Patagonia offers a great opportunity to get close to wildlife. It really delivers the goods in that respect: foxes that walk right up to you, guanacos that are chilled out, and over 300 species of birds native to the region. And they are all surrounded by the really dramatic landscapes that are indicative to Patagonia. Big skies, big mountains, and wonderful wildlife. What more could you ask for?
This is one of the most beautiful and enchanted places on the Earth! I look forward to returning to Patagonia.
There is nothing like experiencing a place for the first time. I have traveled all over Western Europe, but the closest I have been to the southeastern nations is Greece and Turkey. Now I am traveling to the native land of my good friend and long time assistant, Gavriel Jecan.
Other than as the home to vampires, gymnasts and despots, Romania remains unknown to most. We will travel to Gavriel’s ancient hometown of Brasov, nestled in the Carpathian Alps. Brown bears come down from the mountains and roam the outskirts of the city. We will be traveling just as the untouched forests in the Carpathians are turning golden, which will lend a great backdrop to the very traditional 12th century villages we will be passing through.
We will visit several orthodox monasteries, famous for their medieval murals, and we will engage the diverse peoples—Roma, ethnic Hungarian and German, as well as Romanian—all along the way. With Gavriel as our guide it will be like visiting a good friend, not like traveling with a standard tour guide.
Those who follow me know that I have traveled much of this world. One of the places that I have enjoyed going to most is Myanmar, formerly known as Burma. It has essentially been isolated from the rest of the world for the last 50 years. Despite this I have always been greeted by warm and friendly people.
Myanmar offers unlimited photographic opportunities and it is one of the easiest places to photograph people. The traditional cultures have remained fairly intact throughout the country. Working with guides and assistants with whom I’ve worked before, we will be visit monasteries where we will work with monks. To witness and photograph a Buddhist monk prayer session is an amazing and memorable opportunity.
Myanmar is going to change in a very short time. We’ve seen it start to embrace the outside world. Therefore, I want to lead a small group of people to Myanmar one last time to share the traditional locations I’ve grown to love. It will most likely be my last trip there. I hope you can join us next February, when leaving cold North America and Europe will be a nice break!
One of the things I enjoy most, besides taking photographs, is taking people along with me to some of my favorite locations. Sharing the experiences I love with others is very fulfilling. I’ve been taking small groups of people to some of the locations where favorite episodes of Travels to the Edge took place. As seen in one of those episodes, Japan in winter is simply magical. Much of the wildlife has been habituated to people, and therefore translates into amazing photographic experiences.
First we’ll visit the snow macaques that live in the mountains about two hours west of Tokyo. Here in an isolated steep cut valley with an amazing mountain lodge are three extended families of macaques, numbering around 50. Because they are the most northern primate on earth, they have the longest, luxuriant fur of any primates, particularly in the winter months. They come down from the pine and oak forests and for a couple of hours a day they hang around a natural hot spring. They have been habituated to people visiting them there, so you can photograph from within inches without interrupting their behavior, which is very animated and fun. It is a photographic bonanza.
After visiting the macaques, we will travel to the northern island of Hokkaido. Hokkaido reminds me a bit of Alaska, full of forests of birch, pine and fir with a back drop of beautiful volcanic mountains. There are also large lakes and wild running rivers, and hosts three species of bird wildlife that are extraordinary to photograph. The Japanese Crane has been symbolized in Japanese culture for thousands of years due to its grace and beauty. Giant whooper swans come in the winter months from nesting in Siberia. They have been fed by locals for years, helping them sustain thru the winter, as well as creating an easy and wonderful photographic opportunity for us! And often Steller’s sea eagles will swoop around the same area. They are massive black and white raptors that winter over on the icy shores of Hokkaido.
The days are short in February on Hokkaido, but the beautiful hues of sunrise and sunset are protracted allowing us hours to capture quite stunning images. After sunset we will have time for a hot bath at the lodge before eating a traditional Japanese meal. After dinner we will have time for lectures and critiques before calling it a day. With the abridged daylight, it really allows for a nice schedule to fit everything in and still have enough hours for a good night’s sleep! Since we travel in and out of Tokyo, you will get to experience the surreal and wonderful contrast that Japan has to offer, not only the very modern and bustling city, but the natural and beautiful countryside.
