Photo Cascadia Blog
Archive for the ‘Education’ Category
I remember reading one of Galen Rowell’s books on photography, one of the themes he consistently talked about was shooting during times of transition. Seasons, weather, light, and atmosphere are a few notable examples of elements I try to capture in transition. If you can combine more than one of those elements in transition together, the chance of capturing a spectacular moment increases. It really stuck with me, I think most of my best images are captured during rare transitional moments. A storm moving in, or out during sunset, or sunrise is hard to line up, but when you do the results can be spectacular. You can also get rained out and not see any good light, but the potential to see something spectacular is much higher while these things are in transition. The images below are good examples of capturing different elements in transition.
This image was captured in Joshua Tree National Park late February this year. I was on a photo trip with good friends Sean Bagshaw and David Cobb. We got caught in a wet storm the day before, but the forecast was calling for clearing skies followed by clear blue cloudless skies for several days. I had always wanted to photograph the Cholla Garden in the park. With transitioning weather, light and the seasons all coinciding I thought our odds were pretty good to capture something special. The next morning, I was a little dismayed at first. The clouds weren’t lining up to catch the under lighting of the pre-dawn sunrise. We waited patiently and as the sun was rising above the horizon, it shone though the breaking storm clouds creating the spectacular light rays in the background as well as backlighting the needles creating the wonderful glow.
When I was planning to photograph Keyhole Arch on the Oregon coast, I was trying to line up a transitioning tide, with transitioning weather as well as light. This session was challenging. The tide was coming in, a storm was clearing out, and the sun was setting. The next challenge was capturing a wave flowing over the rocks, another transitional element. Everything lined up and I was able to capture what I had envisioned in my head. This shot is all about transitions, it’s also a good example of how much planning goes into certain photographs.
Mt Hood Majesty
I attempted this photo several times, but was never able to capture the light and conditions I had in mind. This is a popular backcountry ski spot and Mt Hood generally isn’t the coldest mountain, I could never time a weather window with good light and pristine snow. Finally, I decided to do it right. I watched the forecast for a cold winter storm followed by a window of clear weather. I finally saw a weather window that looked promising and decided to go for it. I packed up my winter camping gear, and set off at 3am from my house in Portland. I started hiking in the dark in the middle of a winter storm. It took me 7 hours to snowshoe up to this ridge because of all the fresh cold powder snow that had fallen. Long story short, I spent 4 days in my tent on the ridge hoping to capture the pristine snow in good light. On the last night of my camping trip the storm started clearing up, but not in time for sunset. The next morning I was up really early and was treated to the most incredible morning of photography of my life. The landscape was completely covered in a pristine layer of deep, cold powder, the air was crystal clear, and there wasn’t even a breath of wind. The mountain that had been hidden behind the storm the whole trip was revealed in spectacular fashion as the sun rose. All my hard work and planning payed off and I was able to capture a very rare moment.
This image of Gothic Peak near Crested Butte Colorado is another great example of capturing multiple elements in transition. Sean Bagshaw and I found this location during our trip to Colorado a few years ago. The Fall color was exceptional, but we knew the scene would be even more incredible if we could line up the fall color with the first snow of the season. A few days later, while we were in another part of the state, we saw a snow storm would be moving in and quickly back out. We packed up and made the drive back to Crested Butte. We hiked up to this location in the pitch black, frozen snow. We arrived on the ridge well before sunrise. It was extremely cold on the exposed ridge, but the sun was rising and we could see our prediction was materializing. The fall color was at it’s peak and the storm had left a pristine layer of snow. It’s pretty rare to be able to line up conditions like this, Sean and I felt privileged that we were able to witness and capture this rare moment of elements in transition.
“You can’t depend on your eyes when your imagination is out of focus.” —Mark Twain
A little secret that is well known to educators is the concept of the “good lie”. It encapsulates the idea that any course of instruction is bound to be incomplete or imperfect, but learning has to start somewhere. When we first begin to study any complex subject, we need some structure, some kind of foundation on which to build our understanding of it. For example, when I was beginning my studies in art history, my professors introduced me to the subject of ancient Greek sculpture by emphasizing the evidence regarding known sculptors, what each had contributed to the art, and why any of it mattered. I later learned just how much of this introduction amounted to optimistic conclusions based on ambiguous evidence, but that education brought me to higher levels of understanding. By the time that I started working on my doctoral dissertation, my research was focused on some of those points of weakness as areas where I could make my own contributions, and my professors were encouraging such questioning because the “good lie” was only ever a starting point.
Learning photography involves a similar progression through structured principles into personal discoveries. As landscape photographers, we learn our craft as a combination of in-field methods, compositional rules, location research, weather chasing, and post-processing solutions—all of which amounts to the “good lie” in our field. Together, these ideas provide a useful framework through which we can develop our creative sensibilities, but the framework itself is merely a way in.
To be sure, craftsmanship is an essential part of the photographic process, and good technique is often crucial to the success of a creative motivation. The sheer spectacle of technical virtuosity alone can provide a special frisson: prickly sharpness, masterfully controlled tones, or precise calculations of celestial events—all count among the many technical accomplishments that tend to delight viewers of landscape photographs. Regardless, perfect technique hardly amounts to the holy grail of photography. Despite its many virtues, technique is fundamentally reproducible, is always subject to becoming obsolete, and can become a visual crutch and a developmental cul-de-sac. For anyone who wants to keep progressing in their photography, creativity is the higher good. Therefore, it is important to be open-minded about craftsmanship and to acknowledge that creativity is a messy place.
Keeping the following caveats in mind can help to ensure that perfection doesn’t become the enemy of the good.
