A Little Humanity in the Wild

When we think of landscape and nature photography, we tend to think of those pristine wilderness views, untrammeled and void of people. Because people just ain't natural. Right?

I would beg to differ. People in nature are perfectly natural and should be included for several reasons.

First, including people in your landscape images helps to tell the story. Let's face it. You bring a camera along on your excursions so you can later share the experiences with friends and family. Probably the same people you're out having fun with. You can gather around over wine or beer and laugh, discuss and enjoy the excursion all over again. Having your friends and family in the images rounds out the goofy and the serious experiences.

A person or people in a scene, gives the viewer a sense of scale. You're high on a hillside and want to take an image of the view with the valley below. But it just doesn't seem as grand, does it? get a friend in the photo and if you don't have a friend, put your camera on something steady (a tripod if you have one) and pose yourself. Immediately we see the scale of the view. We all know the average size of a human. Add them to the scene and all of a sudden we know how big that hill you're on really is.

You can add context to your image by including people. Along these same lines is that people in nature photos help to add a little context to the scene. In the image above, the viewer can deduce that there was a hike to the top of the hill in the winter - it must have been a strenuous hike (look how far down the river is) and the hiker decided try her hand with some yoga poses to stretch out her muscles.

Looking for a point of interest or focus to your image, people help to do that. People in your images can add a balancing point to an expanse either by being the subject of the image with an amazing or repetitious background or by helping point the viewer to the subject. The above image would have been ok with the view of the river, but adding the hiker, she now becomes the subject against a hazy background.

In the end, adding people to your nature scenes helps make that scene relatable to the viewer. We all love to look at beautiful images of fantastical places, but add people there and we can all of a sudden see ourselves in those places too - without ever being there or even really needing to be there.

So next time you head out with your camera for some fun with your friends and family, make sure you snag a couple of images with them to help tell the story, add perspective and contest, and really just because they are great people and deserve to be your subject.

Going Solo

I often find inspiration on social media sites when my friends ask questions that really get me thinking. Near Christmas, a question was asked about holiday memories and I wrote a post about some of my favorite holiday memories.

Recently a female hiking friend of mine asked when any of her female outdoorsy friends decided to do their first solo backpack and why.

Good question.

I can tell you that for the longest time, heading into the backcountry by myself was a frightening proposition. A habit of reading true stories of people getting lost and dying while in the backcountry alone made the idea unfathomable to me. Why would anyone do that? You could get eaten by a mountain lion, mauled by a bear, fall of a cliff, freeze to death, get lost and starve, drown, break a leg . . . the list was endless of all the horrible and nasty ways you could meet you maker in the wilderness.

But then, well, isn't that the same list I had for everything that could happen to you in the wilderness anyway? What was the big deal? If I have an accident, it really didn't matter if I was going solo or I was with hiking buddies. And anyone who really knows me, knows that I'm pretty much an accident waiting to happen.

But you can't always live in fear, can you? In the years prior to my first solo backpack I had tried my hand at alpine scrambling, cross country skiing, kayaking, long distance backpacking and winter camping. All things I had been afraid of before but succeeded in accomplishing my goals. My next goal on the list - a solo backpack.

My number one recommendation for backpacking alone is to plan and plan well. I chose a destination I had been to a few times either with others or on day trips - Summerland Park in Mt Rainier National Park. Checking with rangers helped greatly with my planning - I knew the trail conditions, weather forecast and wildlife activity before I packed my pack.

My number two recommendation is to tell another person your exact route and itinerary. This is a good plan even if you're heading out with other people. My most reliable contact person lives in Montana and I email her the itinerary, route (trail names and numbers), which forest or park and the number to call in an emergency (the county sheriff's office - 911 does no good when you are a few counties away).

My first trip was just an over-nighter, but it led to longer trips filled with fantastic adventures. There's a sense I get when I'm out alone of self-reliance, wildness and community with nature.

Going into the wilderness alone isn't for every one, but if you dare to take the chance you will never regret it - unless you get eaten by a mountain lion.

Impress your Friends with a Telephoto Lens

There's a really crazy think that happens when you change the focal length of your lens. As a landscape photographer, I spend a lot of time photographing with an 18-70 mm lens. The lower numbers on a lens means it's "sees" a wider angle which makes for wonderful and interesting compositions in landscape photography - all those leading lines and beautiful foregrounds with majestic backgrounds. Wide angle lenses are a photographer's bread & butter.

But there are times when you should put the wide angle lens back in the bag.

In situations where your foreground is miles from your background for instance. Take a look at the photo above and the photo below, both taken from the same road. Notice a difference? I'm sure you do.