I invite you to explore this unique and rich habitat with us.
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.
Photos from the talented photographers who joined us on the Olympic Workshop in January. The weather presented some challenges, but the group was adaptable and made the most out of the situation. Even a foggy wet beach was transformed into a beautiful serene environment. We were impressed by the variety of images this group was able to capture!
Jane Herzog “What a transformative 3 days in my world of nature and photography. The instructors are outstanding, each with his/her unique perspective and skills, and it is really a privilege to learn from Art. His vast experience, humor and sensitivity are inspiring…I look forward to participating in more of Art’s adventures in the future!”
Steve Kidd “The Art Wolfe Olympic Peninsula workshop was fantastic. Art and all of the instructors were extremely approachable and always offered great advice. I came away with much better photographs than if I had just gone to the locations myself. A very worthwhile trip!”
Roland Kilcher
Yolanda Moreno
Sheri Pascual “Art Wolfe is so unbelievably talented and creative and very willing to share his expertise with his students. The Olympic Peninsula’s forests and beaches gave us very diverse photo opportunities. We started our day before the sun came up and ended when the sun went down. I learned more in two days about composition and technique than I have learned in the last three years. Art also has an amazing group of accomplished photographers to help and advise as well. I was always able to get help when I needed it. Thank you Bill, Jay, and Libby! I can’t wait to go on my next workshop!”
I just announced a new workshop in South Carolina December 7-9.
This will be based out of Charleston, SC.
Join me for the last workshop I am doing in 2012.
The architecture of Charleston is rich and beautiful and provides great opportunities to explore. This historic city has an abundance of great photographic subjects.
The light at this time of year is long and dramatic. We will also be traveling to take in the beautiful live oaks of this area.
And a Southern plantation, too.
>>CKICK HERE to go to my Workshops website and find out more information and register.
This Workshop has just been announced by PhaseOne for their PODAS (PhaseOne Digital Artists Series) Workshops. This Tour promises to be the The Ultimate Luxury Photography Cruise.
We travel aboard the True North and have unparalleled access to the incredible landscape of this Paradise on Earth.
The ultimate location with the best accommodations utilizing PhaseOne digital medium format photographic equipment. Wow!
Instructors for this tour are Art Wolfe, Michael Reichmann and Christian Fletcher.
Walking into my first Art Wolfe Workshop, I was a self-taught photographer, anxious and concerned I may not keep pace. Within minutes I was diffused. Fast forward seven seminars/workshops and I find myself standing next to Art ready to board our small plane heading towards Coastal Brown Bears. If I knew then, what I know now, I would have taken the opportunity long before my first.
He has treated me as a friend; given knowledge and support peppered by encouraging opinion. He has shared; I have tried and failed and he has tirelessly shared again. He has crept into my brain, opened my eyes and opened my world. I have grown. For that I am thankful.
Once again we experienced tremendous photographic opportunities with the bears at Alaska’s Lake Clark National Park. Here are some of the picks our fellow travelers and photographers took!
Next year the workshop will be led by Jay Goodrich & Gavriel Jecan. If you are interested in getting on their mailing list, please contact info@jaygoodrich.com.
Jim Waterbury www.jimwaterbury.com
“Thanks for a terrific workshop! What a treat to see the magnificent coastal brown bears up-close, interacting with each other in a natural setting, and seemingly oblivious to the presence of humans. As usual, I found Art’s artistic vision, passion, and vast experience photographing wildlife to be both inspiring and educational … a real privilege to have been able to spend 4 days with Art and Jay, in the wilds of Alaska, yet in a very comfortable environment. Looking forward to the next opportunity! Thanks!”
Dale Moses
Hanspeter Leupin
“Taking pictures of the bears was an absolutely amazing and breath taking experience. With the input I got from Art and Jay I learned to enhance my skills in taking pictures.”
By Art Wolfe with Jay Goodrich