A Perfect Lemon is Still a Lemon
There is an old joke about a person looking for his keys under a street lamp. When a passerby asks him if he’s sure that it’s the area where he lost his keys, the man replies, “No, I lost them a block away, but the light is better here.” The process of making a good photograph can go wrong in the same way, by letting some unimportant factor dictate a direction. I often find participants on my workshops abandoning a great composition that they saw because it would require some minor compromise, choosing instead to photograph something less interesting that they can make ‘perfect’. Sometimes you just have to seize a moment or follow through with an idea however you can because it will result in a powerful photo regardless. Even if it means that you have to use a high ISO or shoot handheld instead of using a tripod, it’s better than not getting the shot at all. When technique starts dictating which ideas to pursue, then it’s probably time to cut the chains and enjoy some creative freedom. No amount of masterful technique will improve the photos that we never make!
The Devil is in the Details
According to the law of diminishing returns, sometimes ‘good enough’ really is…good enough. The value of technical quality does have its limits. After all, the world’s most compelling photographs do not tend to be studies in technique, and most viewers do not even notice many of the technical shortcomings that typically make photographers cringe. Laboring in the service of perfect technique can easily become an unnecessary hinderance to progress, causing a photographer to leave projects unfinished or to become too frustrated to begin a new one. I remember once spending days on processing a photograph with a delicate color palette, shifting hues and tones by minute amounts ad nauseam in my efforts to achieve the perfect balance. I shared some of the variations with a friend who has an excellent eye for such details and who was very enamored with that photo. He carefully compared all of the versions and finally said, “I doubt that any of these differences even matter,” and he urged me to release the photo and move on. It was great advice.
Imperfections Can Create Character
As Edgar Allan Poe once wrote, “There is no exquisite beauty…without some strangeness in the proportions.” He finds this strangeness in the abnormally large eyes of the woman he loves and delves into describing the depths of her character that he sees through them. Beauty in photographs can also come about through such strangeness, typically created by some imperfection in the pictured elements or by some irregularity in their presentation. A leaning tree or burned out snag can break up regularity and give character to a forest scene in the same way that film grain or soft focus can. Even ancient Greek architects seem to have understood the power of imperfection when they made temple columns bulge in the middle instead of being perfectly straight vertical elements; the more emphatic examples suggest an interest in giving the temple some life, some character, as if its columns were bulging like muscles while supporting the temple’s entablature. Similarly, a high level of refinement can sap the life out of a photograph, causing it to it look too mechanical. It is possible for a photograph to be lacking in vitality simply by appearing too perfect.
Craftsmanship has always been one of the great joys of artistic creation for me, and I both exercise and teach it with great enthusiasm. “The good lie” is good for a reason, providing an important foundation and a perpetually useful touchstone. Nonetheless, it’s important to remember that it has its limits, its exceptions, and its missing links—and sometimes making a substantial contribution to your portfolio means stepping outside that box. The pursuit of perfection has the potential to elevate a photograph significantly, but it can also smother its fire or prevent us from creating a photo at all. Ultimately, it’s the pursuit of our own goals that should tell us which direction to go. When creativity is hiding in the shadows, we’ll never find it by looking in the light.
Have you ever had issues of technique keep you from pursuing a moment or an idea? Do you have any photos in your portfolio that would not exist without some compromise? Please feel free to share in this discussion with a comment below!
Erin divides her time between Cascadia’s Californian southern boundary and Slovenia, traveling and photographing extensively from home bases in both locations. Make sure to bookmark Erin’s site at www.erinbabnik.com. You can also follow her on Facebook, Twitter and Instagram.
It’s been hard for me to fully express exactly what impact I am feeling from the Eagle Creek Fire. Those that haven’t experienced the Columbia River Gorge or don’t know it as their backyard like I do may think it’s simply another forest falling victim to the flame. For those that know it like I do, it’s a crown jewel of Oregon. Considering I am not that religious in a traditional sense I say going to nature is my temple; with the gorge being the temple I have spent the most time in.
Certainly, there are much larger catastrophes in recent memory in the states let alone across the globe. Even a storm like Hurricane Harvey that resulted in thousands of homes and business being flooded and loss of life is severe and unfortunate. Now we have Irma. My heart goes to all those impacted. Even in the Gorge there have been changes impacting lives generations before us. Simply look at how the Columbia River changed by building the dams and the impact that had the Native American tribes. We are not the only ones that have ever been impacted by significant changes in the gorge both human and nature caused.
When I first heard of the fire I felt myself starting the rolling coaster of emotions like you would go through for any grieving process. In this case hearing how it started it was anger. Then I moved to shock, then to sadness knowing the fire was growing and going through all these places I planted my feet many times. Places I have enjoyed with good friends, with family or solo for alone time. I even lost sleep a couple nights thinking about it. Again you may not understand but let me tell you a little more.
2017 Eagle Creek Fire – Photo Credit: Chris Liedle
I grew up in the “Gateway to the Gorge” on multiple acres and a creek where I would play outside for hours at a time before the days of many parents worrying about too much screen time and the need to force kids outdoors. This area has been a part of my life for decades. I am convinced it’s what helped put the yearning for nature in my blood at an early age resulting in countless days taking hikes, capturing photos and simply exploring throughout my life.
I have stood in ice cold flowing water with the snow line above my head until my feet went numb and loved every minute of it. I have hiked in the pouring rain with no one around, wondering how much it needs to rain before a tree falls to then see a tree fall. I have hiked to highest point to see the view and almost got lost coming down. I have chased the light up many gorge trails and then back down. I have driven the old scenic highway with half a foot of fresh snow and not a single vehicle track except my own. I have endured the strong East winds that funnel down the gorge like a freight train getting pelleted by ice, snow and rain. I have visited busy scenic areas thick with crowds to off trail locations rarely seen where the only sound is nature itself.
