The Way We See It: birds in flight

Showing posts with label birds in flight. Show all posts

Sunday, August 25, 2013

What’s in a Blur (In Search of Creativity)

Green violetear hummingbird (Colibri thalassinus) - Savegre, Costa Rica
Canon 5D mark iii + Canon 300mm f2.8IS L + Canon 2x mark iii

I recently took a look at my neighbor / wedding photographer’s website (see http://brandonwerth.com) and thought to myself... “man that guy is so damn creative!” Being far removed from the portrait/wedding world, this type of photography seems as foreign to me as working with clay.

Flying Monkey (Cebus capucinus) - Hacienda Baru, Costa Rica

Rather than art, I often describe my work as conservation photography or nature photojournalism. While I always strive to produce the best possible images, I know “creative” is not the first word that comes to mind. At times my work is technical, compelling or emotive, but the word creative is reserved for the artists of the world.

Lapa Lapa Lapa (Ara macao) - Rio Quatro, Costa Rica

To break my current photo-funk, I’ve been on the hunt for creative nature photographs. I know it when I see them, and sadly, this is not what I observe in most of my work. While searching for inspiring photographs of nature, I’ve found many self-described creatives and creativity in post-processing, but the real artists in my discipline seem far and few between. The well-known humanitarian and photo-educator David duChemin is at the precipice of creativity with his portraiture and recent works in nature, but the one I find most compelling is Nick Brandt. Call it retro, but Brandt continues to shoot large negative black & white film while the rest of us toil with our pixels and memory cards. The structure of his images are evocative and expressive in a way that few can extract from their nature and wildlife subjects. There is a depth and emptiness to his images, yet each is filled with the essence of its subject. I call this work creative because Brandt manages to combine the key moment with brilliant technical skills that makes for much more than a journalistic representation of time. I can stare at his pictures for hours.

Flying banana (Ramphastos swainsonii) - Hacienda Baru, Costa Rica

So, what’s with all the burry pics in the blog, you ask?

During every prolonged shoot, I will break from my tendency towards technical perfection and try to escape from my self-imposed constraints. While I won’t be so bold to call any of these images creative, I might describe each as a purposeful attempt at making art from a bit of nature.

Sunday, April 14, 2013

An April Diary

April 28, 2005
Canon 1D + Canon 200mm f2.8L @ f2.8Average Temperature 45 ℉, No Precipitation

As winter yields to spring, the vernal equinox foreshadows an inevitable change. The long nights become long days, and the repressed are free to bask in the warmth of spring.

April 5, 2008
Canon 1D mark ii + Canon 300mm f2.8L IS @ f2.8
Average Temperature 45 ℉, .1" mixed Precipitation

Having spent my adolescence on the west coast, I was not prepared for the schizophrenia that is April. In California, April is just another month of warm days and cool nights. The equinox was an irrelevant date on the calendar, and spring was cooler than summer. In contrast, the oppressor, winter, punishes the plebeians who reside in the middle of the continent. April is our reward for endurance, but we mid-continentals, are nothing more than April fools.

April 16, 2011
Canon 7D + Canon 300mm f2.8L IS @ f2.8
Average Temperature 35.8 ℉, .11" Precipitation

Today is April 14th, it snowed, hailed and rained all day. My income taxes are due tomorrow, and the high school prom I coordinate is on April 27th. My students now behave like caged rats, and the drive to work has more pocks, cracks and shifts than the San Andreas Fault. I hate April! April is the greatest fallacy there ever was. Spring is not relief from winter, spring is just winter after winter.

April 7, 2012
Canon 7D + Canon 300mm f2.8L IS @ f3.2
Average Temperature 50.3 ℉, No Precipitation

April is as schizophrenic as my rant; it is unpredictable, unforgiving and a wild ride. Every year I look forward to April’s migrations, buds and renewal and each time I am bewildered by its unpredictability. Who is this deviant we call April?... your guess is as good as mine.

April 14, 2013
Canon 5D mark iii + Canon 17-40mm f4.0L @ f14
34 ℉, Rain, Sleet Snow

Sunday, March 10, 2013

Winter Diary (Post VII)

Feet First
Trumpeter swans (Cygnus buccinator) are an ideal subject for the winter naturalist.
White bodies contrasting with black extremities seem produce a form that seem
to captivate my imagination.

