Recently I posted about my amazing new Canon R5 Mark 2 and some of the features I’m loving about this camera. However for all the technology invested in capturing tack-sharp images and freezing action, its also important to remind yourself to slow down every now and again.
One of the techniques I employ often is dropping the ISO down to 100 and stop down the aperture and let the motion move across the image. This “intentional camera movement”, or “ICM” technique is a great way to convey the sense of motion in an otherwise still frame, inviting the viewer to imagine the subject in action as described by the blurred image. Ernst Haas was one of my early influences, a person who’s work I continue to admire. He was a pioneer of using this technique to show the motion in his subjects.
It takes some experimentation and often you won’t really know if you have any successful images until you’ve edited and evaluated them. Some may still show the eyes of the animal in reasonably sharp contrast to the blurred legs in motion – I like this look – but I also like those images that make me think of ancient drawings on a cave wall, where nothing is particularly defined and the entire animal is abstracted in it’s motion and the background a blurred canvas.
I won’t always see the potential in these images immediately. Some I shot on film many years ago I nearly tossed out but decided to file away at the last second. I pulled them out years later and found a new appreciation for their abstract qualities and I’m glad I did!
If you’re interested in more photos captured with this technique, check out Rhythms From the Wild.
A few years back when most of us were stuck indoors, I took some time to comb through my catalog collecting hundreds of photos and put together Pathways to Creativity. From wildlife to abstracts, Pathways is a comprehensive look at my work and the thought process behind it. This is an exploration of ideas and inspiration, encompassing all aspects of photography from the way I use the technology to how I employ my fine art background into compositions and framing my subjects.
Years before that, I hosted a show exploring the world through my lens. Travels to the Edge is still circulating around the country. It was an incredible experience and I’m honored to have had the opportunity to bring my travels to your home.
Enjoy this content now streaming on my on-demand page for 30% off through Tuesday, September 3rd!
Use code LD24WOLFE at checkout to claim your 30% off – Available on all on-demand video. I recommend setting up a Vimeo account for easy access to your purchases!
Working with light is the very definition of what a photographer does, and to that end it’s important to keep the various approaches and angles of light in mind to ensure you’re emphasizing what’s important to you or an essential aspect of the subject you’re capturing.
Here are a few examples of the types of lighting I consider while shooting a subject.
Front Lighting:
Front lighting is a common but difficult angle to work with. With the light coming from behind the photographer and illuminating everything from the front, shadows can be weak or non-existent as they fall behind the subject. It can also wash out colors as light is reflected directly back at the camera. This overall lack of contrast can create images that look flat, but when used correctly it can also create shots that emphasize colors, textures and patterns in more unified ways than other forms of lighting.
Side Lighting:
Conversely, side lighting provides an obvious falloff from highlight to shadow, resulting in dramatic contrast. This image, from the same location as the previous in Sedona, Arizona shows how two similar shots can look drastically different in two different lighting scenarios, in this case determined by the time of day. Side lighting can help emphasize the volume and overall shape of a subject. It will also emphasize texture quite a bit more than front lighting.
Silhouette (backlighting):
Backlighting can be used to great effect to show the shape of a subject without defining it’s volume when used to create a silhouette. It simplifies the scene, removing unimportant details. This shot of Samburu warriors in Kenya might still be an interesting subject in full light, but as a silhouette the forms of the men and their tools become one.
Rim Lighting (backlighting):
Another form of backlighting very similar to silhouette is rim lighting. This is when the light bleeds around the edges of your subject, creating a halo of light around a darker or silhouetted form. This is achieved by having a light either directly behind your subject, or behind and at a slight angle. This creates a dramatic effect that not only informs the shape of the subject, but begins to hint at volume and texture as the light bleeds over the edge of your subject. The rim lighting on these guanaco in South America hint slightly at their furry texture and brown color.
Reflected Light:
Reflected light is most often used in portraiture to provide soft, even illumination to the subject that helps to diffuse textures. In nature, it most often occurs when sunlight reflects off one surface and illuminates another, such as the walls of a canyon, or light bouncing from a lake to illuminate the forest at it’s edge.
