Is it that time already? 2018 started off a bit slow with a foot surgery that kept me home to “kick off” the year (pun entirely intended) but definitely picked up pace as time went by, culminating in a nearly seven-week trip around the world! This year’s travel starts off rather quickly with a trip to the Northern California coast next week. Here is a brief rundown of this past year’s highlights:
•I had a fantastic time traveling to the East Coast and presenting to the Carolina’s Nature Photographer’s Association, as well as a trip across the pond to Birmingham, UK to present Earth Is My Witness at the Photography Show.
•Mitch Stringer and myself got together to create a special extended episode of Where’s Art – check it out if you missed it!
The nature of the photo:King penguins are second only to emperor penguins in size. Mostly they live on islands north of Antarctica such as South Georgia Island, rather than on the continent itself. They feed on fish and squid from the ocean nearby which is known for its diversity of life. Canon EOS-1N/RS, TS-E 90mm f/2.8 lens, f/16 for 1/125 sec., Fujichrome Astia
South Georgia Island is a great place for penguin photography, but it is an extremely remote island in the South Atlantic that is difficult to get to. While working on my book, The Living Wild, I worked out a way of getting onto South Georgia Island and camping for six days. My assistant, Gavriel Jecan, and I were dropped off by an American tour boat then picked up six days later by a German passenger ship coming from Cape Town, South Africa.
During our stay, we faced all sorts of weather, but primarily wind and snow. This can be miserable for the photographer but such weather is often stunningly beautiful for the pictures. I love atmospheric conditions and blowing snow is one of those conditions that convey a sense of the primordial and timelessness to the image. Still, it made for difficult shooting.
You can see all of the penguins are hunkered down to withstand this turbulent weather. We were trying to shoot videos as well as stills. The wind meant we had to stabilize the image with a heavy tripod. A small f-stop of f/16 kept all the penguins in focus. One thing a still photo doesn’t convey are the sounds and smells of the moment. Certainly the smells of hundreds of thousands of penguins is something I’ll never forget. The sounds of the birds, the trumpeting of the adults is a sound that is forever etched in my brain. Simply put, it’s one of my favorite places to visit on earth.
A simple tip this technique Tuesday, but an important one to consider – If you suspect challenging weather, be sure you are prepared for it with the right clothing, boots, gloves and hats. If you are too uncomfortable, you are not going to stay outside for the unique possibilities that weather might bring. When conditions get tough, dramatic and unusual photographs are often possible then.
For more stories, technical details and tips relating to some of my most well-known photos, check out the book this excerpt was taken from in my online store – Photographs from the Edge.
Despite it’s cold, unwelcoming climate, South Georgia Island in the South Atlantic is one of my favorite places on earth. A remote, hundred-mile whaleback of rock, South Georgia Island resides in the Southern Ocean, more than eight hundred miles southeast of the Falkland Islands. It features glacier-clad mountains rising two vertical miles above the sea. South Georgia is as wild as it gets, hosting one of the largest concentrations of wildlife anywhere. Over four hundred thousand pairs of king penguins walk the beaches and swim in the frigid blue ocean. Seals, albatross, and even reindeer (imported for meat by long-gone Norwegian whalers) also inhabit this isolated island. I used a wide-angle lens to photograph austere landscapes, intimate plant studies, and endearing animal behavior in this wildlife oasis.
On a tiny island near the coast of South Georgia Island, a courting male albatross bonds with it’s potential lifelong mate. The wandering albatross, with an eleven-foot wingspan, is clearly king of ocean birds, but overfishing and destructive longline nets threaten it’s survival in southern oceans. Some nets stretch up to sixty miles and snare fish and birds indiscriminately.
An adolescent king penguin challenges reindeer crossing through a penguin rockery on South Georgia Island. Long gone European brought reindeer to the island as a dietary alternative to whale meat. Reindeer herds continue to roam through the remote island.