The top photo was created with a 100-300 mm telephoto zoom set at 300. The bottom photo was created with my old 18-70 mm workhorse.

So what creates the difference? Why do the mountains look so far away in the bottom photo but so close in the top one? It all has to do with the angle of view. 

A wide angle lens "sees" so much more of the environment. Your angle of view using a lens with a lower focal length is wide. As the focal length of your lens increases - 100 mm, 200 mm, 300 mm - the angle of view lessens and begins to compress the elements of the scene together.

So in the bottom photo, you can see all of the buildings on the farm, the field in the foreground and the mountains in the background miles away. In the top photo, the extra elements of the scene are remove - focused in on the important elements (barn & mountains) and because of the visual effect of the longer focal length lens, the mountains appear to be right behind the barn.

Here's a nice article with a few diagrams to explain this phenomenon in more detail.

No Tripod? No Problem!

Ever head out on a simple hike or walk through the park and come across a scene that makes you stop and pull out your camera? Then you find that the scene is too dark for a fast enough shutter speed to hand hold? You may have even contemplated heading home for tripod, but were afraid to lose the light?

I think we've all been there.

I know I have. As in the image above.

I was able to stay at NatureBridge a couple of  weekends ago with several friends as we headed out to the Washington Coast for the April beach cleanup. A few of us decided to take a walk around Barnes Point where the learning center is located. I grabbed my camera, just in case I saw something to photograph along the way - but not the tripod.

And well, just a few yards down the trail I saw this scene. It's a classic scene of the Olympic Peninsula - moss draped trees, bushy ferns, green forest floor with a criss-cross of fallen trees also covered in moss and a trail luring you farther into the forest.

I had to capture this image. but a quick check of my settings and I knew I'd never be able to hand-hold the camera for a steady image. Glancing around, I saw a tree right next to the trail, so I pressed my camera against the tree and rattled off a few exposures.

I have on occasion used a stump, a rock, a log and even a hiking buddy's shoulder.

Most often when you are caught with a longer than desirable shutter speed, all you need for a steady image is something steady to rest the camera on. And maybe a continuous shutter, so you're not moving the camera with each shutter release.

So next time you're out and see the perfect image but it's a little too dark, find something to brace your camera against.

Looking at the World a little Differently

Sunset reflected, Cape Meares Lighthouse, Tillamook, OR

Have you ever looked through images of a place you're planning a photo trip to and notice that so many of them look the same? Do you begin to wonder if you'll be able to add to the images already created? How can you create an image that both defines the place you're heading to and your vision?

The idea here is to explore your vision and creativity.

I do advocate that you look at images from other photographers (both professional and amateur) who visited an area. This gives you an idea of what has been explored before.

When you arrive, don't be afraid to follow in their footsteps. There is a reason art students often copy works of the masters - it helps them explore their own style.

While you're photographing the scene, keep an open mind and an open eye. Watch how the light is moving across the scene, look for a different vantage point, get closer (zoom in with both your lens and your feet if possible). You might find an image worthy of your vision.

The story behind the image above is one of timing and watching the light. We arrived at the Cape Meares lighthouse near Tillamook, OR as the sun was rapidly setting between clouds and the horizon. I noticed that I might be losing the light I wanted on the lighthouse so sped up a bit to try and catch the light without losing my friends. Then, looking up the hill behind the structure, I came up with an idea - catch the last light THRU the lens housing! I ran up the hill and composed an image but the light wasn't really as I had hoped. But I did notice the reflection in the window panes, re-positioned and recomposed for the above image. A slightly different view of a popular lighthouse.

Now it's your turn to look for an image that speaks to your artist's eye.

Break out of your Comfort Zone

Admittedly, I like my comfortable places. My big squishy chair in the corner of my living room beckons me every night when I arrive home. I curl up in my chair, wrapped in a blanket to contemplate the day's events. Whenever I've had a rough day, it is to my chair I go to relax and refresh. And then there are days I sit in my chair and never want to get up.

Photography can be kinda like that.

We all have our comfort zones in photography, the styles and subjects we work with well and could photograph blindfolded. (Not really recommended unless you want to break into art images.)

For me, it's flowers. I can "fall" into the details of a flower with my camera and let its petals wrap around me like that blanket in my chair. Flowers are my go-to subject when I don't know what else to photograph or how to treat a scene. Or when I'm just being lazy.

On the flip side, we all have those styles and subjects we feel entirely uncomfortable with. We stress over the idea of photographing in these situations and find our "niche" so as to avoid them. It's so easy to say, "Thank you for the compliment, but I'm really a nature photographer. Here let me give you the name of a friend of mine who is really good at family portraits. I think you'll be very happy with her."

