Winter is a magical time to photograph the natural world. The world is changed with the white of snow or frost. Trees become dormant for the season, and visually become lines in the composition. The temperatures drop below freezing, and it is a different environment for operating a camera. Exposure changes to reflect white.
Below is a photograph of starlings in a tree covered with hoarfrost. The dark tone of the birds is in direct contrast to the white of the sky and tree limbs. For the frost to appear white, it is the time to over-expose the photograph. The dark tone of the birds will yield subtle colors and details. This image was shot at 100 ISO, 1/60 second shutter speed, and F8 aperture. I chose F8 to bring a larger depth of field to the image, yet knew sharpness didn’t matter for the background. The fog had not lifted too far from the ground, and was a mono-chromatic white.
The reason that snow or white subjects need to be over-exposed is due to the nature of the camera’s light meter. The light meter reads the world as 18% gray, when it reads 0 (or the center of the meter). To compensate, the exposure needs to let more light into the camera, so the whites look white.
This second image has foreground, midground and background. I wanted to show the fore and mid ground in focus, and let the fog become the backdrop for the image. This photograph was shot at 200 ISO, 1/60 second shutter speed, and F10 aperture. It gave me the depth of field I was wanting to show in the image. The use of the tree branches at the top helps create a feeling of depth in the image, and help show the subject.
This last image was a long-needle pine tree covered in hoarfrost. The ice crystals still maintained their crispness, and the cones were a nice contrast to the rest of the photo. I used a shallower depth of field to blur the background, and bring the viewer’s focus to the cones, needles and hoarfrost in the front of the image. The exposure for this one is 200 ISO, 1/60 second shutter speed, and F5.6 aperture.
The Skagit Eagle Festival takes place during the month of January. The event had many speakers, Native American events, float trips, and more. I will be speaking at the Concrete Theatre on January 19th from 12 pm to 1 pm, on photographing eagles and other wildlife.
This Festival comes at the peak of Bald Eagle migration to the Skagit River valley. The highest concentrations are from Concrete up to Marblemount along Highway 22. The photo at the end of this blog is from the Skagit Valley. Eagles congregate in the 100s.
The photo above was taken on Fir Island. It is where the Skagit River comes into Puget Sound. The Skagit Flats are home to resident Bald Eagles, Northern Harriers, and other birds.
During the winter, the Skagit Flats become home to thousands of migratory birds. These birds include Tundra Swans, Trumpeter Swans, Snow Geese, various species of Sand Pipers, Ducks, and more. Often, these birds can be seen from the road, and at the wildlife refuge areas.
For more information, comes see my presentation on January 19th, or follow my series on The Examiner.
Late fall and winter weather is happening in the northern hemisphere, and it presents different photography challenges. The weather plays an important part at this time of the year. It is more likely to be windy, stormy, rainy, foggy or snowy at our outdoor destinations. The leaves have left the trees in many areas, giving fewer hiding places for wildlife and birds. The landscape takes on a different “feeling” than the warmer months of spring and summer. The colors change, and daylight hours are shorter.
During strong winds and stormy weather, birds seek refuge in sheltered areas. This image below was taken during strong winds. This great blue heron is sheltered from the winds by the marsh grasses, and is feeding in the shallow water. In this image, he is cleaning his feet. There were several great blue heron roosting in the tall grass behind this bird. The weather brought these birds closer to the walk-way through the marsh, and made them easier to photograph. Other birds finding shelter in the marsh were Northern Shovelers (ducks) and Killdeer. Small song birds were feeding in the cattails and trees.
The beach is a wonderful location during high winds or stormy weather. In this photograph, the wave is coming into shore, and is about 4-6 feet tall. It wasn’t raining, but the winds were very strong. It is good to watch the surf, before going onto the beach, to see where the high-water mark is at. Even with this information, the wind can send waves higher on the beach. On the ocean, these are called sneaker-waves. They can pull people into the water, and can be deadly. It is important to be prepared for the environment and weather.
