The Way We See It: February 2012

Wednesday, February 29, 2012

Tip #54: Familiarity Breeds Success

Saguaro Sunset - Saguaro National Park
Nikon D100 + 300mm f2.8 AFD

Knowledge and experience can increase the likelihood of a happy accident. Web research and forum friends can get you “there,” but the opportunity to photograph wildlife, dramatic light and climatic conditions are ephemeral. “The revisit” is a practice to which I subscribe. Frequent travels to Costa Rica, Badlands and Joshua Tree National Parks have paid dividends. Familiarity breeds success, and I measure this success by the diversity of wildlife I see and the images I make.

Ocotillo Study - Saguaro National Park
Nikon D100 + 20mm f2.8 AF

In 2003 I purchased a Nikon D100, 6mp DSLR. I sold three film bodies and ponied up nearly $1500 to make, this, my first digital buy. Intended to be a companion to my medium format Pentax AF645n bodies, I held my nose and entered the digital revolution. The Nikon was paired with a 300mm f2.8 AFD and 20mm f2.8 lens. It was an expensive experiment, but it also had the potential to breath new life into my art. Intended to be a supplement to the large negative landscape photography, I knew I’d love the immediacy of digital but was not prepared for the improved image quality.

Saguaro Study - Saguaro National Park
Nikon D100 + 300mm f2.8 AFD

In February 2003, the year I waded into the digital waters, Tamy and I journeyed to Saguaro National Park in Southern Arizona. The images that accompany Tip #54 were made with that D100 and they changed the way we now approach this craft. Nearly ten years later, Tamy and I are returning to Saguaro National Park. We look forward to our evenings on the edge of a wilderness and developing a fresh intimacy with this unique desert ecosystem.

Sunday, February 26, 2012

Tip #53: Punish Your Pixels

Yellowstone Dawn - Yellowstone National Park
Enhanced Processing to Accentuate Color and Detail in Pre-dawn Light
Canon 5D MarkII + Canon 17-40L f4.0

This Week in Photo (TWiP) host, Frederick Van Johnson, likes to claim that “Pixels were meant to be punished.” Metaphorically, he argues that photographers should feel free to manipulate, distort and play with their digital images. For some this is heresy, while to others, it is art. The degree to which I manipulate a given image is dependent on the context. Whenever I wear my nature-photojournalist hat, I am a scientist. On these occasions, my goal is to illustrate the reality of a moment, capture a behavior or relate the character of an ecosystem. As a photojournalist it would be a breach of ethics if I were to do more than routine color correction and image sharpening.

Here Comes the Sun - Selva Verde Reserve, Costa Rica
This is a 5 shot HDR-Processed Image. The Image Accentuates Color while Capturing the Details in the Shadow and Highlights
Canon 5D MarkII + Canon 15mm Fisheye

On the other hand, whenever I dawn the artist cap, I liberate myself from my scientific tendencies, and freely alter the character of my images. While I am not one to add new elements or remove objects that distract, I will push the limits of color, contrast and composition as a mode of self-expression. In truth, every photograph is a form of altered reality. The photographer’s choice of aperture and shutter defines the depth of detail and amount of motion, while choice of lens can be used to include, exclude or compress distant objects. Acclaimed for his unique ability to capture the essence of a place, Ansel Adams was the grand master of manipulation. Trashing color from a scene, defining the character of light and controlling contrast with chemistry are just a few of the many ways that he enhanced his images in the name of art.

So there it is, Tip # 53

Don’t be afraid to punish your pixels in pursuit of artistic expression.

Wednesday, February 22, 2012

Tip #52: No Fear

Orb Spider Species - Hacienda Baru, Costa Rica
Canon 5D + Canon 100mm f2.8 macro USM

A brief thought for the day in the form of a metaphor. Embrace the hesitation and fear that inhibits the impulse to live an adventure. While limited resources may restrict your final destination, don't allow an early morning, long hike or irrational phobia temper the creative urge.

