again focus on distant objects and to infinity. You can even purchase a macro lens with enough extension built in to achieve up to 5x magnification – filling the frame with the eye of a praying mantis.
Most of the time stopping down to f22 and keeping your sensor plane parallel to your subject will give you enough depth of field to cover your subject. If not, you may need to “rack focus”, shooting several images with the focus point first on the leading edge of the subject with each subsequent image focusing a little further into the composition until you reach the furthest point you want in focus. Later you combine the images with Photoshop or Helicon Focus; the combined image will then look sharp across the entire scene from front to back.
I use macro photography to abstract the patterns, lines and texture found in nature; to give the viewer a different taken on an old subject. We’ve all seen photographs of flowers, force your audience to think a little, to tilt their head as they wrap their imaginations around your composition.
You can abstract just about anything you find in nature and even man-made objects. By framing tight on your subject you are able to show a pattern that is lost when looking at the whole. Your image allows a new appreciation for the subject which is unavailable without the photograph to isolate and show only what you, the artist behind the camera, is allowing the viewer to see.
Patterns come from the repetition of shape and textures, thus it is possible to get too close and not show enough of your subject, losing the magic of the pattern you had intended to show. If you love ferns for their delicate pattern of leaves, get in close, focus your attention on just one frond and enjoy the gentle curve of the main stem while playing with the beauty of the individual leaves branching out while ever decreasing in size to either side. A fully symmetric composition with the frond in the center makes a different, but equally effective statement as drawing the frond out of a corner diagonally, try it both ways to see what you like.
Sometimes if I am lacking for inspiration I’ll create a little vignette, a story, with the elements around me. On a beach I may grab some bits of seaweed, a shell, perhaps a dead crab or some muscles, and a bit of drift wood. I’ll loosely arrange these so as not to appear too deliberate or forced and play with the composition. This exercise can help to open me up to other options around me as I begin to see line and form that I may not have seen otherwise.
A good exercise for anyone, whether you are feeling stuck or full of inspiration, is to walk to a random spot, in your back yard, in the country, in the forest… and just stand there and take in the scene. Look all around you. It may take 15 min or it may take an hour, but you will begin to see opportunities on a macro, close up scale, which you may have overlooked in the past. The stained glass effect of a dragon fly’s wing, the rainbow of colors in a puddle, a sewer grate, the wabi sabi qualities of a dead leaf as it curls and browns. Photographic opportunities are all around if you open yourself to the possibility of seeing them.
Always keep a sharp eye for any distracting elements in the composition. Check each of the four corners for bright areas on the edges, twigs, dead leaves, hard edges. A grouping of pine needles close-up can make for an abstract of Japanese writing; a single pine needle in the corner can blow the whole composition.
As you head out to photograph the macro landscape, ask yourself about the difference between a tight shot of a flower that could be used in a botanical textbook as “figure 7.2”, and an artist’s abstract of that same flower. When you get in really close, can you start to see a Georgia O’Keefe or Claude Monet’s influence on the composition? Does the texture make you think of a pointillism painting where the entire scene is composed of dots of color? Go back and photograph those same flowers, mosses, and leaves you have shot so many times before, even those in your own yard, but do so through a new set of eyes, not looking to record nature but to abstract and challenge the senses of your viewer.
July 2014: Rufous Hummingbird and Chick, Seattle, Washington, USA
By Art Wolfe with Jay Goodrich