But if we always take the easy road, will we ever grow as photographers?

It was with this thought in mind when a friend mentioned she should have me come over to photograph her grand-daughter. I said, "I'd love to." And then I gulped. I had only photographed one other baby. What do I do?

What if I mess up? What if I just can't get the baby to behave? What if she doesn't like the images? What if I drop the camera . . . on the baby? What if, what if, what if.

What if I stop fretting, do some research and show up at the session with a smile on my face? Aren't those better questions to ask? So I did and kept reminding myself that it will be ok. No matter what, it'll be ok.

In the end, I'd like to say everything turned out wonderfully, but the light was a little off (luckily I knew how to deal with that) and the baby fretted and fussed (mom and dad knew what to do there). At one point we put the blanket over mom and had her cradle the baby - something I thought of from some very creepy images I had seen in my internet travels.

Even though the photo session wasn't perfect, it was fun. We all had a good attitude and enjoyed the afternoon. Oh, and grandma loved the pictures.

Is it time to become uncomfortable in your photography?

Photographing Waterfalls

Someone had once told me tht waterfalls give off negative ions which gives a person feelings of comfort and happiness. As a waterfall enthusiast, I can attest to my feelings of joy when I encounter even the smallest of waterfalls along the trail. So I'm wondering how many of you also feel wonderful when near a waterfall?

But my happy doesn't leave when I leave a waterfall - it lingers with me. Do you think back on the scene with a smile on your face? Do you pull out your camera to photograph the waterfall, hoping to keep it with you just that much longer? I know I do.

Of all my subject files, "Waterfalls" has the most images in it. I have found that I dedicate a lot of time with waterfalls and I'm still working out the process. Approaching each waterfall (even if I've been there a dozen times) anew.

But I have noticed that all I really need when photographing waterfalls is 2 things - Timing and Time.

1. Timing

This can be seasonal, the day or the time of day.

Seasonal - Here in the Pacific Northwest, waterfalls can run with high volume during the spring run-off and during autumn rains. The late summer brings a lesser flow. Winter months bring snow and ice. Each season has its own charm and depending on the effect you want, time your visits for that effect.

The Day - As waterfalls take on different personalities with the seasons, they can take on personalities on different days. A bright sunny day makes a waterfall difficult with harsh highlights and dark shadows, which in turn can make the photographer a grumpy person. An overcast even rainy day smooths out the harsh light and makes for a more relaxed atmosphere for both the waterfall and the photographer. For tips on protecting your gear on the wet days go to this post.

The Time of Day - If you so happen to be out photographing waterfalls on a sunny day, try timing your visit for the early morning or late afternoon. The golden hour is great for more than just beautiful landscapes. The harsh light is reduced during these periods and images can come out glowing.

2. Time

Now all you need is some time. Be patient, wait it out, and keep working the scene.

Sometimes patience is a virtue, like waiting for a long exposure. (Have a sturdy tripod, cable or remote release, neutral density filters and camera protection). Long exposures are ideal for waterfalls to create that beautiful silky water. But it could be several seconds to several minutes to get the image. To help with longer exposures, try moving your ISO to the camera's lowest setting, close down your aperture and add a neutral density filter.

Patience is also needed when the wind is blowing which happens a lot near waterfalls. Windblown branches can create a distracting blur in your images. You might have to make a couple of images when the breeze isn't blowing much to have as little of the motion blur as possible. Also windblown mist can blow onto your lens so you'll need to wipe down the lens between images.

Finally, play with the waterfall. Zoom in to a feature - does it splash off the rocks or trickle over them? Go low and use leading lines of the rapids draw the eye up to the waterfall. Frame it with surrounding vegetation.

And now, go out an have some fun photographing waterfalls.

And the water falls up or Protecting your Gear in wet conditions

This past weekend, I went with friends to the Columbia River Gorge - a world of history, forests and waterfalls. The Gorge, as photographers call it (unlike The Gorge in Eastern Washington that is famous for summer concerts) is a must-do destination for anyone wanting to photograph all types of waterfalls. The most famous and iconic of the gorge waterfalls is Multonomah Falls. But there are other beautiful falls along both sides of the Gorge.

The waterfalls on the Oregon side have easier access, most are right along the old historic Columbia River Highway. The falls on the Washington side require a little bit more driving and hiking. But waterfalls are one of those subjects that inspire and challenge us as photographers. Sometimes that is just worth a little extra effort.