Spotlighting:
Spotlighting is often associated with artificial lighting setups, but when it’s found in nature it can be dramatic and provide a unique look at a subject. I have many shots of tigers in full, even light. This shot stands out as the subject steps into an illuminated pocket of an Indian forest.
Overcast:
Overcast lighting, also known as diffused lighting is one of the more frequently used and successful lighting types. It provides even illumination from light to dark, without creating harsh shadows or blown-out highlights. It does the most to show all aspects of your subject, allowing for detail in light and dark areas that shows texture while still including enough information to identify shape and volume.
Your assignment, should you choose to accept it: Go out and capture a subject or similar subject in two different angles of light, noting the elements that stand out and conversely fall back out of interest in each – feel free to share in the comments below!
One of the most common and frequently-utilized pieces of equipment in my kit is also one of the most commonly overlooked components – A circular polarizer, or “CPL” as you’ll see them sometimes called. Without getting into the weeds on the science, essentially a polarizer controls the amount of reflected light reaching your sensor, resulting in more saturated higher-contrast images. Although filters have largely been replaced by post-processing RAW images, a polarizer is still an essential component of any kit.
There are two kinds of polarizers – make sure you pick the right one. You’ll want a circular (not linear) polarizer with quality glass. No sense in ensuring you have quality gear only to skimp on the glass at the end of your lens! I use the fantastic filters from breakthrough photography. Polarizers also come in warm and neutral tones. A warm polarizer does the obvious – warms up the colors of your shot! It also has the added bonus of helping to cut through haze and atmosphere. A neutral filter will give you something more, well, neutral – making it a great place to start post-processing.
Using a polarizer is fairly simple. There is more to just slapping one on and shooting, however. Polarizing filters have a ring to adjust the amount of the effect. I watch my LCD screen while rotating the filter to see the results happen in real-time. This is useful when shooting water as well. I will dial between capturing a perfect mirrored reflection on the water’s surface, or bypassing the reflections entirely to see into it’s depths. The later helps me immensely when photographing subjects like the salmon-hunting bears in Katmai.
If you’re photographing landscapes a polarizing filter is a must-have. Leave a comment below if you have a polarizer you’d recommend. I also love hearing about the creative ways you’re using them!
On April 8th we’ll be able catch a total solar eclipse here in the United States, as well as Canada and Mexico. I’ll be in Seattle when it happens, so my viewing will only be partial – but I’ve had the pleasure of having some incredible opportunities for capturing these serendipitous moments in recent years.
In 2019, I made it a point to get down to Chile to catch the total eclipse. I have shot eclipse moments in the past but this time armed with Canon’s lightweight 600, a 2x and 50mp 5D… I was not only able to get the shot I came for – but cropping in you can even see solar flares along the edge of the sun (below)!
One of the most important tips for photographing the eclipse is to make sure you’re prepared to capture it in a variety of ways, both by zooming in for isolated details of the eclipse itself, but also connecting it to the environment. Framing it with trees or other terrestrial structures to establish a sense of place tells a greater story. My eclipse-shots are generally 1-second exposures at a low ISO around 400 using a long lens with extender, but there are a lot of factors you’ll need to consider. B&H has a great post on their Explora blog about photographing the eclipse.
A few years prior to Chile, I was also able to capture the annular event in one of Tanzania’s most remote National Parks, Katavi. This was a stop on a wildlife trip, and while I was able to capture some incredible photos of hippos and crocodiles, the eclipse stole the show!
I also captured an eclipse in Australia back in 2002. For that trip, I was shooting for Edge of the Earth, Corner of the Sky. I wrote an extensive blog post on that experience a few years back if you’re interested in more photos and stories!
This April, my workshops come home with a special two-day Seattle event focused on helping you find YOUR creative vision! This was such a success last time that we are doing it again and I can’t wait to share what the Pacific Northwest has to offer.