Taken underneath Pony Tail falls looking out into the lush greenery. Many years back a small group of us were photographing along the stream that you see in this scene. One of them, Phill Monson, found a semi buried old wooden sign that said Pony Tail falls. It had fallen from unknown causes from the tree it was attached to and broke apart yet you could still see the name Pony Tail. I have it on my desk to this day.
We are all saddened because we know it’s special to live close to an area like this. An area filled with lush plant life, refreshingly crisp water and magnificently rugged terrain. It’s a place where all walks of life come to escape hectic schedules, connect with nature or simply to reflect. I have come to the Gorge many times where I was reminded that I had too much desk time since my last visit and I walk away rejuvenated to tackle what life brings at me next. The beauty can leave you awe struck on your first visit. I have seen it firsthand. It’s National Park worthy if I can be so bold. It’s a treasured place to be protected.
It’s frustrating to us all how the Eagle Creek fire started and no doubt we would all feel a little bit differently had it started due to natural causes. Instead it was a group of teenagers lighting fireworks in a precipitation starved forest without a single care as to what might happen. We will need to let the law enforcement aspect take it’s course yet I do know it’s not much good spewing out hate towards those that did this as I have seen online. We are better off channeling that energy to do something positive. We all have been or will be a teenager. As a teenager we all had at least one experience (or a few) which, after the fact, we realize was stupid and could have been much worse, where we thankfully learned our lesson with little to no consequence. Unfortunately in this case the consequences were to a level most of us could not fathom. If those that are responsible for the fire are reading this I would tell them to continuously look for ways to spend time volunteering to give back to nature and serve local communities. This will help you move forward yet never forget it.
This was a very memorable day from quite a few years back. Myself, Zack Schnepf, Jeremy Cram and Marc Adamus spent pretty much all of daylight exploring off trail. It was slow going try to go the path of least resistance while minimize impact to our surroundings. Finally after hours we came across this scene. Well worth the adventure.
Like many, I am sadden about the changes that took place to our shrine, The Gorge. It doesn’t come without heartache yet it’s certainly not the end and I have to look at it as a new beginning. The photos seen to date show the gorge was not burnt completely to a crispy blackened wasteland like we might see on a sci-fi show after an apocalypse. Even the areas heavily damaged will come back to life in their own unique way with the eventual signature gorge green sprouting through the ashes. Yes, it will take time but nature always returns and sometimes in ways that amaze and surprise us. I am barely old enough to remember seeing Mount Saint Helens erupt. It’s been decades yet now it’s an impressive place to visit even though it’s different than it was before the eruption. The same will hold true for spots greatly impacted by this fire.
This should give you a general idea of what to expect in areas that are heavily damaged. This is in the vicinity of Angel’s Rest and was taken about 7 years ago which was about 20 years after this fire happen. I had visualized this photo on a prior hike without camera gear and bad light. I came back about a year later to make this along with a similar one in winter you can see here.
Those that know me know I tend to live my life with the glass half full as it’s too short to think otherwise. Even after my initial stages of disbelief and grief I am now moving on and look forward to the regeneration of our beloved gorge. I feel fortunate to be close enough to continue to have more experiences not only personally but for my wife and me to do the same with our young children who have only started to explore the many areas the Gorge has to offer, even if some of them will be different now.
As a side note, I have seen a number of comments online from individuals very eager to help the gorge come back to life again by taking on the task of figuring out what to do next. It’s great that many of us want to give back now more than ever. I would suggest that we leave the determination what needs to be done for damaged areas up to forest professionals and Mother Nature. We should look to donate our time, and or money if inclined, to organizations that support the gorge like Friends of The Columbia Gorge as one example.
Lastly, lest I forget to say thank you to the many firefighters, police and first responders that worked tirelessly, and continue to, on the Eagle Creek Fire to avoid losing lives, homes and historic structures as the fire is not yet contained as I write this. Your efforts are immensely appreciated.
This was one of those rainy days, that we frequently get between October and June. I stood here in the water with my feet and hands pretty close to numb while water was dripping off my head and camera. I probably should have protected my camera better yet it survived while I thrived.
I believe this was the first time I met Sean Bagshaw in person, before we started Photo Cascadia and became good friends. Myself, David and Sean were exploring Eagle Creek trail on this day. I remember thinking this scene was better with someone in it as it helped provide scale so I was glad he was “in the way” for this photo.
The gorge after fresh snowfall. Looks beautiful dressed in all white. This is not your iconic scene but hiking deeper into the gorge to find the more rugged and wild side. This is where peaceful scenes can be found in any season.
I found this wandering the forest near Larch Mountain on a day thick with fog and melting snow from the trees. Anytime a slight breeze would come I ended up doused with water from the branches as they ensured I didn’t leave the scene dry.
I was hiking I believe in the area of Triple Falls for the afternoon. I was taking my time coming down because the sky was pretty socked in and wasn’t planning to take a sunset photo. Somewhere I glanced a break up in the clouds that seemed to be increasing. I jogged the last 1/2 to 3/4 of a mile with heavy backpack to get to the car, drive here and take this photo before the light faded.
This was taken close to a decade ago. I crossed the bridge and almost thought about not taking a photo because I was nearing the end of my day of hiking and photography, telling myself “next time”. I am glad I took a few minutes to capture this. Since that year I have not seen this canyon devoid of large logs or trees. It’s above Oneonta Falls.
Photo and Text By: Sean Bagshaw
The Columbia Gorge National Scenic Area has been the backdrop for many of my favorite outdoor photography experiences. I have found few other places on the planet as beautiful, mysterious, rugged and alive. Over the years I have hiked many of the canyons and creeks, alone, with my family and often with other photographers. I took this photo of Gorton Creek while exploring above Wyeth with several of my Photo Cascadia colleagues a few years ago. I remember it was a life affirming day. I think this small scene does a good job of sharing the essence and the magic of the entire area. I hope it recovers quickly.