However, my friends and I stayed on the Oregon side of the Gorge, to photograph some of the more accessible waterfalls. Only problem was, our 20% chance of rain for the day turned into 100% chance. Normally, cloudy days are ideal for photographing waterfalls - the soft light helps to diminish blown-out areas in the water and softens shadows. Plus the softer light can aid in a longer shutter speed to create the silky look of waterfalls.

The problem with rainy days is keeping the mechanics of your camera dry. Waterfalls do have the added discomfort of spray. Which goes everywhere. The force of the water falling and hitting the pool below causes a wind which carries the spray onto your lens. So keeping your camera dry on just an overcast day is difficult add to it rain falling down and what you have is an inconvenient mess.

Heading out to a photo session with waterfalls requires that you come prepared to keep yourself and your camera dry. Those of us who live in the Pacific Northwest know the value of layers and a good rain coat and pants.

But what do we do with our cameras?

There are several little tricks. A rainsleeve for your camera (that you can buy at any camera store) is probably one of the best ideas I have seen for northwest weather. They cost about $6 to a whopping $50. I have also used ziplock bags and shower caps to help protect the camera body. Another ingenious idea is to clamp an umbrella to your tripod - just be careful on those long exposures, the wind can catch the umbrella and shake the tripod resulting in an unsatisfactory image. Each of these allows for the lens to have a clean view of your subject matter.

Yet with waterfalls spraying water everywhere, what do you do to protect the front of the lens? I generally carry a lens cleaning cloth to wipe down the lens between exposures then immediately cover the lens with a sandwich bag. I will take several of the same exposure and one usually comes out without too much spray on the lens which can easily be cloned out in photoshop.

You just have to be patient, release the shutter between breezes, and ready to take several images of the same exposure and compositions. And this is where your layers and rain gear will come in handy to keep you warm and dry.

Taking Advantage of a Beautiful Situation

It's an iconic tourist destination. It is on most people's to-do list when they come to Seattle. During the summer months as relatives visit, they are taken to walk along the Seattle Waterfront with it's restaurants, shops, harbor cruises, views of the Olympics, parks, harbors and convenience to other downtown attractions. No wonder one can get a bit claustrophobic while walking the sidewalks.

But the Seattle waterfront isn't just for tourists. It's also a fabulous place to visit for photographers - any type of photographer. Beginners and professionals can find a myriad of subjects along the waterfront from views of Elliot Bay to the people who walk along the shops.

Stay after sunset when the skies darken and the lights of the city turn brighten, you will find another reason to pull out your camera. The vibrance of Seattle in the day, sparkles at night. The reflection of neon on the ripples in the water helps to create a glittering illusion and an understanding of why this is the Emerald City.

I recently joined a group of photographers for a night-time outing to photograph the Seattle Great Wheel as the wheel gave a special light show. The light show happens during special occasions and some home games of local sports teams. Give them a call to find out when they'll be doing the next one. Even if you aren't photographing the wheel, it's a pretty sight.

So if you're planning on a trip to the waterfront for a light show below re a few tips to help you prepare and get some great images.

1. To get the cool pinwheel effect as in the image above, you will nee to use a slow shutter speed. This image had a shutter speed of 3 seconds. As there was still light in the sky and I wanted the texture in the clouds, I had to adjust my settings. ISO went to 100, f/stop 22 - I then added a neutral density filter to finally get the shutter speed slow enough to blur the lights enough for the effect.

2. Since you will be photographing at a slow shutter speed, you'll need to take precautions to steady your camera. (Although hand held can add an interesting effect, we're focusing on sharp images today.) A sturdy tripod is needed. It doesn't have to be the heaviest or most expensive, but it does need to be tall enough to rise above the fencing in the area (which isn't very tall). One that stands about 4 1/2 to 5 feet should be adequate. Also, you don't want a lot of futzing with your hands on the camera because that will also cause camera shake. Invest in a remote shutter release or cable release.

3. Once you get your camera to the settings you want, all you need to do is hold the remote shutter release or cable release and click away to your heart's content. But even in summer, Seattle nights can get chilly. So while you're photographing away, be sure you have an extra layer, hat and gloves to keep yourself warm.

Next time you're along Seattle's waterfront for the day, plan on staying until the sun has set (sunsets over the Olympics can be quite picturesque) and photograph the Seattle Great Wheel.

Have fun!

The Foggy Days of Autumn

It's been foggy in the Puget Sound area lately. And I love fog combined with autumn color. The cool moist air makes hiking in the woods pleasurable. But are there images to be made in the fog? Of course there are, lots of images.

