As always, it is always great to spend several days in Olympic National Park with such enthusiastic photographers! This workshop continues to be the gold standard of my learning program. Be sure to check out the blogs & websites of the following photographers!
Alan Augustine: “I really enjoyed the workshop. Art and all of his assistants were very helpful with my attempts to progress from simply documenting a scene to creating a work of art.”
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Cory Kitzan: “I had a GREAT time at this workshop. I came home and told my wife that it was the best three days of my life! It was very mentally and physically challenging. It took me two days to recover! I loved every bit of it.
Art has so much energy and passion, and seemed to really care about the quality of the workshop experience for each member of the group. He was a lot of fun to be around. His lectures and candid comments during the critiquing session were invaluable. I learned so much!
I also learned humility when I viewed my results. I’ve been taking photographs as a hobby since I was a kid (35+ years). I understand the technical side, and can take good “vacation photos”, as Art described them. I have loved Art’s photography ever since the first time I saw “Travels to the Edge”, but I didn’t know what it was that appealed to me, or how to replicate it myself. At the workshop, those questions were answered.
I now have many fun years of practice ahead of me. What I learned in those three short days will impact my photography for the rest of my life. I would highly recommend Art’s workshops and lectures to anyone interested in photography.
Facebook: www.facebook.com/Cory Kitzan
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Dan Rosen: “I had a great time at the workshop!”
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Darrell Sano: “I’ve always admired Art Wolfe, ever since watching his “Travels to the Edge” PBS series. He is far more than a landscape photographer, and his fascination with people and culture attest to his multi-faceted interests and skills. Aside from looking at his work and hearing first-hand explanations behind his images, the class afforded me the opportunity to visit someplace I’ve never been. And sharing the experience with fellow attendees, especially those who I drove in our car pool, was utterly enjoyable.”
Web: www.dksfoto.com
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Ella Hudson: “Earlier in my life I have worked as a college photographer and a medical photographer. More attune to a PR and photo journalism style, I have never really explored nature as a photo subject. The grand landscape has always been too broad and vast; my photos never came close to Ansel Adams! But I enjoy others’ nature photography.
I have followed Art’s work since becoming aware of him through “Travels to the Edge.” His obvious love and passion for animals and nature’s beauty is what makes these episodes. My husband encouraged me to sign up for the Olympic Peninsula workshop as a gift to myself. This was the first real photo workshop I have ever attended. Even though I felt a little out of my comfort zone, I promised myself that I would be open to all the possibilities, no matter what. I really had no expectations; I planned to attend and see what happened.
Well, what happened was more than I could have ever expected. Photography, photography, photography morning to night with a lot of other people at times feeling out of their comfort zones, too! But that’s how you learn! Here was an opportunity to just soak it all up!
Eric Schoch: “This was a terrific workshop in a great locale. Art and all the instructors were supportive and had excellent suggestions. I learned a lot and had a great time!”
Web: ericschochphotography.com
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Kashif Izhar: “What an exhilarating experience it was to be with Art Wolfe at the Olympic Peninsula Workshop. 3 days full of great advice and ample chances to implement it in the field with first hand feedback from Art and his team. The critique session was by far the best, where Art looks at each photo for a moment and then with live Lightroom implementation, transforms it to its true potential. Wish to join Art once again at a more exotic location for a longer trip.”
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Kathryn Mead: “Art is a great teacher in lecture, field and critique. His enthusiasm is boundless as is his knowledge, which he shares freely. This was my 3rd workshop with Art. He takes us to places that offer a variety of shots. Since he’s thought out where to go, all I have to do is think about shooting. I really enjoyed shooting with a group. I got to make new friends and learn even more about photography from talking to them and seeing their work. Art’s personality sets a relaxed atmosphere. I would recommend a workshop to anyone who would like to learn more about how to see an environment in a way that allows them to create more compelling images. For me, this class is not (mostly) about f-stops and ISOs. It’s about how to see a composition. My photography has improved tremendously as a result of learning from Art.”
Nick Monkman: “Art Wolfe is a fantastic teacher and and enjoyable person just to be around. Not only did I improve my photography – I also had a fun vacation. Art’s rich background in painting and art history really help drive home his main teaching points about effect compositions. Lectures were well-organized without being oppressive and the image critique at the end of the workshop was especially rewarding. Well done…and when’s the next one?”
Blog: nickmonkman.zenfolio.com/blog/2012/6/okay-that-was-fun
Web: nickmonkman.zenfolio.com/
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Timothy Lindsay: “I learned a lot about composition and the technical aspects of photography on this workshop. Both during lectures from Art Wolfe and his helpers in the field. I recommend atttending one near your home first so you know what kind of equipment you need (and what you don’t need) when traveling with your photography equipment.”
Some people are amazed to learn that I still enjoy getting out to photograph wildflowers. Well, 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 mountains around Seattle, melt out 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 (any lower and your knees might get dirty!) and go home happy. I call this the trophy shot, it looks just like the image on the packet at the wildflower seed store – we all have them, myself included, so get that shot (I will) 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 patterns in nature, patters of petals filling the frame, of 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. For images of the flowers themselves your best bet is an overcast day with even lighting. While a sunny day is great for a picnic, and the flowers are beautiful to look at, the shadows caused by the direct sun put too much contrast in the image and where flowers are the only subject the results will be disappointing. Overcast days, even rainy days are some of my favorite for flower photography, good thing I live in Seattle.
Even though this weekend is predicted to be the best weekend of the year here in Seattle, the Pacific Northwest is ever changing and it shouldn’t be long until things change.
Rainy days are some of my absolute favorite days to photograph. Sure it would be a lot easier to shoot through fog to create that soft mysterious air to your images, but fog is unpredictable and typically rather temporary lasting only for an hour or so in the early morning. However rain in the Pacific Northwest is both predictable and persistent.
People are often surprised that I don’t run outside with my camera on a beautiful blue sky day. The clouds on an overcast day act like a huge softbox to soften the light, reduce contrast, and open up the shadows to details that would be completely lost on a bright sunny day. Falling rain diffuses and evens out the light even more. Some of my favorite images have been captured on gray rainy days.
You’ll need to check your lens frequently for spots but with a little care you can use the rain to your advantage. Use a tripod, polarizer, small aperture and long shutter speed to keep from recording individual falling drops of rain and maximize atmospheric softening. Additionally, the polarizer removes the shine from foliage for the richest colors possible. It’s rare that I don’t have a polarizer on the front of my lens. With standing water in your frame the falling rain will ripple the surface. The long shutter speed will blur movement the same way a waterfall can be rendered as a soft ethereal white drape over rocks.