Canon 5D Mark III + Canon 300mm f2.8L IS

"Spring" break is over today, and with it ends this winter diary... The "A-Job" takes priority and pays the bills, so this blog will return to its weekly rant about travel, ecology, evolution or anything photographic that comes to mind...
Embrace the cold and shoot the winter, it's that rare treat that always comes too soon and leaves too fast.

Tuesday, March 5, 2013

Winter Diary (Post II)

Trumpeter Swan (Cygnus buccinator) - Minnesota
Canon 5D Mark III + Canon 300mm f2.8L IS w/ Canon 1.4x vi

Many nature photographers and enthusiasts take a hiatus during the winter months. To be honest, I can't blame them. Years of shooting in the bitter cold takes its tole on the extremities. My fingers, toes and tip of my nose now fears the frost. It's hard not to question my own sanity, yet... I persevere. I console myself with the naive belief that I am unique in this craft and that few are willing to capture the harsh months like I do.

In a few days I turn 48. As I approach 50, I am increasingly curious about how these experiences impact my longevity. Does the solitude during a winter shoot save me as many years as the cold takes away? I doubt I'll ever know, just like I doubt I'll ever stop.

In my last post, Fool Me Twice, I shared a treasured experience with otters that emerged from an ephemeral break in the ice. During the next five posts I spare you my words and just share some of what I've seen this winter. It's been a good year so far, now I'm looking forward to what follows 47.

Saturday, February 16, 2013

Grus canadensis

It isn't often that I choose to do a photo essay without words to accompany the imagery. I often use this blog as platform to educate readers about evolution, ecology, image-making or Minnesota. In breaking with my traditional pattern, I'll let the photos speak for themselves and hope that you enjoy this migration story.

Grus canadensis - Crex Meadows, WI
Canon 7D + Canon 300mm f2.8L IS

Wednesday, December 12, 2012

Muse - Ardea herodias

Ardea herodias (Great blue heron) - St. Croix River
Canon 7D + Canon 300mm f2.8L IS

Muse; noun... Source of artistic inspiration.

Derived from the nine mythological goddesses who symbolize the arts and sciences.

Here the word muse is used in a way that defies convention. Loosely interpreted, this elegant form is a muse that feeds my compulsion, challenges my vision and animates my craft.

Wednesday, October 31, 2012

Tip #97: Keep a Level Head

In Flight (Grus canadensis) - Crex Meadows Wildlife Refuge, WI
Canon 7D + Canon 100-400L f4.5-5.6 IS

Bad puns deserve loud groans, but slanting horizons really drive me nuts. When film was king, photographers worked more purposefully because every image had a cost and laziness became lesson in economics. Sloppy technique at a pinnacle moment detracts from an otherwise perfect moment and causes your audience to question the laws of physics. I can't stand seeing birds and boats paddling up some fictitious aquatic hill. The cure for this ailment is a quick fix, and your choices are quite simple.

Use a sturdy tripod, a quality head and a bubble (or in camera) level. Frame your landscape, step back for a moment to clear your preconceived vision, and give the image a second look. Find an anchor on which to level your horizon and only then make the shot.
No time to level in camera, then level it during the post process edit. Every image editor has a leveling tool. While some are quicker than others, there is no excuse to share an image with a blown horizon.

In photography, it is often said, you are judged by weakest image in your folio. Like bad grammar and the tendency to lie, blown horizons may define you to your audience in ways that will be hard to change.

Before Sunrise - St. Croix River, MN
Canon 5D mark II + Canon 24mm f3.5L TSE

Thursday, September 27, 2012

Tip #94: Don't Trust the LCD

Flight of the Dinosaur (Grus canadensis)
Canon 7D + Canon 300mm f2.8L IS @ f4.0
Shot in IS Mode 2 to optimize Sharpness while panning

That TV screen on the back of your camera is a great invention, but never use it to separate the winners from the losers. The details of distant objects will be blurred to nothingness, while subjects shot close will seem to be brilliant. In the end, you’ll be disappointment by your premature winners and surprised by the loser that you nearly trashed. While the LCD is a great tool for assessing composition and reviewing histograms, I suggest you leave your sharpness checks for quiet moments with Lightroom™ or Aperture™ on the “Big Screen.”