Fog is like a giant soft box and reduces contrast you would see on a bright sunny day. Which makes a foggy day perfect for photographing images that are better on overcast days; forests, flowers, faces and waterfalls or the 4 F's.

Why does this happen? Fog acts like a giant softbox. Fog disperses light (bounces and filters) reducing hard shadows. But these qualities can also fool your light meter into under-exposing your images - over-expose as you want that bright glowing light.

This diffraction of light helps to emphasize the distance between near and far objects. The image above is an example of this. The closer tree is well defined yet as your eyes move further into the background, the trees become less distinct until they become barely visible shadows of themselves.

On an ordinary day, this scene would be a jumble of trees and shrubs, making it difficult to isolate one tree from the rest. In the fog, the shape of the foreground tree stands out. You know that this is a field of trees because of the subtle shapes behind the front tree. But the limbs do not get lost in the limbs of the other trees - they are isolated and defined.

There are no harsh shadows falling across the field. Harsh shadows combined with bright sun on a bright day would be even more difficult to capture an image of these trees. Your light meter would either want to expose for the bright areas or the dark. You can overcome this harsh environment with multiple exposures and combining the images in Photoshop. Or you can wait for a foggy day.

Photographing in the fog both challenging and fun. So the next time you wake up to a foggy day, grab your camera and have some fun.

Hometown Tourism

Do you know all the "secret" spots of your favorite destination? Do you know the best place to get sunrise? Sunset? When you should head out for the colors of spring or autumn? Where you should go on bright sunny days or dreary wet days?

But then you see an image from someplace in your own backyard and you think, "where is that? I thought I knew everything there is about my home. But I've never seen that."

I do that a lot. There are a few place I know well. So well that I am the "go to" person for my friends, friends of friends, and acquaintances.

But my own back yard? Not so much. Is it because I don't think there are images to be found in the parks and locations closer to home? 

No, not really. 

When I have a day to explore I'm heading out, away, to the far reaches. I just feel as if I've gotten something accomplished if I drive a long distance to hike and photograph.

And so I miss some great places.

I grew up along Highway 2 in Washington. A wonderful road (if you don't mind sitting in a parking lot on a Sunday afternoon as you head back home from a great weekend adventure) of trail heads, waterfalls, rivers and in the fall, colors galore. I've driven over this road so many times in my years in Washington that I should know every turnout, every destination, every sight.

But alas, I do not. I was always heading for another destination - not making the road itself a destination. 

Recently I volunteered to take a group of photographers along Highway 2 for a photo tour, only to realize I was at a loss as to where to stop for the best photo opportunities. Could we have chosen a place I know like the back of my hand?

But then, I thought - why not? It will finally give me a chance to explore an area that I keep saying I'll have to stop there someday. 

Do you ever tell yourself that? "I should stop there someday?" as you drive past a pretty turn out or sweet little park. 

I say make today that someday. Take the time, explore that little corner of your backyard. Become a tourist in your own home. You might never know what you find.

The above image was made at Deception Falls along Highway 2. A turnout (parking lot that's usually closed) that I've been saying for years - I should stop there. I finally did.

Making Visual Sense

Have you ever been presented with a scene that stops you in your tracks? Something in the scene attracted your eyes, but what was it? For after you stopped, you couldn't see what had attracted you in the 1st place.

But you knew something is there. What do you do? Do you continue on your way? Or do you investigate further?

You've undoubtedly heard this before, but I'm going to say it again - sometimes photography is a matter of patience. And this confusing scene in front of you is a perfect example.

Slow down.

Look.

Investigate.

Go back look at the scene again and start to really look at the elements. Bring your camera to your eye to help weed our any distracting elements. Take several images from different viewpoints. Go low, go high, zoom in and out. Use your feet to get closer and look at different angles. Isolate sections of the scene until you find what you like and even what might have originally stopped you.

The above scene was an expansive marsh full of grasses and shrubs that never let the eye rest. I wanted to best capture the scrambled nature of the marsh but was having trouble getting it all in. Plus the day was rather foggy and with any open landscape images the sky was blown out and boring.

I started looking at the marsh through my lens and say this bare shrub - scrambled and messy like the marsh but defined in its craziness. In one small section of the marsh, I found image that would help define the marsh.

So the next time you walk past a scrambled scene and think you see something, stop and look more closely.

Trust your instinctive eye.

It's time to pull out that camera and use it!

You're at home and it's a beautiful day out. You stare out at the bright sunny sky without a cloud to be seen. Sighing, you turn to your computer and log on to Facebook. Why bother going out to photograph on a day like this?