It is important to wear the appropriate clothing for adventures during the winter. Hypothermia can affect those who are not prepared for rain, wind, snow and colder temperatures. It is good to dress in layers, with a good water-repellent shell over the top. The wind will drop the temperature (wind-chill factor), and the cold can hurt exposed areas of skin (hands, fingers and faces). It is important to wear footwear that will keep feet warm and dry. This type of equipment can be found at outdoors stores, such as ski shops or REI.
Camera batteries will lose their charge faster in the colder weather. It is good to bring an extra battery, and keep it in a warm place (pocket near body heat). Most camera equipment is water-resistant, but it depends on the manufacturer and model of the equipment. It is good to keep the gear dry with a good camera bag (water-proof), covering for the camera/lenses and a quick-dry cloth to dry any water that does get onto the equipment.
The photograph below illustrates being prepared for the weather. More later. . .
This was taken in 1995 on slide film, and scanned to a digital file.
I’ve been a photographer for years, and started with film. I wanted to be like Art Wolfe. I had seen his photos in National Geographic, and wanted to work for them. I decided to become one of the best photographers in the world, and that would be my life. I would travel the world, take photographs, and people would pay me a lot of money. I was 13 years old at the time.
Through the years, I have been blessed with the teachings of many different photographers. I attended a workshop taught by Frans Lanting in the 1990s, and he told us that nobody in the room would make it as a professional nature photographer, except for the 1 or 2 that did not listen to him. I love a challenge!
Bryan F Peterson’s workshops brought in the idea that creativity and light were the foundation for all successful photographs. I’ve taken several workshops from him through the years, and have “wow-ed” him with a few photographs. This photo of the Painted Desert was the first “wow”, and it was at a workshop. It was followed by silence, in a room full of 50+ people. It is one of my fondest memories about photography.
The other factor that brought me to this point in my career was being recognized as a talented photographer by a local photographer. He taught introduction photography classes, and asked me to assist him. This was in 1995, and lasted for two years. He also encouraged me and others to show our work, by organizing a gallery in LaConner, WA. I was covering a shift at the gallery one weekend, and had the opportunity to listen to a gentleman critique all my work to a friend without even acknowledging my presence in the gallery. Listening to others can give insight, and knowledge about the artist’s audience.
This was taken in 1997 on slide film, and scanned to a digital file.
So now when I do a show or talk, people ask me “how do you do that?” I could be anything, such as how did you get the background to go dark. How did you get the picture so colorful? What kind of camera do you use?
Well, a good photograph doesn’t have much to do with owning an expensive camera. It does have a lot to do with knowing how to use the equipment that you own or can afford to own (Point and Shoot or DSLR). It comes down to understanding light, exposure, composition, and how to manipulate the camera to get the artist vision. It takes practice, using all this knowledge to hone a photographer’s skills.
I teach student’s these skills through several venues. On the weekends, I teach through Nature’s Photo Adventures. The 2 hour workshop is called a Photo Walk. This format allows students to learn these skills, practice the skills, and ask questions regarding application of the skills. Many of the Photo Walks happen at the zoo, where there are an abundance of photo opportunities. For the more advanced students, I offer a 1 day workshop (4 hours) of classroom time, and opportunity to practice skills. The format of the classes focus on skills, and students being successful with their photographs.
For those who prefer a classroom setting, I teach a series of Digital photography classes through the City of Edmonds. There are 4 individual classes that are 2 hours of instruction. Each one builds off of the knowledge learned in the previous class. Students can sign-up for these individually. The first class starts with basic camera operation. Class two focuses on exposure and light. Class three works on composition, and the application of exposure/light. Class four finishes with the digital darkroom, and what software programs work best for their costs.
I teach longer workshops through the Pacific Northwest Art School on Whidbey Island. In 2013, I will be teaching a one-day (6 hour) workshop called “From Camera Knowledge to the Digital Darkroom Intensive.” This will be one day focused on basic camera operation, exposure, composition, light, practice shooting, and finishes with the Digital Darkroom. This will be on Saturday, March 23, 2013.