Crane Migration (Grus canadensis)
Canon 7D + Canon 300mm f2.8L IS @ f4.0
Shot in IS Mode 2 to optimize Sharpness while panning

Shoot the Moon (Grus canadensis)
Canon 7D + Canon 300mm f2.8L IS @ f4.0
Shot in IS Mode 2 to optimize Sharpness while panning

I'm not a Pteradactyl (Grus canadensis)
Canon 7D + Canon 300mm f2.8L IS @ f4.0
Shot in IS Mode 2 to optimize Sharpness while panning

Landing Gear Down (Grus canadensis)
Canon 7D + Canon 300mm f2.8L IS @ f4.0
Shot in IS Mode 2 to optimize Sharpness while panning

About the Images

These are Sandhill Cranes (Grus canadensis) during the Fall migration. Crex Meadows Wildlife Refuge is an ephemeral stop to roost, fuel up on corn and reunite with old friends. The birds arrive as the sun begins to set, and they will roost through the night. At dawn and dusk the refuge echoes with the ruckus of these extant dinosaurs. They arrive at dusk in the thousands and exit the dawn with explosive burst of activity.

Photographically, I am challenged by their flight that begins in the bright sky and terminates in the shadows of marsh. As throngs of birds glide over head, selecting “the one” often seems like an impossibility. They are the bombing raid that I imagine in my minds eye, and I am the gunner shooting for my own survival.

A check of the LCD always ends with disappointment and a feeling of failure. Each year I photograph these birds, believe something is wrong with my gear, and I swear in a way that embarrasses my own ears... and thus, a Photo Tip is born.

Monday, June 18, 2012

Tip #83: Tools (Part #1: Camera for a Nature Photographer)

Misty Morning (Cygnus buccinator) - Minnesota
Canon 7D + Canon 300mm f2.8L IS

The Camara

Like many experienced photographers, I have become the Google™ search engine for all things photography. When my non-photog colleagues, friends and family solicit input prior to making their purchase, I always respond with the same two questions:

What are your goals?
How much can you spend?

As a reader of this blog, I’ll assume that your photographic goals include travel and nature. While I make no assumptions about your budget, I’d like to suggest 5 key features to consider prior to making your purchase. The absence of one or more feature should not inhibit the pursuit of your art, however I have found that each of my suggestions have been invaluable in my own photography.

Statue (Cygnus buccinator) - Minnesota
Canon 7D + Canon 300mm f2.8L IS

First and foremost, I am brand agnostic. I am not a “fanboy” for any one manufacturer and often ponder a move between systems. Were it not for my costly investment in expensive optics, it is likely that I would have switched brands many times throughout the past 25 years. Furthermore, my own brand complacency has facilitated a type of mechanical memory. Years of use with the same basic cameras now make the movement of switches and dials automatic, and allows me to capture images that I would have otherwise lost.

Each of the features I suggest can be found in a variety of Canon, Nikon, and Sony cameras. Please note, I have purposely omitted Fuji, Leica, Olympus, Panasonic and Pentax from my list. While each of these manufacturers produce compelling cameras at a variety of price points, they do not support the needs of wildlife photographers. If you plan to restrict yourself to landscape, macro or travel, then all of the major manufacturers will meet your needs. However, if you plan to photograph wildlife and hope to acquire a long fast telephoto lens in the future, then it would be best for you to stick with Canon, Nikon or Sony.

Take Off (Cygnus buccinator) - Minnesota
Canon 7D + Canon 300mm f2.8L IS

Five Essential Features in a Camera for the Nature Generalist:

Single Lens Reflex (SLR)

Nikon and Canon produce single lens reflex cameras with a reflex mirror that allows you to see the image as the lens “sees” it. Light traveling through the lens is reflected to the photographer via a reflex mirror and glass prism. This traditional design enables you to see how the light is focused and magnified by your optics. In contrast to Nikon and Canon, Sony makes SLR-like cameras have an electronic viewfinder (EVF). Light traveling through the lens strikes a sensor, producing an electronic image that is viewed through an eyepiece. The new EVF technology facilitates fast autofocus and high frame rates, but the need to electronically refresh the image produces a slight delay between what you see and reality. While the Sony cameras are fast and well suited for wildlife subjects, I have not adapted to the “TV-type” viewing experience.

Complete System Approach

Purchase a camera that is supported by a broad system of lenses and flashes. While you may not want or be able to afford a 500mm f4 lens today, you may find that this is an essential focal length the future. Good cameras are supported by good systems that include fisheye lenses, fast zooms, ultra-telephoto optics, and tools for macro photography. Before selecting your camera, make certain that you check out the supporting cast.