We will kick things off with a meet and greet at my home with Hors d’oeuvres and beverages. I’ll also be sharing photos and stories from my latest book Wild Lives. The following day we’ll be off and running, with lectures, field sessions and critiques – all with the purpose of helping you find and/or hone the personal creative point of view that will allow your photos to stand out.
As we get closer to the event, spots will fill quickly – reserve yours today!
Happy New Year – hopefully everyone had a rejuvenating holiday season! If you found a new camera, lens, phone, or other equipment under the tree and you’re looking to get out and shoot, you might be wondering where to start. Obviously there are technical hurdles to leap that are going to be specific to your setup, but the easiest way to learn is to just get out and do it, learning from mistakes, and focusing on one aspect at a time until it all comes together.
I also have a couple of well-reviewed how-to books on the subject, packed with great information on how to get going – sold individually, or as a bundle. And, when you’re comfortable enough with your camera – why not check out one of the many upcoming workshops and put your new equipment and knowledge to use in the field? Either way, I’m excited for you and your upcoming photography adventures in 2024!
I recently sat down once again with Parimal Deshpande for an episode of Earth Is Our Witness – in which I was the subject rather than the Artist-In-Residence. We’ll be releasing the episode in its entirety this holiday season. Until then, enjoy this segment on photographing wildlife in Africa as I discuss a variety of subjects ranging from conservation to technique – and stay tuned for more as we approach the release of Wild Lives!
Don’t forget to follow Earth Is Our Witness on Youtube, Instagram and Facebook for more amazing photographs and the stories behind them.
The first decision every photographer must make is simply what to photograph. The best place to start, of course, is finding what appeals to you. If finding subject matter to photograph is easy, making it stand out is harder. Our first impulse when something catches our eye is to simply point the camera, center the subject, and shoot the picture. No surprise, then, that when we look at it later, we are all too often disappointed and wonder, “Why did I take that?”
The novelist and critic Henry James wrote, “In art, economy is always beauty.”
In a landscape, there is often a glut of information. For that reason, artists who sketch in the field will often take a piece of cardboard with a rectangle cut from the middle. By holding it
up to frame various sections in the scene, they can isolate what has potential to make a strong composition.
This can also be a valuable aid for photographers who have trouble visualizing the potential field of view of different focal length lenses. The closer you hold the hole in the board to your eye, the more it approximates the field of view of a wide-angle lens. The farther away you hold it, the more it resembles what a telephoto lens might see.
Isolating the subject is the first step in making a strong composition. This can be achieved in a number of ways-coming in close, backing up, looking down, looking up, changing the direction
of the light on the subject, waiting for another time of day, blurring the action or stopping the action, using selective focus to blur unwanted elements, putting a light subject against a dark background. All of these are potential creative solutions that We will address throughout this book.
Isolating your emotional response to the subject may be more complicated and take time and practice, but it is an important step for an artist. If you can analyze why you feel drawn to make a picture, and work to express the feeling clearly, chances are someone looking at it will ah respond with more than passing interest.
The image gallery above are all examples from my travels to Kenya in which I wanted to focus more on the emotions, textures, and compositions of isolated subjects and families. I’ll be heading back to Kenya in January – join me and make your own memories!
This past spring I returned to Moab, Utah with a great group of workshop participants that were graciously receptive to my teaching goals in such locations – shooting the unobvious! It’s easy to come to a place like this and shoot the arches and other well-known landmarks. I can recite ad nauseum the camera settings I might use while we sit around waiting for perfect light and re-create the same shot you’ll find on postcards as you head out of town. That’s not why I come here and certainly not why I choose to lead workshops here.
Places like Moab, Astoria, and other significant locations around the country and the world are attractions for a reason, however— so I recommend people get those shots if they want them, of course. In these popular locations it’s much easier to find lodging and great food versus some remote and obscure spot on the map, so they make great places to hold these workshops. However there is so much more to be seen in the details, reflections, and abstracts to create new and unique one-of-a-kind images as well, and that’s where I like to focus my time and my teaching.
Enjoy the video, and check out my upcoming workshop offerings!
Happy Labor Day Weekend!
