In just over a week, I’ll be in Boise, Idaho bringing my popular Photography As Artseminar to the City of Trees!
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.
I recently took a trip up to Northern Canada to photograph a variety of owls, and came away happy – if not chilled to the bone. It’s cold up above the 51st parallel, no matter the time of day. That didn’t seem to impact the hunting owls of the region, who’s keen senses can detect rodents beneath the snowfall dozens of meters away. They essentially do a graceful face plant into the snow, rummage around, and come away with a snack.
The light sky and the bright white snowy landscape make shooting a challenge. To control the light and capture a quality image, one first has to understand light in terms of it’s relationship to photography. This excerpt from “Chapter 6: Reading the Light” from The New Art of Photographing Nature explains it more succinctly than I might in a blog ramble:
Without light we would have no color. And without light, there would be no photography. In fact, the word photography derives from Greek roots meaning “writing with light.”
Primitive man did not have the benefit of science to explain natural phenomena such as the rainbow. Nor did we, until Sir Isaac Newton’s use of the prism separated white light into its component colors. Light is a form of electromagnetic energy, which, in the whole spectrum of frequencies, is only visible as colors in a very narrow band. Other frequencies, such as infrared, ultraviolet, gamma, and X-ray radiation, are invisible to our eyes.
Yet, despite our basic understanding of light, it is something we are apt to take for granted, like the rising and setting of the sun. But in photography, we can never take light for granted, and must learn to perceive it many nuances. The quality of the light creates a variety of colors and moods. Light also models form, and the direction of light is crucial to how we perceive shape and depth in the landscape.
When talking about light, it is important to distinguish between quality and quantity. Quality of light can, for the outdoor photographer, mean the time of day, the angle of the light striking your subject or whether it creates high-contrast or low-contrast conditions. It can also be measured as color temperature (in degrees Kelvin) with daylight on a sunny day being around 5500 degrees Kelvin. While color film required filtration to correct for changes in color temperature, digital cameras have a built-in white balance function that can adjust the camera to virtually any lighting condition, indoors or out.
Quantity of light refers simply to the amount of light reaching the camera’s sensor and recording an image. It is by controlling this light, through changes in aperture and shutter speed, that we arrive at a proper exposure.
I absolutely love this time of year, the days are getting longer and spring is right around the corner! After many cold weather trips this winter I am ready for the new palate of color that spring bestows upon us.
Of special note I have several opportunities coming up in the beautiful Pacific Northwest this year: the Olympic Peninsula in April when the mosses are rich and green and the rivers are clear; Mount Rainier in August when the wildflowers are at their peak; Lake Quinault in September for a restorative retreat in the ancient temperate rainforest; and a renewed Photography as Art seminar in November.
These workshops only have a few spaces left so sign up today before they are all sold out!
In the shot of the karst mountains in Guilin, China, I wanted to emphasize their repeating pattern and unusual shapes: individual humps instead of long ridges. I used my 80-200mm lens to zero in on an area that I felt made the strongest statement.
The second shot was taken a few minutes from my home in Seattle. I grew up in this neighborhood, and as a boy, I loved this path especially, with its graceful madrona trees. I went back to photograph it forty years later.
Madrona trees in mist, Washington. 45mm lens, f/22 @ 4 sec, Fujichrome Velvia 50
Spatially, light objects stand forward of dark in our normal experience of perception. When we have atmosphere such as fog, however, it is the reverse; dark objects are closer to us than light ones, as in the mountain scene. We understand this perceptually because atmospheric haze intervenes and makes the far mountains paler and less distinct. This is sometimes referred to as “atmospheric perspective.”
We also understand crisp outlines as close and fuzzy ones as distant, as with the trees in the fog, which is contrary to normal perception, where we can see distant objects in focus as well. The sense of space in both these images is definitely enhanced by the fog. Forms are more noticeable without competition from intricate detail. The tree trunks stand out more without the busy clutter of foliage. Because it shrouds things from view, fog, more than any other atmospheric condition, creates mood and a sense of mystery.
For more how-to lessons, purchase The New Art of Photographing Naturein my online store!
This May, I’ll be making a return trip to California’s Monterey Coast originating in stunning Carmel-by-the-Sea with an exclusive opportunity to join limited to just six participants. Assisted by my associate Gavriel Jecan, decades of experience will be available to support you in capturing the beauty synonymous with this location. However, the picturesque landscapes of the coastline are only the beginning, as we will delve into the abstract and many of the themes prevalent in my Abstract workshops and my Photography As Art seminar.
A retreat in a paradise, an exclusive small-group setting, two instructors, and the many lessons and themes of my popular abstract workshops and seminars – What more do you need? Well, fortunately, I have answers here!