Four or more frames per second (fps)

Wildlife moves fast and you will want to capture the decisive moment, flit of a wing, or strike of a predator. I have found that four frames per second will produce a burst that is just fast enough to nail the unpredictable moment. When considering the frame rate, also consider the size of the camera’s buffer. There is no point in buying a camera that can shoot 10 frames per second when the buffer can only hold 20 pictures... if you’ve made 20 shots in two seconds and must wait a minute for the buffer to clear, then you might as well be shooting at 1 frame per second!

Live View

When LiveView was initially introduced, I could not predict how it might influence my photography. The Canon 1D mark iii was my first body with LiveView. Lacking the ability to magnify the electronic image, I errantly disregarded this feature as little more than a novelty. Lack of foresight now makes me seem ignorant, as the current iteration of cameras include LiveView technologies that I could not imagine. When using LiveView an electronic image is projected on your LCD screen. This “Live” scene allows you to magnify the image ten times (10x) and permits accurate manual focus. Today, I use LiveView for 90% of my landscape and macro subjects. The ability to magnify the image, focus carefully and study the whole composition, helps me to “slow time” and produce more compelling images.

Mirror Lock Up

I have written about mirror lock-up on multiple occasions in this blog. To me, using this feature is the simplest way to maximize the quality of your optics. By manually moving the reflex mirror into the up position, you are free to trigger the shutter without introducing additional vibration. When accompanied with a tripod and cable release, it is easy to make vibration-free images with 30 second or longer exposures. Mirror lock-up is not a feature that you will find in any current (2012) Sony camera. This feature is not necessary because Sony uses a partially translucent mirror that allows light to travel through the lens and “reflex” mirror. As a result, there is no need for the mirror to move and thus no additional vibration... Advantage Sony!

(5 + 1) Weather Sealing

I know I said 5 key features, but I feel compelled to add one more to your wish list. A weather sealed camera will allow you to be less inhibited with your gear. Nature happens in the rain, snow, heat and cold. If fear of failure or damage inhibits your pursuit, then add weather sealing to your must-have list. I have found that even the least expensive SLR’s can survive some pretty rough weather. Try not to treat your gear as if it were something precious. See it for what it is... a conduit for sharing your vision.

Wednesday, April 18, 2012

Tip #67: Birds in Flight? Check the Wind!

Nest-bound (Ardea herodias), St. Croix River
Canon 7D + Canon 300mm f2.8IS L

BIF (birds in flight) is a popular sub-genre of the avian specialist. Expert BIF photog’s capture striking images with detail and action that this nature generalist can only dream about. In my endless effort to “unsuck,” I discovered (stolen) two key secrets that can increase the number of BIF keepers.

Birds face the wind and defecate prior to “take-off.”
Birds fly into the wind in order to land.

Flight Light (Ardea herodias), St. Croix River
Canon 7D + Canon 300mm f2.8IS L

So, if you want to “Chase the Flight,” hold a finger to the wind and you too can predict where your flyers are heading.

Landing Gear (Ardea herodias), St. Croix River
Canon 7D + Canon 300mm f2.8IS L

Saturday, April 7, 2012

Tip #64: Be a Bird, Go Where they Live

Double-crested Cormorant (Phalacrocorax auritus) - St. Croix River
Canon 7D + Canon 300mm f2.8L IS @ f3.2

Above average, that's how I'd rank my skills as a bird photographer. I'm not a bird specialist, just a nature generalist who will pursue birds when the opportunity presents itself. Because I'm not very good at calling in song birds and lack the bling to buy the type of telephoto that can extract them from a busy background, I tend to photograph the mega-fauna in this class of vertebrates. If I've described you, then you might find my next five tips to be useful.

Tip #64: Be a Bird, Go Where they Live

Nest Bound Heron (Ardea herodias) - St. Croix River
Canon 7D + Canon 300mm f2.8L IS @ f3.2

To make these photos, a canoe was my most important piece of kit. The birds pictured are traveling to and from a riverine rookery situated on an island. While the nests are visible, they could not be easily photographed from shore. By using a canoe in the late afternoon, we were able to paddle ourselves to the wildlife. If you are going to be a bird in the pursuit of a unique image, it is important that you respect the subject. These animals were constructing nests, courting, and incubating eggs. The reproductive imperative reduced their fear of intruders, but do not confuse this temporary tolerance with domesticity. Be sensitive to their bubble, as no one photograph is worth a failed nesting season.

