Time for a little wilderness and wildlife advocacy. Alaska’s Bristol Bay needs our help. It is home to the world’s largest, most productive salmon run and it is threatened by the advancement of the Pebble Mine. The Pebble Mine would be a massive open pit mine that would leach into the ecosystem of one the most productive wildlife regions on the planet. I have been photographing in the region, which includes Katmai National Park and the famous McNeil River Bear Sanctuary, since the early 1980s, and understand first hand what this massive extraction project would do to the wildlife, the fishery, as well as the thriving, sustainable wildlife viewing industry.
Click here for a brief interview I did on the subject.
Brown bears associated with the Project area are a resource that has high ecological, economic, and social value. Southwest Alaska residents and visitors were estimated to spend nearly $145,000,000 (2019 dollars) annually to view wildlife and generated more than an additional $133,000,000 in associated annual economic activity. Much of the wildlife viewing activity in southwest Alaska is centered on observing brown bears. For more information, this study drills down on the economics involved in brown bear viewing ins South-central Alaska.
Watch:
I strongly urge you to take 20 minutes and watch Koktuli Wild, a video by Brendan Wells which perfectly illustrates the fragile beauty of the wilderness that feeds the potent Bristol Bay watershed. It is uplifting, beautiful, informative, and most importantly galvanizing. Even if you never see it with your own eyes, just knowing this this wilderness exists is affecting.
UPDATE: 6/29/2019 – The U.S. House of Representatives passed amendment 90, being called the “Huffman Amendment,” to the Energy and Water Appropriations Act. However, this is only the begging and Alaskans have called upon Senator Murkowski to to stand with Alaskans in opposing the Pebble mine.
UPDATE: 7/31/2020 – Following an Army Corps of Engineers Environmental Impact Study, which organizations like the NRDC have labelled as inadequate and flawed, the house has once again voted to suspend any funds for issuing a permit to the mining operation – the battle continues!
This past March saw plenty of time spent with great company photographing the culture and wildlife of India during Holi, and I’m thrilled to be able to post some of the photos our workshop participants captured along the way. Though the mass of humanity participating in the celebration can be overwhelming, it truly is a once in a lifetime experience and I’m glad we were all able to come away with some incredible shots. Thank you to everyone who participated – it truly was an honor to visit these ancient and culturally revered locations with you!
May began with our second Carmel-By-The-Sea workshop in as many years, and this is fast becoming one of our most requested Photography Retreats! Not only is it a beautiful and accessible location that doesn’t require leaving the states, there is just so much to see and do in the area that each trip is a little different.
Sea otters, seals, and a variety of shore birds can be found here and we usually take a relaxing kayak tour to photograph them from the water. If you’re not an avid or even mildly experienced kayaker, fear not – we just go along for the ride and hire professionals to do the work for us so we can be free to photograph!
Next year’s retreat is already on the calendar – get signed up today to reserve your spot. Spaces are already spoken for, and this trip will be a sell out!
Photographing in Patagonia I am running into people I know at every turn! Hopefully the variety in the slide show indicates all of the varied opportunities that have presented themselves on this trip – it’s been a good one! Save one miserable day that was spent chasing ghosts up a mountain in gale force wind and rain, but that’s all a part of nature photography. We have seen eight different cats, all responding differently toward us – some are prone to flee at first sight of our group, while others casually hang around not seeming to mind our presence at all.
Over all this has been a fantastic trip with great company, and I’m excited to sit down and edit what has been a satisfying batch of new captures.
India is always a dazzling adventure. This trip began with leopards and ended with tigers, with Holi and Varanasi were sandwiched in between. Holi is a spring festival, but has become a rambunctious free-for-all where crowds fling brightly colored spices and powders into the air to banish the gloom of winter. I don’t know if I’ll ever have the energy to photograph this event again!
I’ll be posting some terrific photos my workshop participants took very soon, so stay tuned for those!
Recently I collaborated with B&H Photo Video to share a few quick tips on shooting wildlife photos for World Wildlife Day.
Click here to check out the video, and don’t forget to visit my gear page which lists a lot of the equipment I use both in the field and to manage and edit my photos!
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.
One of the more fascinating aspects of my annual trip to Katmai has been the ability to recognize specific bear families and even individuals as they grow, not only in physical characteristics but in their personalities, demeanor, and mannerisms as well. It’s always a powerful feeling of a connection with nature when I recognize an animal I’ve previously spent time photographing. I wonder if they recognize me?!
They are probably far too busy fishing to be concerned with me, however. You’ll note the dates from when these photos are taken generally fall into the late July and early August weeks. This is when the rivers run red with spawning salmon. We come here at this time every year because the bears are active, occupied, and ripe for fantastic shots in their element. Again I will occasionally recognize individual bears in the tactics they use to fish.
This image has gotten a lot of play this year and for good reason – it’s not often you’re able to capture a bear charging at you, claws bared. I hate to dispel any legends of my fearlessness and resolve, but I wasn’t in true danger here – the bears are far too busy fishing and adjusted to human visitors to be a true threat. That being said, always take precautions! Our local contacts ensure we are taking all the appropriate measures for safety.
All of these photos are available as prints in my online store; click a title above to add some wildlife to your home or office! Better yet, join me on one of two workshops happening this summer at the end of July and in early August and capture your own images to frame and share! These workshops will sell out, so don’t hesitate to get on the list to join me on the ground in Katmai and make your own connection with these awesome animals!
It’s Wildlife Wednesday – the perfect opportunity to share a slew of recent images from the recent Japan Photo Journey. Japanese macaques, Steller’s sea eagle, fox, deer, Japanese crane, and Ural owls were present. A Blakiston’s fish owl also made an appearance – the largest owl species in the world, sporting up to a two-meter wingspan – and last but not least, the iconic Whooper swans of Hokkaido.
Revisiting a location such as this where the imagery is iconic can be a real challenge in terms of coming up with a new perspective. When I lead a workshop or provide guidance on a retreat, my goal is to not only ensure you’ll come away with iconic shots, but also to find a unique focus to your photos. I challenge myself no differently. As an example, I wanted my photos of the macaques to capture their action and agility as they would leap from rock to rock over the flowing water, as well as their relationships between one and other. I positioned myself lower to the ground to capture the cranes and swans, trying to choose decisive moments when their wingspans and beautiful feathers were on display.
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.