1. A retreat in paradise – a gorgeous location on California’s fabled Monterey Bay!
2. At only six maximum participants and two instructors, you’ll get plenty of one-on-one time with us to answer any and all of your questions and provide direction to ensure you get the absolute most out of your time.
3. Go kayaking and photograph otters with the world’s premier nature photographer; if you’ve never kayaked before, rest assured we will have trained guides so you can focus on your photos!
4. Great food! This is a region famous for it’s cuisine – join myself and Gavriel every evening to discuss the day’s shooting.
5. Explore the region that inspired the likes of Ansel Adams and Edward Weston.
6. Get your photography portfolio reviewed! Gavriel Jecan and myself will look at everyone’s work and provide constructive feedback that you’ll be able to carry with you onto future trips.
7. Receive a copy of my limited edition book HUMAN CANVAS.
8. Experiential learning at its best. It’s my hope that the lessons you learn on this retreat will be referenced on your travel and photography adventures moving forward.
9. Through lectures, critiques, and instruction in the field, we’ll cover many aspects of my Photography As Art workshop – now is your chance to go all out and put the topics discussed into action!
10. New friends with alike interests – many a friendship has been forged thanks to the balance of levity and learning on our workshops. Here is an opportunity to meet fellow travel and photography enthusiasts!
Spaces on this retreat are extremely limited, and some are already spoken for – sign up today to ensure your spot!
With SNOWMAGEDDON hitting the Pacific Northwest, a timely themed #TechniqueTuesday is in order! This is an entry from Photographs From the Edge, where I’ve combined the stories behind some of my most recognizable career photographs, as well as providing tips, techniques, and camera data for them. Enjoy, and I hope everyone back home is staying safe in the Winter weather!
Canon EOS-1DX, Canon EF 70-200mm f/2.8 lens, f/18 for 1/250 sec., ISO 2000
This image of bison in Yellowstone National Park really began when I co-led a rafting trip down Alaska’s Taku River a number of years ago. On that trip I met Robert Bateman and his wife Birgit. This outstanding Canadian artist spent time photographing details of rocks along the river’s edge or details of the forest. I had to ask what he was doing. He simply responded that he was taking details that he could later render accurately as details in his paintings.
At that time I had been fixating on getting closer and closer to animals and ultimately getting that classic portrait of that animal almost as if it was a trophy. The analogy was that I was a hunter with the camera. Bateman made me take a serious look at how he would he was less concerned about portraits of animals and more concerned about capturing an animal within the context of its environment. I looked at my own work and started realizing he was right.
Bateman showed that by creating atmospheric conditions and a sense of place, the composition become more nuanced, more intricate, and more involving for the viewer. In the years after meeting Bateman, I think my work became infinitely more interesting by being more inclusive of the environment. From that point forward then I would always look at storms and thick atmosphere as opportunities rather than distractions.
This image of bison in Yellowstone works to carefully include the animal’s environment. With the advent of higher ISO cameras, I can shoot with both a smaller aperture and a faster shutter speed. Here, I was able to capture a herd of animals with great depth of field, and to use a fast enough shutter speed to stop the movement of snow. So in this image of the buffalo in Yellowstone, you can see tiny points of white snow suspended in motion as well as individual animals clearly in focus. To me, this photo recalls some of the great paintings of Robert Bateman.
Photo tip: For falling snow to show up in a photo, you need contrast to set the snow apart from the rest of the scene. In this image, both the dark trees in the background and the dark fur of the bison help bring this contrast to the image. The falling snow behind the bison also lend a strong sense of atmosphere to the shot.
The nature of the photo: Snow is extremely variable in size and shape, which has a strong impact on how it appears in a photo. Very cold conditions can create tiny snow crystals that will appear more as fog than snow in a photo. Large snowflakes can be a bold part of a winter photo.
For more photos and the stories behind them, along with tips and techniques, purchase Photographs From the Edge in my online store. As always, make a request note in your order and I’ll give it a signature!
And if you missed it – check out the gallery of images from my recent return trip to Yellowstone.
Is it a little late to say Happy New Year? Perhaps ‘Be my Valentine’ would be more appropriate. Time flies when you’re out and about photographing like I have been here in the Pacific Northwest (owls), California (bobcats), and Yellowstone (wolves). A few of these predator photos are bound to make it into a top secret book project I am working on. Shhh – don’t tell anyone!
When looking forward at your 2019 schedule, consider joining me for a workshop! I’m excited about what we have in store for the coming year, with diverse locations both new and familiar. Whether you’re looking to join me somewhere exotic and share an adventure or attend one of our recurring fan-favorites, I’ve got a lot on the calendar.