Wednesday, April 4, 2012

Tip #63: Keeping up with the Joneses

Sharp-tailed Grouse Drumming (Tympanuchus phasianellus)
8MP of Old Canon Goodness + Sigma 300 f2.8 w/ Sigma 1.4x Converter

Don’t look now, but the guy next door has a new camera! That new bauble probably takes great picture, but don’t be fooled by its curvaceous form, it actually requires a photographer to make images.

Short Flight after the Drums (Tympanuchus phasianellus)
8MP of Old Canon Goodness + Sigma 300 f2.8 w/ Sigma 1.4x Converter

Captivating photographs are produced by artists who study their subject, understand light and make the time to be there. Do not succumb to the limits of your technology... the best camera is the one in your hands today!

Sharp-tailed Grouse Displaying (Tympanuchus phasianellus)
8MP of Old Canon Goodness + Sigma 300 f2.8 w/ Sigma 1.4x Converter

New tools come and go, but real talent resides within. I say, wear those blinders, follow your passion, and embellish the inner artist.

Time out at the Lek (Tympanuchus phasianellus)
8MP of Old Canon Goodness + Sigma 300 f2.8 w/ Sigma 1.4x Converter

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

Saturday, December 31, 2011

Tip #34: Use a Slow Shutter Speed to Pan a Moving Subject

Landing Gear Down - Crex Meadows Wildlife Management Area, WI
Canon 7D + Canon 300mm f2.8L IS @ 1/20 sec Shutter Speed

In Tip #3 I challenged you to purposefully defocus your subject to accentuate form and color. This technique produces impressionistic-like photos reminiscent of paintings from the 19th century art movement. The blurred natural and human landscapes by Monet, Renoir, and Pissarro demonstrate that the mind takes great pleasure when it fills in the gaps. Artists like Degas used softened brush strokes to construct the body of dancers while van Gogh employed choppy lines to make his portraits. As with painting, realism is not a prerequisite for photography. While we may pay a premium for our sharp optics and fast autofocus, the details they produce may mask the story that a blur might otherwise convey.

Tip #34: Use a Long Shutter Speed to Blur a Moving Subject.

To produce this image, I studied the flight pattern of cranes returning to their evening roost. As thousands of birds flew by, I decided to forgo the production of one more sharp picture. Instead, I began to wonder what it must be like to be a crane approaching a narrow strip of land illuminated by the setting sun. Using a long shutter speed and small aperture, I panned the passing birds as they lowered their landing gear for their final descent. Here, the blurred wings, defocused bodies, and streaked background emphasize form and color at the expense of detail.

...the mind takes great pleasure when it can fill in the gaps.

Wednesday, December 21, 2011

Tip #29: Use a Teleconverter

The wildlife photographer is a master of compromise. Rarely faced with an ideal composition in great light, we are forced to strike a balance between getting the shot and missing a fleeting moment. The proximity of our quarry is never close enough, and we are forever fighting uncontrollable distractions. All too often, the field of view is obscured by branches, highlights create overexposed patches, and parasites distract our focus. Furthermore, safety and respect for the animal forces a cautious approach, and should always temper the impulse to move in. While few hobbyists can afford the $6000 to purchase a super-telephoto, there is one inexpensive technique for making something distant appear close... the tele-converter. Generally produced by the camera manufacturer in two flavors,1.4x and 2x, these lenses can reduce distracting elements by narrowing the angle of view and increasing the focal length of a lens. With a price of $300-$500, the real cost of a converter is the loss light (one or two stops) and the moderate reduction of sharpness and contrast. However, when paired with a high quality fixed focal length lens, a teleconverter is a great compromise that allows us to capture distant objects without draining the college fund.

Sunday, May 15, 2011

Think Different -> See Different

Swish, swish, glide... swish, swish, glide... the pattern repeats on our journey to the sediment laden thickets. The river is glass and we're paddling towards Wisconsin. I can barely make out their prehistoric silhouettes against the orange glow of dawn; it's 5:20 a.m., Mothers' Day, and its us and the birds.

I can hear the mating chorus of the spring migrants, and I begin to dream about my options. I've been here before... it's my third opportunity. Do I play it safe, freeze the action, capture the portraits, push for detail, or do I take a risk? Swish, swish, glide... we're getting closer.

There's Always a Story

Landing Gear Down
Canon 7D + 300 f2.8IS L @ f3.5

Unfortunately,... you'll just have to wait until I find the time to share it. Until then, enjoy the warm light of a very early morning on the St. Croix River.

Saturday, January 15, 2011

When it's Cold...