Photo and Text By: Zack Schnepf
Here is one of my favorite locations in the Gorge. I think of Oneonta Gorge as Oregon’s green slot canyon. It’s another unique and special location to me. The lush green moss and ferns coat every surface and the steep walls rise up into a lush forest. I love how the trees grow right out of the steep walls. It truly is an incredible place to experience in person.
Note: Readers have asked some great printing questions in various locations, so I’m compiling them along with my answers at the end of the article so they are all in one place.
I often get questions about how I prepare an image for printing with an online print lab for best results, so I’ve collaborated with Artmill.com to create this tutorial which we hope will help you get great prints.
Printing online can be as simple as uploading phone pics to a lab directly from your smart phone or as advanced as working one on one with a professional print master to go through a multi-step hard-proofing process to fine tune every aspect of the final piece. Most of us who are photography enthusiasts will take an approach somewhere in the middle. Just a few simple pointers can really elevate the quality of your prints.
In the video below, I take you through my process of preparing an image for printing online. In both Lightroom and Photoshop, I cover how to address color accuracy, contrast, sizing, sharpening and the most common print challenge…prints that come out too dark. In the video, I unbox the print so you can see how it turned out.
Artmill was kind to provide the promo code OUTDOOREXPOSURE for my viewers/readers. You can use it at http://www.artmill.com to get 15% off your first order.
For more tips on printing make sure to read Zack Schnepf’s article on the Photo Cascadia blog: www.photocascadia.com/blog/5-essential-tips-when-preparing-images-for-print
You can also view my tutorial on soft proofing in Photoshop: https://youtu.be/ND_GzCueX4s
Just to be clear, I don’t work for Artmill and I was not paid to do this video. We felt some information on this topic would be welcomed and they were kind enough to provide the printing. The print itself will be auctioned as part of a fundraiser for the public library here in my home town.
Your Q’s generated by the video and my A’s:
Q: I’ve been wanting to try an online print, but worried I would mess it up.
A: If you haven’t printed online before I suggest ordering a small test print on photo paper first and if you like what you get, then order a larger, more expensive print. Some labs even offer a free small sample print on your first order for proofing purposes.
Q: I have had such awful experiences with online prints! Always dark, grainy, out of focus.
A: It’s important to remember that the print can only be as good as the original image file. Issues that may not be noticeable at a small size on screen, such as noise or soft focus, will become very obvious in a large print. It’s important to zoom in to 100% magnification to inspect and evaluate images. If you see noise, focus or other issues that bother you at this magnification then they will be visible in a large print…and the larger the print the more visible they become.
Q: When you were in Photoshop did you increase the size of the image? I always thought this would make it blurry and lose sharpness and detail.
A: Yes, I did enlarge the image in the video…both in the Lightroom example and the Photoshop example. If you want to print a photo bigger than the size it comes out of your camera it must be enlarged somehow. You can either do it or the print lab will do it…but somebody is doing it. There are two ways that Photoshop can enlarge images for printing. It can either increase the number of pixels in the image (interpolation) or it can increase the “size” of the pixels (decrease the pixels per inch). Taken far enough, both of these methods will eventually lead to decreased image sharpness and detail. But Lightroom/Photoshop now do an excellent job enlarging. I find that I can at least double the output size of my original image file and still get excellent results. For example, without any enlarging an image from my 30.4 megapixel Canon 5D4 will print at roughly 15 x 22.5 inches at 300 ppi. This means that I can enlarge up to 30×45 at 300 ppi with very good detail and even up to 40×60 or larger if the image is very clean or when printing on textured paper or canvas, which doesn’t show as much fine detail anyway. Depending on the viewing distance, you could potentially go even larger. I have printed wall murals 15 feet high that look great because you have to stand back several feet to view them. They are not as sharp up close, but that’s not how they are meant to be viewed. So, if you want to print images larger than they come out of your camera I say go for it!
Q: Before you apply the sharpening for print, do you remove all other sharpening that might have been applied before in Lightroom?
A: I learned from the photography gurus, Mac Holbert and Jeff Schewe, to think of image sharpening in three phases: input sharpening, creative sharpening and output sharpening. Input sharpening is the fine sharpening you can do in LR or Camera Raw to tighten up the fine edges and optimize clarity that is lost with digital cameras (caused by low pass filters and pixel bleed). Creative sharpening is the interpretive and often localized sharpening (or blurring) and clarity work we do during the developing process to help guide the eye, create depth and dimension and showcase elements. Output sharpening is the sharpening done to an output copy to optimize the image for the particular output at the particular size. For example, an image sized to 1000 pixels wide for viewing on the internet has different output sharpening needs than an image sized to 18,000 pixels wide for a 60 inch print on canvas. All three of the sharpening passes are independent of the other and need to be determined on a case by case basis based on the qualities of the image and the intent of the photographer. But, in short…all three types of sharpening work together so don’t remove one to add the other. You do want to carefully evaluate and adjust them as you go to make sure that they are working in concert with each other, however.
Q: Do you also increase the exposure, contrast and vibrance when printing on your home printer?
A: Yes I do, but at home I can also soft proof with the ICC profile for my printer and the paper I’m using and I can run test prints and make adjustments until I get it just right…so the process is a bit more scientific.
Q: You selected the printer resolution of 2880 x 1440 in Output Sharpener Pro. How did you know what to select there?
A: This is another question you could ask your lab to find out what settings they use and be the most accurate, but the differences will be slight. On my own printer that is the ink dot resolution I print with. I didn’t ask Artmill what printer resolution they use so I went with that to be safe. Choosing a lower resolution in Sharpener Pro adds more sharpening to compensate for fewer dots of ink. If I don’t know the ink dot resolution the printer will put down on paper I feel it is better to err on the side of under sharpening than over sharpening.