Every day was a learning experience and loads of fun as well! Thank you for being so open to sharing your skills and knowledge. I’m continuing to put this into practice.”
-Elane Z.
New on the workshop front is a retreat in beautiful Carmel-by-the-Sea in May. We had so much fun last year we’re going back! We’ll be concentrating on abstract photography along this glorious coastline, kayaking with sea otters, and critiquing our results every day. I am offering an earlybird special through February 15th. Please note that this workshop is limited to a small group of 6, and all participants will receive a limited edition Human Canvas book along with a print (a $1400+ value!)
“I enjoyed…the challenges of working in different environments…and I met people from all over the world…Thanks for doing what you do and sharing your love of nature…You make us all better stewards and people…”
-Cheri A.
When considering any workshop take a look at ratio of instructors/guides to participants. My assistants and I strive to deliver whether you are a seasoned photographer or just starting out, whether this is your first workshop with me or your fourth.
“A workshop with Art Wolfe is so much more that a photo shoot at a beautiful location. It is an opportunity to grow and try new things with a master artist and superb teacher.”
– Bill O.
I look forward to meeting new friends and seeing old friends on my travels this year! My goal is nothing less than to change the way you see.
Wishing You the Best of Light! Click an image or description below to find out more about all of my upcoming workshops!
Since they are a niche piece of equipment, not everyone is familiar with what exactly a tilt-shift lens is and what they are used for. Admittedly, I’ve only used them sparingly in my career. Speaking in simple terms, a tilt-shift lens is a lens that allows the optics to tilt and rotate in relation to the image sensor on your camera.
When you take a photo with a standard lens, your lens and the sensor create planes of the same angle. At a wide aperture, everything in front of and behind your focus point will gradually become more out of focus. Using a tilt-shift lens, you can achieve more control over what is or is not in focus by having greater control of your focusing planes, therefore keeping more of the image both in and out of focus, depending on what you’re looking for. It should be noted that there is no auto-focus available on T/S lenses.
You can use this flexibility to achieve a number of desired outcomes. Although on short notice prior to my trip my Canon rep was unable to get me the lens, I was able to rent the Canon TS-E 135mm f/4L MACRO from borrowlenses.com and use to great effect while photographing a king penguin colony on South Georgia Island. By tilting the lens down, you’re essentially moving the plane of lens to be closer to the angle of the the ground and in effect, widening what falls into the range of focus. This allows you to utilize some of the benefits of a relatively lower aperture while still achieving a great deal of detail.
This is just one use and effect achievable with a tilt-shift lens. Even if you’re not familiar with their use, it’s likely you’ve seen photos or even video utilizing the concept. In portrait photography, where a longer lens is ideal to bring attention to the subject and blur the background, a tilt-shift lens can be used to use such a lens in a tight space. In architecture, having greater control over your image plane can be used to combat the distortion that often happens to parallel lines. If you’ve ever seen a photo of a cityscape that looks more like a scale model than an actual city – that’s a tilt-shift lens in action!
I’ll be heading to Japan in February with Gavriel Jecan and no more than 8 other travelers for a special photographic journey. Very limited spaces have recently become available – here are 10 reasons to claim them!
1. Japan in winter is one of the most majestic locations you could ever imagine.
2. Take a tub with the charming Snow Monkeys
No, you don’t have to strip down and commune with the macaques. But this is an amazing photographic opportunity: these furry primates come down from the pine and oak forests and for a couple of hours a day they hang around a natural hot spring where you can photograph from within inches without interrupting their behavior.
3. Explore the wilderness that is Hokkaido.
Hokkaido reminds me a bit of Alaska, full of forests of birch, pine and fir with a back drop of beautiful volcanic mountains.
4. Dance with the endangered Red-crowned Cranes
Leave the dancing to the cranes. These elegant birds have been symbolized in Japanese culture for thousands of years due to their grace and beauty.
5. Fight over fish with the massive Steller’s Sea Eagles
Don’t worry, we’ll have plenty of our own sushi to eat! These majestic eagles don’t want to share anyway.
6. Whoop it up with the cacophonous Whooper Swans
Overwintering from Siberia, these swans congregate in the thermally heated waters of Hokkaido’s lakes, making for ethereal, misty photographs.
7. Take a break from nature and explore buzzing Tokyo
8. Experiential learning at its best. It’s my hope that the lessons you learn on this photographic journey will be referenced on your travel photography adventures in the future!
9. You will be traveling in a small group of 8 participants. Other tour operators are a minimum of 12 or more, so you will get far more one-on-one time.
10. Photograph under the tutelage of one of the world’s premier nature photographers and take full advantage of your time spent in Japan!
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.
Photo tip:
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.