Take pictures!
Unlike some of my other posts that focus on trumpeter swans ("Shooting the Cold" & "A Success Story"), this one is not about the birds. I'll also spare you from yet another rant about how cold Minnesota can be and instead focus on my strategy for staying warm and functional when temperatures plummet. While there is no one best way to maintain your core warmth, thermoregulation is a necessity if you plan to be a productive photographer in sub-zero conditions.
Having lived a chunk of my life in warmer states, it has taken me nearly twenty-years to finally understand how to continue shooting when most people would rather sit around a fire, hide under a blanket, and drink a hot toddy. What follows is my top ten list of suggestions that will make you a better cold-weather photographer.

Layers, Layers, Layers! Dress in layers: When planning a cold weather shoot, I wear sock liners, socks, thermal underwear, thick pants, t-shirt, long-sleaved shirt, fleece, Gortex-lined down coat, hat, and gloves (specifics to come).
Thermal Underwear Matters! I wear Patagonia expedition weight thermal underwear. While patagonia products are very pricey, these thermals are as warm and tough as they get. I purchased my first pair of patagonia thermals in 1987 to stay warm during long hours of research in Alaska... I still wear and use this same set today. With Patagonia, you get what you pay for!
Wear Wool Socks over Sock Liners: Wool is warm, and wool will stay warm even if it gets wet. I advise that you wear liners because wool also itches.
Invest in good winter Boots: Everyone I know who shoots and plays in the super cold wears Sorrel of Columbia boots. Ignore your desire to be fashionable, buy ugly boots that wick away moisture and are rated to sub-zero temperatures. If your feet don't stay warm, you will not stay outside... guaranteed!
Wear a Head-Sock and a Hat: Head-socks are ugly, they hide your face, people will think your batman, but they block the wind. Your core heat will escape from any exposed skin, and your face will be the source of this heat loss. I wear a head-sock to protect my skin and top it off with a hat that covers my ears. This extra bit of protection extends my productivity during the coldest hours of the morning.
Gloves Matter! If you asked me five years ago if I could imagine wearing a pair of $50 gloves, I'd say Hell No! Well let me tell you, a bit frostbite will make a cheap man (or woman) open up their wallet and spend like mad. I now carry two pairs of gloves into the field whenever I do a winter shoot. Each pair retails for about $50 and has a different purpose. When shooting, I wear AquaTech Sensory Gloves. These are the warmest full cover gloves that allow for enough dexterity to manipulate the knobs and buttons on my cameras and lenses. Neoprene fingertips for the thumb and index fingers are perforated with holes that allow my fingers to be temporarily exposed, do some work, and retreat back into the warmth of the glove. My second set are a pair of Manzella mittens. When it's really cold and I feel the hammer pounding away at my finger tips, I plunge my cold lifeless clubs into a pair of Manzella Tundra Mittens and sigh in relief. Like a pair of good boots, the right gloves will keep you outside when everyone else is running for the car or cabin!
Drink and Eat Before you Shoot: You will burn those calories as you hike during a cold day, or wait for your subject to arrive. The cold sucks the life out of your body, and you will need to generate some internal heat to keep the system working. Surprisingly, dehydration can be a real problem during cold-weather aerobic activity. Stay hydrated, eat well, and burn that fuel.
Carry Chemical Hand Warmers: This is a cheap way to warm up really cold fingers. Before heading out for a long morning shoot, I will open a pair of hand warmers, shake them to initiate the chemistry, and slip them into my Manzella mittens. The extra warmth from these chemical packets provide instant relief when the tears of pain begin to flow.
Know How To use your Camera! The cold weather is no time to learn what those buttons do. You will be uncomfortable and you want to expose those fingers as little as possible. Knowing how to use your gear will save you from the pain of fumbling around with a camera that you should know how to use.
Accept the Challenge: Many photographers put their cameras away during the winter and wait for warmer days. Some of my most interesting landscapes and unique wildlife images have been made during the coldest days of the year. Get outside, use the gear, and embrace the opportunity... it's worth the effort.

All images were shot at Swan Park, Monticello. On this day, the temperature never made it above 10 degree Fahrenheit. We began shooting at 7:15 a.m. and stopped around 10:00. With the damp air and cool breeze, the weather really challenged our bodies. This type of photography was all about waiting for peak moments. The lack physical activity challenged our ability to thermoregulate during periods of inactivity. Warm clothes and pre-shoot preparations made these images possible.