The second workshop I will be teaching here is “An Island Photographic Adventure – Birds, Wildlife & the Environment.” It will be a 2 day workshop with classroom time, and shooting on location. The shoot locations will be on Whidbey and Fidelgo Islands. The workshop will be held Saturday and Sunday, July 27-28, 2013.
My other teaching venue is the Sitka Center for Arts & Ecology on the Oregon coast. I will be teaching “Of the Land, Sea & Air – An Oregon Coast Photo Adventure.” It will be in June, though I do not have the final date yet.
So, when asking a photographer, “how did you do that,” consider taking a photography workshop. . .
This was taken in 1992 (I think) on print file, and scanned to a digital file.
Macro photography is the art of seeing the small. It is taking the miniscule, and making it the subject of a photograph. The subject could be printed larger than life-size, and it’s details could be tack-sharp. It requires a macro lens or extension tubes for true macro photography. These tools allow the lens to be closer to the subject, thus magnifying the subject in the photograph. Subjects for macro photography are as varied, though flowers or insects seem to be a favorite subject among photographers.
Close-up photography can be done with a macro lens or a short focal length lens (such as a 17-40mm). It is different from macro, because of the difference in magnification of the subject. Another difference is the lens “sees” the subject differently. It can feel more “sweeping” in perspective than a standard macro lens.
The pink image below was taken with a 100mm Macro lens. The photograph is a pink rose. The sweeping lines of the petals create an abstract pattern in pink. This rose was about 3-4 inches in diameter, and this is a small portion of the rose.
The lighting was a big factor in this image. It was a bright sunny day, around mid-day. I looked for a flower that was in the shade, so the lighting would be more uniform across the entire flower. It the flower had been in direct sunlight, there would have been a difference of exposure exceeding 2 stops of light. Translated this means that either the shadows would have been black, or the highlights would be white.
Close-up photographs can reveal the hidden beauty of the subject. The photograph below shows the subtle color changes and details of a succulent. The focus is on the tight grouping of new leaves in the center, and this is controlled by the Aperture. The Aperture is the Depth of Field (DOF). In close-up images, the DOF is more noticeable than a sweeping landscape, because the camera/lens is so close to the subject.
This image was taken with a 17-40mm lens at 40mm. Shorter focal length lenses allow the camera/lens to focus closer the subject. The DOF was f4.0.
The image below is of one of my favorites. Water droplets act like a fish-eye lens, and show everything behind them within. This was taken with a 100mm macro lens at f4.0. There is a noticeable difference in the DOF between the succulent above and the fir needles and water droplets below. Each lens and technique give the photograph a different feel.
One additional note is to remember to use a tripod with Macro and Close-up photography. The slightest shake is magnified in this type of photography.
Since photography is based on light either natural (ambient) and introduced (flash), low lighting photo opportunities gives a photographer many choices on “how to take the shot.” Basic equipment should include a camera and tripod. The rest is up to choices about exposure and/or adding or subtracting light.
This first image was taken at dusk. The sun had been down for about 15-20 minutes before I took this shot. I used a tripod to keep my camera steady. I wanted to capture the lights of the ferry dock, and have the rocks in the fore-ground lit as well. I exposed this image for the lights and last colors of the sunset. In the Digital Darkroom, I worked on bringing the exposure into balance, which reflected what I saw when I took the photograph. I worked a lot with fill light and contrast.
ISO 100, 1/30 sec., f7.1
In the photo below, I had a different lighting situation. This was shot during late winter, and the sun had already set or near sunset. The Barred owl blended into the surroundings well, and I pushed the ISO to 2500. I didn’t know if the photo would turn out, because of the poor lighting. A flash would have been nice, but I would have lost the details in the background. The background would have gone very dark with a flash, because of the difference in light between the owl and the sky. In the Digital Darkroom, I adjusted the exposure, and de-saturated the color. This is the final resulting photo.