Forty-pound king penguins line the shores of South Georgia Island. They are on their way to the rockery where territorial instincts prompt numerous quarrels among the birds. The beach is a respite from the dangers of the ocean and the crabby neighbors on the nests. Although the island experiences some of the worst weather in the world, we were fortunate to shoot in the pink light of a clear sky with the sun hidden behind the horizon.
Want to know more, and see these animals in motion? This episode is featured on Season 1, Episode 4 of Travels to the Edge, available individually, as part of the entire first season, and the full series! Have a great weekend!
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:
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.
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 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.”
Come for me but stay for all things photography! This is Kenmore Camera’s biggest event of the year and there is fantastic line-up of world-class photographers across many genres coming to share their knowledge and inspire you.
The industry’s leading manufacturers will show their latest gear and answer your questions. There will be plenty of deals on cameras, lenses, tripods, bags, lighting, memory and more.
Time is running out to receive exclusive bonuses with your purchase of TREES: Between Earth and Heaven! Pre-order before the 29th for these additons to what is a gorgeous and comprehensive book of many of the world’s great trees. Each copy sold benefits Roots of Peace, so not only will you get a beautifully printed book singed by yours truly along with an 8 x 10″ print, personally packaged with care by my staff – you’ll also be supporting the great cause of creating sustainable, vibrant flora world-wide.
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.
August 1988: “Rising Mist”, Alaska Range, Denali National Park, Alaska USA Nikon F3, Nikkor 200-400mm f/5.6 lens, f/8 for 1/250 sec., Kodachrome 64
The nature of the photo: Mountains are well known for their fast rising and falling air along their slopes. Glider pilots in mountainous areas will fly right at a mountain side when the thermals are right, then catch a fast moving ride going up with the air. They often describe this as running and jumping onto an elevator that is already moving upward.
Years ago I was working on a book entitled Alakshak, The Great Country, a Sierra Club book about Alaska. I spent a lot of time crisscrossing Alaska gathering photos for it. As part of this journey, I wanted to get some aerial shots of mountains in the Alaska Range. So I found myself in a small plane above the mountains working in the hours between 11 pm through 1 am.
In the summer, this is a key time because the light is most dramatic then. During summer solstice in Alaska, most of the day is bright sunshine and you only have a few hours of twilight with bold light and color. I was using the shortest hours of the day to capture the most radical light.
In this image, the light of the sun on the Arctic horizon illuminating a few misty cloud sweeping up a slope at around 18,000 feet. While I like this image and I have long loved photographing mountains, it is not the photo itself that brings back memories of this moment. This was shot over 25 years ago, and I remember it all these years later because of the absolute turbulence that our plane would encounter as the plane would fly long the lip of the ridge.
I fly a lot, and I have been on planes around the world in some very remote locations. However, I’m not a happy camper when the plane drops 20 feet in an instant as it was doing here. I can often circle in ever tighter circles around the subject with my mind so focused on the shooting that being scared is not part of the equation. However, when a plane is dropping and rising with the thermals like this, it is uncomfortable at best and frightening usually.
I remember spot metering the brightest part of the frame which was simply the wispy cloud. I compensated for the brightness by exposing to make that cloud bright with detail. By contrast then the surrounding mountains and distant valley remain fairly dark by comparison. This shot shows off the ephemeral nature of clouds and light. Within seconds of shooting this, the sun dropped below the horizon, and the entire moment was gone in an instant.
Photo tip: Spot metering can be a helpful technique when the light is dramatic and you have to be sure you get the brightness values right. In this shot, spot metering determined the exposure for the bright cloud, but that would have meant the clouds were dark and the rest of the scene even darker. That exposure has to be adjusted to make the clouds bright, not dark, by adding exposure to what the meter shows.
For this and many, many more stories behind some of the most notable photographs from a lifetime of world travel, pick up “Photographs From the Edge“ today and make a note at checkout that you’d like me to sign it!