Q: Are the Nik/Google plug-ins still available? It was great when Google made them free…but then I heard they were going to stop offering them. If they are still available then people should grab them while they can.
A: Yes still available at the moment. There are other options as well, including PhotoKit Sharpener 2.0 by PixelGenius, Topaz and others.
Sean is a full-time photographer and photography educator. You can see more of his images and find out about his video tutorial courses and upcoming workshops, tours and classes on his website at www.OutdoorExposurePhoto.com.
Whether it’s serious or downright hilarious we all can appreciate quotes that inspire us in some way or at the very least cause for pause and thought. Some of these have been accumulated over time in my note taking and others were discovered when thinking about this blog post. They were chosen because they reflect how I view photography or nature, inspire me personally, portray the past, present, future of photography or merely provide a good laugh. After all “Always laugh when you can. It is cheap medicine” – Lord Byron.
I am sure a few you have heard before yet I am also sure there are some you haven’t. From some of the biggest names in photography to others not as well known or not professional photographers at all, to simply nature related inspiration for your next landscape adventure. Spend a few minutes below to get your thoughts flowing. These are intentionally in no particular order. Feel free to comment below with your favorite photography or nature related quote.
“In a world and a life that moves so fast, photography just makes the sound go out and it makes you stop and take a pause. Photography calms me.” – Drew Barrymore
“There is only you and your camera. The limitations in your photography are in yourself, for what we see is what we are.” – Ernst Haas
“Light makes photography. Embrace light. Admire it. Love it. But above all, know light. Know it for all you are worth, and you will know the key to photography.” – George Eastman
“With photography, you zero in; you put a lot of energy into short moments, and then you go on to the next thing.” – Robert Mapplethorpe
“The whole nature of photography has changed with the advent of a camera in everybody’s hand.” – Sally Mann
“I find it some of the hardest photography and the most challenging photography I’ve ever done. It’s a real challenge to work with the natural features and the natural light.” – Galen Rowell
“Think of an economy where people could be an artist or a photographer or a writer without worrying about keeping their day job in order to have health insurance.” – Nancy Pelosi
“I don’t have a favorite photo. As a photographer, I have attachments to each image. Not the one photo: the experience of getting the photos is the challenge or the thing.” – Michael Muller
“It is a peculiar part of the good photographer’s adventure to know where luck is most likely to lie in the stream, to hook it, and to bring it in without unfair play and without too much subduing it.” – James Agee
“Photography is a way of feeling, of touching, of loving. What you have caught on film is captured forever… it remembers little things, long after you have forgotten everything.” – Aaron Siskind
“Photographers deal with a lot of crop.” – Unknown
“With photography a new language has been created. Now for the first time it is possible to express reality by reality. We can look at an impression as long as we wish, we can delve into it and, so to speak, renew past experiences at will.” – Ernst Haas
“Photographers are violent people. First they frame you, then they shoot you, then they hang you on the wall.” – Unknown
“The more pictures you see, the better you are as a photographer.” – Robert Mapplethorpe
“The grass is always greener when you crank up the saturation in Photoshop.” – Unknown
“If we limit our vision to the real world, we will forever be fighting on the minus side of things, working only too make our photographs equal to what we see out there, but no better.” – Galen Rowell
“Cheap photography isn’t good, my dear, and good photography isn’t cheap.” – Unkown
“I think a photograph, of whatever it might be – a landscape, a person – requires personal involvement. That means knowing your subject, not just snapping at what’s in front of you.” – Frans Lanting
“How many photographers does it take to change a light bulb? 50. One to change the bulb and 49 to say, ‘I could have done that!” – Unknown
“Landscape photography is the supreme test of the photographer – and often the supreme disappointment.” – Ansel Adams
“The camera sees more than the eye, so why not make use of it?” – Edward Weston
“People say photographs don’t lie, mind do.” – David LaChapelle
“You must know with intuition when to click the camera. That is the moment a photographer is creative. The moment! Once you miss it. It is gone, forever.” – Henri- Cartier-Bresson
“Every photograph is the photographer’s opinion about something. It’s how they feel about something: what they think is horrible, tragic, funny.” – Mary Ellen Mark
“I’m always mentally photographing everything as practice.” – Minor White
“You might be a photographer if you won’t even share a cell phone picture without editing it.” – Unkown
“Nobody takes a picture of something they want to forget.” – Robin Williams
“It was only after a while, after photographing mines and clear-cutting of forests in Maine, that I realized I was looking at the components of photography itself. Photography uses paper made from trees, water, metals, and chemistry. In a way, I was looking at all these things that feed into photography.” – David Maisel
“Skill in photography is acquired by practice and not by purchase.” – Piercy W Harris
“For me, pointing and clicking my phone is absolutely fine. People say that isn’t the art of photography but I don’t agree.” – Annie Lennox
“Life is like a camera. Focus on what’s important. Capture the good times. And if things don’t work out, just take another shot.” – Unknown
“Wilderness is not a luxury but a necessity of the human spirit, and as vital to our lives as water and good bread. A civilization which destroys what little remains of the wild, the spare, the original, is cutting itself off from its origins and betraying the principle of civilization itself.” – Edward Abbey
“Wealth is the ability to fully experience life.” – Henry David Thoreau
“There are no bad pictures; that’s just how your face looks sometimes.” – Abraham Lincoln
“A camera didn’t make a great picture anymore than a typewriter wrote a great novel.” – Peter Adams
“Photography is the power of observation, not the application of technology.” – Ken Rockwell
“Warning: I am about to snap!”- Unknown
“Photography records the gamut of feelings written on the human face, the beauty of the earth and skies that man has inherited, and the wealth and confusion man has created. It is a major force in explaining man to man.” – Edward Steichen
“When you are a photographer, you work all the time, because your eye is the first camera.” – Patrick Demarchelier
When I started studying photography seriously, I was a slow learner when it came to light. I spent too much time photographing things instead of light—photographing birds, barns, and trees until it got boring. The result was too many average shots of things I no longer wanted in my portfolio. And then came the epiphany–these things looked a lot better, and sold a lot better when they were photographed in good light.