Well, I ask, why don't you? If you'd rather be photographing, why don't you go?

But Heidi, you say, it's just too sunny out! The light is too harsh, washing out colors. The shadows too dense. Highlights will glare into your lens. It's a lousy day for photography.

Why not use that to your advantage? Any opportunity to play with your camera gives you the opportunity to practice, practice, practice.

The light is too harsh and washes out the colors, you say. Why not look for images to convert to black and white later? Or find shady areas and focus in on the smaller things in life?

The shadows are too dense, you complain. Again, get into the shadows, adjust your exposure for the darkness and photograph close-ups or portraits. Or look specifically for graphic designs created by the harsh shadows.

Oh the highlights, you fret. Have you ever heard of a polarizing filter? The above image was photographed with a polarizing filter to bring down the highlights and the sun at my back. Or point your lens into the sun for interesting backlight on your subject.

Most people enjoy a beautiful sunny day, except photographers who end up pouting because the light isn't "right". I say, make it right - play with it. See what the light does and the shadows and the colors. You may not end up with anything frame-worthy . . . yet. But anytime to play with your camera should be a lesson and a pleasure.

So get out there and use that camera!

D'Oh!

We all make mistakes. And in the last couple of weeks I have been well aware that I am included in the "all" of that statement.

I know, I know. Seems impossible doesn't it that I might make a mistake . . . or two . . . or more. but I do.

In a recent post, I described my stay at the Alvord Desert as very windy. So windy, that when I turned my back to grab a filter, a gust came up and pushed the tripod over with the camera mounted to the top. Camera is ok (although it was already held together with hot pink duct tape) but the tripod, not so much. Did I mention it was my boss' tripod that I had borrowed after mine fell apart in December?

Two pieces of equipment are now held together with hot pink duct tape.

No worries. I continue on.

And I did. The above image is from the morning after the tripod incident, just before the sun rose above the clouds.

However, my learning experiences don't stop at battered equipment.

Last week I posted a link to an article by the photography forum LightStalking on my FaceBook page. The article was titled "10 Items a Photographer Should Never Leave Home Without!" Complete with and exclamation point for added emphasis.

Read the list. It's full of those no-brainers that I thought "Oh, Yeah. I always have those."

HA!

Item number 2 is spare memory cards. Well this past weekend as I was leading a hike up to the magnificent views on Mt Townsend, I noticed a red blinking light in my viewfinder. I finally looked at the blinking light and it read NO CARD.

What?!?! I thought for sure I had replaced the card. And did I have a spare? Of course not. All I could do was grumble and growl at myself and finish the hike. I was a little embarrassed, as I billed the hike as a photographer's delight. The folks who remembered their cards were delighted with the trip.

All my images of that trip will have to reside in my mind. And I hope they reside there for a long time - it was a photographer's paradise.

The Grip

In a recent blog post, I spoke of iconic images. An image that defines a place or an experience.

Iconic images can also define a sport. The images of the human body pushing beyond our understanding of its limits to accomplish a desired goal. Michael Jordan stretching through the air for a slam dunk - an image so iconic the silhouette is on every advertisement for the athletic shoes that bear his name. You can see it in your mind right now.

I wasn't out to find an iconic image when I started hiking around Smith Rock State Park, the rock climber's mecca in central Oregon.

I've been fascinated with rock climbers for years.

I'll often fantasize that I am climbing rocks and boulders along these sleek, toned and tanned specimens of humanity. Then I look in the mirror, try a push up or two and then pick up my camera and trekking poles again. it's good to fantasize.

I figured I would try at least to make a few images of rock climbers.

One problem with photographing rock climbing when you're not a rock climber is that you are often stationary on the ground and behind and below the climbers. You capture a lot of back and butts. But once in a while you get lucky and find a side view of a climber or a profile as they search for their next hold.

And that's what I was photographing, backs and butts and the occasional profile. I was contemplating where I could move for better framing when a couple of men showed up, helmet-less with t-shirts and cargo shorts. With efficiency, they dropped their gear bags, harnessed up and one started scaling the wall. I watched in admiration (honestly, they were the sleek, toned and tanned human specimens I so admire).

Climber's arm reached out for a hold. I watched as muscle and sinew stretched under his skin, tanned to match the wall he was climbing an knew. I focused only on his forearms as they guided him up the wall.

This for me is the iconic image of rock climbing - the beauty of a body in its natural element, becoming the sport to excellence in movement.