Sunday, February 19, 2012

Tip #51: The Variable Neutral Density Filter

Winter Stream - Osceola, WI
Canon 5D MarkII + Zeiss ZE 35mm f2.0 @ f16 w/ Fader Variable ND Filter

The roots that compose the word for our craft, photography, are photo (light) and graph (picture). Absent from the prefix and suffix is mention of the camera, lens, sensor and resolution. While gear expands the possibilities and entertains our desire for things, it does not define the medium. As such, I have devoted very few words in this blog to discussions about photographic equipment.

Frozen Falls - Osceola, WI
Canon 7D MarkII + Canon 300mm f2.8L IS @ f8

Master photographers perceive the way highlights enhance and shadows define. They recognize how the angle of inclination can alter a mood, and know that controlling a light's tone, duration and intensity conveys an intent.

Winter Stream II - Osceola, WI
Canon 5D MarkII + Zeiss ZE 35mm f2.0 @ f16 w/ Fader Variable ND Filter

Light-picture - manipulate the light to convey your vision.
The variable neutral density (ND) filter is an inexpensive tool for controlling the amount of light that strikes the sensor. When attached to the front element of the lens, a rotation of this polarizer-like filter allows you to block 1 to 10-stops of light. These filters facilitate long exposure photography during daylight hours, thus allowing you to capture the blurred ebb and flow of cars, people and water during the brightest minutes of the day. A long-time tool of videographers and cinematographers, the variable ND permits access to fast apertures and slow shutter speeds when ambient light would otherwise restrict the exposure. Used here at Osceola Falls, my variable neutral density filter was attached to a 35mm lens. I set the gear on a stable tripod, used a cable-release and applied mirror lock-up to shoot a 20 second exposure at f16.

Wednesday, February 15, 2012

Tip #50: The Opportunist

Flyby - St. Croix River, MN
Canon 7D + Canon 300mm f2.8IS L

This is my 50th post in a blog series that has been more like a brain worm or root canal than a picnic. It is not the sharing nor the creation of tips that distress me, it's the writing. I am no author, but I take great pride in how I translate my thoughts into words. As such, the process is a tad painful. So, as I tackle the next 51 tips, I must confess that I will not make my 101-day "deadline." While I will continue to call this opus of mine "project 101," sanity requires a slower pace of delivery. For those who have become regular visitors to the blog, I will now seek some greater consistency and post a new tip, thought, or idea on Sundays and Wednesdays.

One Stick at a Time - St. Croix River, MN
Canon 7D + Canon 300mm f2.8IS L @ f3.2

The opportunist creates opportunities. We, opportunistic photographers, love the "happy accident," but prefer to increase the probability of success by making these "accidents" possible. Success in nature, landscape and macro photography requires that you put yourself in the right spot at the right time. This is what makes the opportunist a success; be the creator of serendipity and make probability a reality.

Fish Run - St. Croix River, MN
Canon 7D + Canon 300mm f2.8L IS @ f3.2

Monday, February 13, 2012

Tip #49: WYSIWYG ...Not!

High Tide in Rialto - Olympic National Park
Nikon D100 + Tamron 180mm f3.5 Macro

Two truths... Creativity is subjective and reality is a bore.
In a prior post I discussed how the interplay of shutter and aperture can influence the expression of depth and motion, while here I illustrate how selective focus can define a mood and perspective.

Whidbey Island - Washington
Nikon D100 + Nikon 300mm f2.8 AFS

Sharp images stimulate our visual tendencies to seek out and understand minute details. In contrast, blurred or out-of-focus images stimulate the imagination. The viewer will linger on an unfocused image, struggle to fill in the gaps and ponder the intent of the artist.

Rialto - Olympic National Park
Nikon D100 + Tamron 300mm f2.8 AFS
Processing: Topaz B&W Diffusion Soft

Selective focus is one way to unleash your creativity. Here, we are forced to consider form, shape and color at the expense of clarity. This type of image exhibits a subtle sense of place and time, and releases your viewer from the constraints of reality. To produce a selectively-focused image, set your lens to its maximum aperture (f1.4 to f3.5). Focus on only one key detail or point of interest and let the rest of your image fall out of focus. Shoot, re-compose and shoot again. With a little practice, you will be able to predict the way the blurs will influence the final picture.