In the image below I am not photographing a mule deer I’m photographing the light, and the mule deer makes for a nice addition as a subject. If I wanted just another mule deer shot, I could have taken 500 subpar images, but instead I anticipated its movement and framed a shot of nice light; then I waited for the deer to walk into those bands of light. That makes for a far better image.
I also have tons of barn images from the Palouse, some in nice light and many in flat light. The barns are just “things.” I no longer want to take images of things to document the area, I want to photograph light. The barn image below works because of beautiful foreground light, the glancing light on the barn; the bands of light in the background and the speckled light in the clouds which tie the scene together for a more interesting image. I’m not photographing a barn anymore, but composing with the light that surrounds it.
A simple image like the tables and chairs below is all about light and what it’s doing. This photo was taken in 10a.m. light (not the best time for stellar rays), but the way in which the shadows were cast to create form and interest in the image was what moved me to pull out my camera. Again, I’m not photographing “things” (the tables and chairs), but light.
I’ve also included a recent image from Patagonia of light on a glacier. I was at this location for hours and studied the glacier and the light on the glacier. There was bounce light, rim lighting, back-lighting, side-lighting, and glacial calving too. I tried different things, but nothing grabbed me until I noticed the fleeting rim light along the glacier as the sun set over a distant ridge. I composed a shot I thought would work compositionally and waited for the light to work its magic. The image below is what I liked. I took another shot about three seconds later, but two-thirds of the light had already disappeared. Six seconds earlier and the light was too bright, but the image below caught the light just right.
Get your mind off of photographing “things;” photography is all about light and how it creates better images. By doing this, you will become a better photographer.
Anyone who develops an intense passion for landscape photography is likely to ponder its potential as a career choice. These thoughts may pass quickly for people who have ample time and money to satisfy their photography cravings. Others will feel a nagging desire to make an expensive, time-consuming hobby pay for itself and will at least dabble in options for producing some side income from it. For a smaller percentage of enthusiasts, however, photographing nature develops into something much deeper than a part-time interest; it becomes a calling, a lifestyle, and a basis for self-identity. A person in the latter situation is likely to give some serious consideration to the idea of making landscape photography their full-time profession. If the siren song of life as a landscape photographer is luring you into deeper waters, then the following realities of the profession may help you to decide whether or not to heed the call.
Sex, Drugs, and Rock-n-Roll
As often as people jokingly refer to prominent landscape photographers as “rock stars”, the reality is rather sobering. Most professional landscape photographers are self-employed, and like proprietors of any other small businesses, we tend to devote most of our time to our work. Having a strong work ethic and a high tolerance for austerity are crucial to building and sustaining a business, especially in the early years.
Of course it helps that some of this work is a labor of love, but much of it is quite mundane. Depending on the business model that you follow, tedious paperwork may be necessary for insurance purposes, for permits, for exhibition space, for all sorts of contracts, or for certifications, just to name a few of the more common necessities. In the United States, having to establish your business as an LLC or S-Corp means an extra level of complication at tax time each year, and the annual bookkeeping is no party either. Besides the demands of business compliance, a whole plethora of routine tasks requires attention on a regular basis. Email correspondence is particularly never-ending. I have heard more than a few professional landscape photographers refer to themselves as “professional emailers” because keeping up with email and various types of electronic messages is such an ongoing commitment. Similarly, the maintenance of social media accounts can be a career in itself, and website development and maintenance is another area of activity that can easily consume many precious hours.
And what happens after you do get to enjoy some quality time in the field? The actual photography also creates more work down the line. Developing, cataloguing, backing up files, and keywording all have the potential to draw you into a black hole of busy work. Being out in the field regularly also means using your camera gear more often, and heavy professional use tends to necessitate frequent maintenance of that gear and of the peripheral equipment and vehicles associated with outdoor activities.
Indeed, the life of a professional landscape photographer is not nearly as glamorous as the most obvious features of the occupation might suggest. A large array of responsibilities are involved that can cause the profession to feel a lot like a traditional desk job at times. Nonetheless, the actual photography is enjoyable enough to make it all worthwhile for the right kind of person. It is an incredible feeling to stand behind a tripod in a majestic location and to have the thought occur that “This is my job!”
Planes, Trains, and Automobiles
Travel is another facet of the career that many aspiring professionals may underestimate and misunderstand. A rare subset of full-time landscape photographers are able to restrict their activities to local areas, but most spend a significant amount of time traveling far and wide. My own travels take me away from home for about 300 days each year, an amount that is probably well above average but that is not highly unusual. Contrary to common assumptions, this travel is not entirely dedicated to creating new photographs for my portfolio. I travel to teach, to give talks, to meet with partners, sponsors, or other business owners, and to attend conferences and expos, among other purposes. Purely personal travel aimed at pursuing my art is something that I crave as much now as I did before I went full-time with my photography. If you think that a career in landscape photography will give you more opportunities to travel freely, then you could be right, but those opportunities may still be fewer than what you would like. I know many amateurs and part-time professionals who are able to devote more time to personal travel than is the case for most full-time landscape photographers.
Regardless of why a photographer might end up traveling, a lot of time away from home complicates many aspects of daily life, especially those involving communication. These complications include being without phone or data signals, dealing with time zone differences, and not receiving mail or packages easily. It can be very difficult to reply to messages, to return calls, or to keep in touch with friends and family. If you are not able to travel with the people who are closest to you, then you may have to accept that communication with them is likely to be very limited.