Progression of Sunset

You've got a grand idea - take a road trip someplace to capture sunset. You've been eyeing this place for some time thinking that this will be a great place for sunset. So after packing a picnic because it will be dinner before sunset and you plan on eating at your special place, you drive a few hours to be in position. And sure enough, it's a great place to photograph sunset as you watch a crowd gather with chairs, blankets and their own picnics to watch nature's light show.

The sun sinks to the horizon. 

You shoot a few images, playing with exposures and apertures. 

The sun begins to fade behind the horizon.

You shoot a little more.

The sun disappears. 

The crowd applauds and disperses.

What do you do? Do you pack up and go home too? Or do you stay a while longer to capture the colors of twilight.

The following images are of the same sunset taken from Rosario Head at Deception pass State Park, but in two of the images my camera was pointed directly where the sun was going down. The other two, I pointed my camera more Southwest of the sunset to capture a different light.

The sun sinks behind the horizon.

And is gone.

Looking southwest just after sunset.

And about 20 minutes after sunset.

Do you know when it is time to go home?

Lessons

Each year the Mountaineers offer a basic photo class. For the month of March dozens of photo volunteers with the Mountaineers help students understand the workings of their cameras and begin to see composition and light and to explore their creativity. It's a lot jam-packed into 4 weeks of class lectures and outdoor workshops.


But if you are at all interested in taking a photo class, it's one of the best for the time and money. You learn as much in one month as I did my 1st quarter taking college photography classes. Often the workshops have an exceptional student to volunteer ratio - often 3 students to one instructor so students can get individual instruction on their cameras and technique.

It's always a joy to me to volunteer for these classes. In the first few workshops after a couple of tough lectures on exposure, they look at the camera in their hands with confusion and at times dread. We actually expect them to take the camera off the safe setting of Auto and figure out exposure on their own.

With a little coaching most students begin to play and explore what their cameras can do. It's the light in their eyes as they begin to understand exposure and how their camera captures light that brings me back every year.

This year, for the 1st outdoor workshop at the Washington Park Arboretum, I was able to tag along with one gentleman (we had enough volunteers to give the students a 1 to 1 1/2 ratio) who knew his camera pretty well. He was taking the class to work on his composition. So that is what we did.

We'd look for compositions, large & small, throughout the park. At one point, we ended up under the bridge and I just stopped to look at the lines and textures. He had gone on, and I hurried to catch up with him. On our way back he stopped to make a few images of what I saw. But after we parted ways I grabbed my camera to make my own image.

When we later compared images we were able to compare how each of us interpreted the scene differently. I liked the drama of his version emphasizing the drama of the arch. But I also like my version above emphasizing the textures.

Splash!

Ever head out to photograph a place you have never been to before? You may have done a little research - looked at a map, maybe checked the tide tables, or looked at images others had made of the area. But really, did you feel prepared to start photographing when you arrived? Then what did you do?

Did you arrive early and meander around? Explore the area a bit? Evaluate the angle of the sun and approximate where the light will be best as it sets? Did you meander and take detail images of rocks and foliage while waiting for the light to be right?

On a recent trip exploring Washington State Parks, I stopped by Larrabee State Park near Bellingham. I had been wanting to visit Larrabee for some time after seeing a couple of images taken at the park. Crashing waves, quiet trails - that sort of thing. A little research also showed a vein of sandstone running through the park and the beach would have some fun shaped rock formations to play with.

True to my plans, I arrived early and meandered around a bit. Checked the arc of the sun. Looked for a few spots that might be possibilities for sunset. Composed a few intimate landscape images. Then became fascinated with the incoming waves sweeping over the rounded sandstone rocks jutting out into the bay. I was having fun with the waves as they swept over the rocks when I realized the wind and tide driven waves were crashing into the boulder off to my side. It looked fun, so I quickly repositioned my camera and started to capture the action.

Not long after the crashing waves died down on that boulder but were highly active on the next one. I recomposed and started snapping away as the light became more robust edging toward evening.

Then I saw it. The waves picked up again on the other boulder. One wave would crash on one boulder then right after another would crash onto the other boulder. My mind began processing - how cool would it be if waves crashed on both boulders at the same time and curled into each other?

Very cool!

So, although it is a good thing to plan ahead you don't always need a plan to go photo-ing. You just need to be open to what's presented for you.

Does photography exist in a Vacuum?

I've heard some opinions opposite to mine and I try to listen with an open mind - There is a reason someone believes the way they do. But then I am not perfect and some opinions I quickly dismiss even before the opinionator even finishes their explanation.

One such opinion I heard lately is in regards to viewing other photographer's work. This gentleman tried to explain to me why he never looks at other photographers' work. He doesn't own photo books. He doesn't read photo blogs. He doesn't look at photo websites. He doesn't even do image searches when trip planning.