Thursday, February 9, 2012

Tip #48: Be Flexible

Winter Frost - Stillwater, MN
Canon 5D MarkII + Canon 300mm f2.8L IS

Observation #1: Life is unpredictable.

Observation #2: When faced with the unexpected, humans can adapt.

Inference: A good plan does not ensure a predictable outcome; flexibility is a requisite for succeeding in spite of extenuating circumstances.

Needles on Needles - Stillwater, MN
Canon 5D MarkII + Canon 100 f2.8L IS-Macro

In my scramble to assume control of the uncontrollable, I am comforted by the lessons learned during my photo walks. Faced with the limitations of life and work, weekend mornings are sacred. Although they are poorly planned, my participation is almost certain. Some are quiet moments in a lonely wood, while others are excursions with my closest friends. Regardless of the company, these pre-dawn adventures rarely turn out as planned. Rather than wallow in disappointment, I embrace the opportunity to transform the unpredictable into a creative expression.

Drip - Stillwater, MN
Canon 7D + Canon 300mm f2.8L IS

Rigidity is the enemy of creativity; flexibility is an essential ingredient for realizing your vision. Try not to predetermine your experience as light, climate and life will conspire against you. Rather than force the moment, be a witness and capture life as it happens.

Sunday, February 5, 2012

Tip #47: Use Your Ears

Chestnut-Mandibled Toucan (Ramphastos ambiguus swainsonii)
Canon 7D + 300 f2.8L IS @ iso 640 and f2.8

Strange advice for a visual artist, but the ability to listen may be the difference between a missed opportunity and getting the shot.

As wildlife photographers we are faced with an endless list of challenges. Patchy light streaming through a dense forest makes for a metering nightmare that places bright hotspots adjacent to deep shadows. Despite the futile pleas, animals can't perceive our benevolent intentions and flee the moment we enter their comfort zone. Blood parasites mob exposed skin during frantic journeys through thorn infested thickets. All of this and more conspire against us, distract our attention and adds haste to the process. The products of our efforts are glamorous, the process is not.

Looking for a Mate
Canon 7D + 300 f2.8L IS @ iso 640 and f2.8

Long hikes to less than spectacular locations or tough shoots in sub-zero temperatures often lead to the need to be done. As the body shuts down so does our receptivity to the sensory rich world. Once finely tuned when the day began, we are broken as dusk approaches. However, it is when we reach this terminal point, that we must stop and give ourselves a moment to listen. It is this breaking point where an elusive opportunity will present itself. Every photo adventure I have lived, has had one. Exhausted and hungry, I begin to walk fast and ignore my surroundings. I hear the noises pepper me through the woods, but I ignore their calls. If it were not for my intense curiosity or obsessive drive to make just one good image, I would miss many of my best wildlife encounters. So, as you try to block the distractors at the end of a day, do not shut down your sensory system... stop and listen!

Photographers Note:

After missing breakfast to catch first light in a tropical valley, we spent the rest of the morning working macro subjects. By noon we were famished and began to hike back for lunch at the lodge. The calls of mating toucans competed with my desire to be done; thankfully, I chose to listen. After seven trips to Costa Rica, I finally have images of toucans that make me smile.

Thursday, February 2, 2012

Tip #46: Love What You Have

In Dawns Light - Samburu National Reserve, Kenya
Canon 7D + Canon 300mm f2.8L IS @ f3.5

G.A.S.

noun: Disease of the mind and heart. An obsession leading to irrational decisions. Suffered by many, conquered by few. Acronym for Gear Acquisition Syndrome.

Tree House - Serengeti National Park, Tanzania
Canon 1D Mark II + Canon 300mm f2.8L IS w/ 1.4x converter @ f4.5

Learn to love the lenses your have. Shoot them often, be a scientist and experiment with them. Discover how the image will change depending on your point of focus. Use it wide open (largest aperture), closest focus, or stopped down (smallest aperture). By experimenting with your optics, you will know how they respond when you need to get “the” shot!

After the Burn - Serengeti National Park, Tanzania
Canon 1D Mark II + Canon 300mm f2.8L IS @ f3.2