Of course frequent travel does have its benefits. Life on the move tends to be exciting, especially for anyone who enjoys a frequent change of scenery and is invigorated by cultural variety and by meeting interesting people. If you ‘travel well’ and can tolerate a certain amount of discomfort and inconvenience, then life on the move can be a wonderful existence. Even if it is often exhausting, a life full of travel is a life full of living.
Anyone who takes a keen interest in nature photography probably enjoys being outdoors, but working professionally can require an especially intense level of outdoor activity. For example, on a recent run of five workshops in the desert, I spent 28 nights sleeping in a tent over a six-week period, and the quality of sleep was often quite poor due to extreme temperatures and high winds. While teaching workshops in the mountains I do a lot of hiking and backpacking, so much that I have permanent marks on my hips from the waist belts on my backpacks. My knees have seen happier days, and one of my ankles frequently reminds me of the time that I broke it when I fell into a snowy terrain trap. Frequent exposure to the sun and to the elements means dealing with a whole variety of skin issues, from dry skin to sunspots and the related risk of skin cancer. Alas, spending a large amount of time outdoors does come with some consequences, any one of which could be particularly serious for a person with relevant health issues.
On the other hand, a life lived outdoors also brings some substantial health benefits. It is a great feeling to be very physically fit due to continual outdoor activity, and breathing fresh air on a regular basis is an additional boon to overall good health. Even frequent exposure to sunlight has its advantages, causing positive psychological effects that can improve a person’s mental health quite noticeably.
Shooting Wide Open
If you are the type of person who prefers to maintain a low profile, then a career as a landscape photographer will present some special challenges. As an artist in any medium, your name is inextricably linked to your business, meaning that anonymity will tend to hinder your success. The more willing you are to ‘put yourself out there’, the easier it will be for you to sustain yourself with your art. This openness may mean agreeing to do interviews, to do some public speaking, to network with industry professionals, to cooperate with brands, to make appearances at gallery openings and art shows, to write a blog, to correspond with fans, or to be engaged on social media. If you can embrace the idea of being open to the photography world and its appreciators, then life as a professional will be easier for you.
Balancing creative interests with the need to survive is the classic dilemma of the professional artist. No matter how you bring in your photography income, you will always reach a point where you know that some amount of creative compromise could have the potential to improve your financial results. Even if you maintain the highest level of integrity in privileging your own creative interests, you may still feel uneasy about it, especially if other people depend upon your income to some extent. Moreover, you will sometimes encounter the not uncommon notion that professional artists are ‘in it for the money’ or are otherwise ignoble, an idea rooted in antiquity, when the art forms with the highest status were those that required the least amount of labor. Having the ability to tune out such distractions is essential to staying focused on your art and to enjoying a career as a landscape photographer.
While there will always be exceptions that prove the rule, in general, a hardworking landscape photographer can expect to make a middle-class income. Many aspiring professionals wonder how to achieve even that level of sustenance, and the best advice that I can offer is to evaluate the full range of options for putting a strong photography portfolio to work for you. The classic idea of photos as commodities that can sell as prints or as licensed images is only one possibility. A compelling body of work can also attract other photographers who would like to learn from you, so photography education can be a good option for anyone who has the inclination and aptitude for teaching the techniques, craft, history, and ideas that can help other photographers to advance their art. Other options include writing books, writing for magazines, creating videos, monetizing social media accounts, or accepting support from sponsors. If you can create a special body of work, then you can probably find a way to make it bring in a reasonable annual income, provided that you are willing to put in the effort and to make the necessary sacrifices that might affect your lifestyle.
Despite the many drawbacks that I’ve mentioned above, I awake each morning excited to get out of bed (or out of my sleeping bag) and get to work. A lot of what is required can be onerous at times, but it nonetheless results in a special feeling of satisfaction that my efforts are all supporting my art and my greatest ambitions. Just as rewarding is the great pleasure that comes from teaching and sharing my passion with people who are so happy to indulge in it themselves. It is truly wonderful to see the light that seems to switch on inside of a person when they learn something new, when inspiration sets a fire within them, and when saying goodbye, they offer a hand or a hug and their eyes sparkle with sincere gratitude or camaraderie. It is a great privilege to meet so many interesting and inspiring people each year and to feel as though we are jointly contributing in some way to one of humankind’s greatest collaborative projects, the ongoing exchange of ideas that is art.
Of course most of these rewards can come without any amount of professional activity, but a life dedicated to their realization is likely to bring them more often and at higher levels. If you feel fueled by such motivations and are prepared to make the necessary sacrifices, then life as a professional landscape photographer may be the right path for you.
Which features of the profession do you see as the most challenging or rewarding? Do you have any questions about professional landscape photography that I haven’t addressed in this article? Please feel free to comment below!
Erin divides her time between Cascadia’s Californian southern boundary and Slovenia, traveling and photographing extensively from home bases in both locations. Make sure to bookmark Erin’s site at www.erinbabnik.com. You can also follow her on Facebook, Twitter and Instagram.
My favorite way to experience photography is through print. It’s hard to describe the tremendous satisfaction I get when viewing my own prints, or prints from a photographer I admire. I’ve always enjoyed printing myself. I learned to print in the darkroom in my college photography classes and when I moved to digital I taught myself how to make my own prints at home. As my photography progressed people started to ask if they could buy prints of my images. Eventually, I started doing art festivals and gallery shows to share my work and make more print sales. Whether you plan to print yourself, or have prints made by a dedicated print shop it’s essential that you understand a few basic concepts about color management and preparing images for print.
We live in an increasingly screen based culture. The majority of photography I see is on some sort of screen. A lot of photographers I meet who are starting photography exist almost exclusively in the digital universe. Eventually though, you, or someone you know might want a print made of your photos. Photographic printing can be daunting at first, but it’s very satisfying to see your own images in print, and you will be a better photographer if you understand the fundamentals of color management and print preparation. In this article, I’ll share five essential tips for getting you and your images ready to print.