He didn't want to his photography to be persuaded by other's work. It was if he thought his photography existed in a vacuum. He wanted to go into a scene with fresh eyes - see it how he sees it. I can get the last part in a way. But I don't believe that art and photography can survive in a vacuum.

I enjoy reading blogs by other photographers - to hear how they came upon their inspiration for an image. Even how they technically created an image. There is often a good story just in the telling of their adventure to a place. I follow photographer's whose images I enjoy and photographer's who have a great understanding of photo editing.

My collection of photo books alone gave a mover a hernia once. (I felt awful about it but was so happy to have all my books show up intact.)

Why do I like reading the blogs & photo books? 2 reasons really. The first is to see what has gone before. The second is for inspiration. Let's explore these quickly.

To See What has Gone Before

One of the reasons this photo acquaintance used to not look at other's photos is that he wanted to go into a scene and not have what others photographed "taint" how he viewed the scene. And I do see a slight problem with that. He mentioned that he got offended when someone would say "That looks just like the image photographer X made last year."  If you don't know what has happened prior to your arrival, you may end up repeating what has happened before. Remember that old history adage? Those who don't know or learn from history are doomed to repeat it.

You can still enter a scene with your own eyes, but you also have an idea of what images were captured there before.

Thousands of images are taken of Mt Shuksan near Mt Baker with Picture Lake in the foreground. It's a classic image - google it. But just because there are already thousands of images out there of this subject doesn't mean you shouldn't shoot the image for yourself. And that's just the point - it ultimately is for yourself. Look at the previous images, see what has been done before. Your task is to make the image your own which leads us to my second point.

Finding Inspiration

You've looked through several images of the place you're about to visit. Was there something you liked in those images? Was there something you didn't? With those thoughts in mind, and those images, you can enter a scene and see where someone had stood before, the light they used, the elements they excluded. Then make your own decisions about the scene. Maybe they were shooting during the summer and that branch to your left was left out, but in the spring when you are there that branch is filled with glorious flowers you do not want left out of your image.

Remember this is YOUR story of YOUR adventure, so you are looking at what YOU want to do with the scene. But you already have some experience with the scene and aren't approaching it blind, but with ideas already stirring in your head - create YOUR ideas, make them come to fruition.

Seeking inspiration does not hinge on one place only. The above image was taken in Federation Forest in Washington State. As I ramble through the trees looking for moss-draped trees to photograph I was struck by this tree. It reminded me of something.

It reminded me of another image I had seen just a few days before. One of the photographers I follow is Ian Plant and he created an image Carcinus Arises that reminded me a lot of this vine maple a continent away. Would have I even stopped to photograph this vine maple had it not been for Ian's image?

Was my image "tainted" by his? Did I copy him or did I add my own vision?

Tutorial - Sun Stars

I recently posted the above photo on Facebook. It is a happy memory of a day spent snowshoeing with friends - the sun just beginning to cross behind the mountains. I knew in that setting I could capture a remarkable image with the sun creating a sun burst effect.

It's all done in your camera. And very easy to do - there is a little science involved but no equations to memorize just a little experimentation.

The effect happens because light has a tendency to bend slightly around objects. Have you ever noticed light seeping in through a crack and there is light next to the crack as well as straight through the crack? It's bending.

Now consider the anatomy of a camera lens - specifically the apparatus that creates the aperture or the opening that allows light to enter the camera. The aperture is created by a diaphragm made up of blades that open & close to allow or restrict light. The blades aren't sealed and light can bend or leak around the edges. We don't see this very often unless there is a lot of light trying to get through a small opening - like the sun! 

So the rays of the sun star are where the light has leaked around the blades of the diaphragm.

So how do you make a sun star?

First you need to be able to manipulate the aperture in your camera/lens. Your camera can either be set for aperture priority or manual. This is very important - if you leave it on auto or program, your image might not turn out the way you'd like.

Then you'll need to find the right setting and light. In all of my images here, the sun is slightly obscured by an object which works marvelously well. In each the object is the primary subject and the sun is used to accent the subject and to highlight shape.

So find a scene where the sun is peaking at you over a mountain or through leaves of a tree.

Next, stop down your aperture as far as it will go. Remember, the larger the number for the aperture, the smaller the opening. You want that opening very small so take your aperture to f/16 or f/22. I've even used f/32. Adjust for the exposure and shoot away.

Check your image to see if it's what you want & make whatever adjustments you need to get it perfect.

Shooting sun stars can be very fun and will add a special highlight to your photography.