ISO 2500, 1/80 sec., f5.6
The scene below is a different situation than the previous two images. The lighting challenge is between shadow areas and direct sunlight. I chose an exposure in-between the two extremes, so I could collect enough details in the blacks and whites to work with in the Digital Darkroom. Even with this exposure, I still have some blacks and whites without detail. If one looks closely at the photo, the sun reflected in the window made refraction marks through the image.
For more information about these processes, I’ll be teaching workshops on the subject, and writing about this in future blogs. My workshops are offered through Pacific Northwest Art School, Nature’s Photo Adventures, Sitka Center, and the City of Edmonds.
In the mountains east of Prineville, Or, the small town of Mitchell is located 15 minutes from the John Day Painted Hills Unit. The town of Mitchell has a population of 120 people, and is located directly on Highway 26. The Oregon Hotel offers affordable accommodations, and is pleasant to stay. Main Street is across the creek from the main highway. During our stay, it was quiet and peaceful. Temperatures in the summer reach the 90 – 100 range, and July is the hottest month. With the aspen in the hills, fall would be a beautiful time to catch the colorful hills, and fall colors.
The area is home to three separate units, and all are home to fossils, beautiful landscapes and wildlife. We saw numerous Ravens, Hawks, Falcons, Deer and other wildlife.
This is Mitchell, OR, which is located about 15 minutes from the Painted Hills Unit. This is just before sunset.
The Painted Hills are layers of volcanic ash from the time the Cascade Mountains were young. Today, we see these hills as layers of reds, yellows, whites, blacks and greens. The sunlight changes the colors of the hills throughout the day. The sunlight becomes harsh around 9 am in the summer. It has the best color during the early morning hours, and later in the evening. The photograph below was taken a little after 6:30 am. I polarized filter is very useful in this location.
These hills are bathed in early morning light. They are located in the John Day Painted Hills Unit in Eastern Oregon.
Besides sweeping landscapes and panoramic, the area lends itself to abstract compositions. The vibrant colors, textures and shapes create a landscape filled with possibilities. The light-colored boardwalk (s) create a brilliant contrast to the colors of the hills. In the photo below, this is the boardwalk through color cove.
More later, and happy shooting. . .Karen
The trails are well marked, and some are partially boardwalks.
Here is the information on my upcoming workshop on the Oregon Coast. It is on June 30th and July 1st. It would be great to see you there, and feel free to pass this on to other interested people.
From birds to mammals, the lighting is very important for a good photograph. Light in the eyes gives a depth to the eyes, and attracts the viewer. It is said that the eyes are the windows to the soul, and it is one of the first places we look in a photograph.
The best lighting has the sunlight on the side of the subject or behind the photographer. Light behind the subject requires adding light via reflector or flash. Natural light on the subject gives it shape, and gives dimension to the photograph.
In the photograph with the gulls, the light reflects in the eyes of the gulls. The shadows on their bodies give the birds shape. On sunny days, it is easy to get this effect.
On overcast days, the shadows and highlights become subtle. Contrast is less, and the scene in front of the camera becomes flatter, as shown in the photograph of the racoon. This photograph lacks the dark shadows and the bright highlights. The sky washes-out to white and light gray.
In both these situations, a polarizer filter will cut the glare off of surfaces, and bring more color into the photograph.
Daylight changes through-out the day. The harshest light is mid-day, where the sunlight travels through less atmosphere. The warmest light is in the morning or evening. The photography shown here was taken in the evening, as the sun was setting.
The orange and pink of the sunlight reflect on the water’s surface, and the warm light baths the birds in flight. The blue is the reflection of the blue sky.
If this was taken during mid-day, the colors would be “washed-out”, and the light would appear to be hard or harsh.
The best time of day to shoot photography is before 10 am and after 2 pm. The sunlight travels through more of the Earth’s atmosphere, and it is less harsh. Colors are more apparent either earlier or later in the day. The colors of the subject will be warmer, and more vibrant.