- CALIBRATE YOUR MONITOR:
It’s hard to stress how important this is. There is no point spending hours processing your photos for print if you haven’t calibrated your monitor. It’s the foundation of color management, and brings everyone into a common color standard. I remember when I got started in photography many years ago, I read on some forums about the importance of calibrating my monitor. At the time I was more concerned with acquiring more lenses and gear and didn’t see why it was a big deal. When I started printing I learned a hard and expensive lesson. The first prints I made were a huge disappointment. They didn’t look like what I saw on my monitor at all, the colors were off and it came out really dark. With a little more friendly advise I finally invested in a decent calibrations package. Once I calibrated my monitor I realized two important things. One, it’s really helpful when everyone is using the same color standards and profiles, otherwise what may look red on my screen could look orange, or purple on another. Two, I had my monitor set way too bright. Reflected light from a print will never look as bright as transmitted light from a screen. Lowering screen brightness much better reflects how an image will print. Here is a link to the colormunki screen calibrator I use now. Very easy to use and profiles really accurately. All of their products work really well, but I like the customization options with the colormunki display model: http://xritephoto.com/colormunki-display
- UNDERSTAND BASIC COLOR MANAGEMENT:
Whether you are printing yourself, sending your files to a dedicated print shop, or preparing an image for a publisher, you will get much better results if you understand the basics of color management. There are two basic concepts to understand when managing color on your computer. The first is using the correct color space when exporting from Lightroom, or Adobe Camera Raw and the right color setting in Photoshop. I always use the Pro Photo RGB color space as it has the widest color gamut, I prefer to start my editing with as many colors as possible especially if I will be printing the image. The second concept is using the right printing profile. If you’re having someone else print for you, it’s still important to understand printer profiles. You can use a printer profile to soft proof your image and get a preview of how it will look when printed with the specific printer and paper they use. Printer profiles are scripts used by the printer to adhere to color standards, they help the printer produce an image that looks as close to what you see on your screen as possible. I’ll talk more about soft proofing in the next section.
- SOFT PROOFING AND HARD PROOFING:
Soft proofing is using software such as Lightroom, or Photoshop to preview a printer profile. Soft proofing attempts to simulate what the image will look like when printed on a specific print paper with a specific printer. I think soft proofing is useful to get you in the right ballpark, but I don’t trust soft proofing completely. It is still pretty unreliable when trying preview exactly what a print will look like. I use soft proofing to get me close and then I order a test print which is called a hard proof. Once the test print is made, or arrives from a print shop, I can evaluate it and make any adjustments that I think it needs. This method is what I rely on when making prints for customers, art shows and galleries. The videos below help explain soft proofing in Lightroom and Photoshop.
Great video on soft proofing in Lightroom: https://www.youtube.com/watch?v=8M9B8ABOb9U
Another video about basic soft proofing in Photoshop: https://www.youtube.com/watch?v=Y47uoKE_dAs
- SHARPEN APPROPRIATELY FOR EACH PRINT MEDIUM AND SIZE.
Each print medium I use requires different levels of sharpening to look it’s best. For instance, noise from over sharpening shows up easier on metal prints. Both acrylic and traditional inkjet prints are more forgiving and hide minor noise and digital artifacts better. Canvas is the most forgiving. Print size is also something to consider. What does this mean in practical terms for my workflow? I’ve adopted a simple and flexible approach to sharpening. I do normal output sharpening in Lightroom or ACR to correct for softness introduced by camera, lens, and the RAW format. The amount varies for each image. I continue with my workflow in photoshop to produce a master file with all layers and adjustments preserved if possible. If I’m going to make a print, I save a flattened copy of the master file and sharpen it specifically for that print size and medium. Sometimes it doesn’t need additional sharpening, but if it does it’s usually the last adjustment I make before sending it to print. As a general guideline, I sharpen more for smaller prints, and less for larger prints. The is counter intuitive for many people, but I’ve found that smaller prints need more because they lose sharpness when they are scaled down, and large prints tend to show any unwanted effects that might arise from over sharpening. This is my personal preference and there are other factors to consider including the view distance.
- ADJUST LUMINANCE FOR SPECIFIC PRINT MEDIUMS.
Each print medium has it’s own perceptual brightness and ambient reflectivity. Like I described in the sharpening section, I save a flattened copy of my master file for each specific size and print medium I print on. Aluminum prints and lumachrome acrylic prints have high ambient reflectivity and perceptual brightness, therefore they require very little, if any brightness adjustment. Traditional inkjet prints and canvas require a lot more brightness adjustments if you want to replicate the look you see on your screen.
I’ve been printing a long time, and I’ve learned several important lessons from printing over the years. I’ve noticed that my processing workflow has evolved to accommodate printing. I now tend to process with printing in mind first, and make specific changes to the file later when posting to the web. I also have evolved to process in the most editable and non destructive way to preserve the image quality. I think printing has made me a better photographer and has helped me improve my image quality.
Old video blog about basic printing from Photoshop: http://www.photocascadia.com/blog/intro-to-photoshop-printing-video/#.WIT_MrGZMUE
Recommended printing companies: These are the two print companies that I use. I’ve tried a lot print shops, and these guys both produce incredible, quality prints. I get my Aluminum prints from: http://www.hdaluminumprints.com and acrylic prints from http://www.nevadaartprinters.com
by Zack Schnepf
Back when I was taking my first photography classes in college, instructors would ask me what I was trying to say with my images. At the time, I thought this was just something art instructors said. I came to understand that effective art is often able to communicate something to the viewer. Sometimes it’s an emotion, a mood, a sense of wonder, or an overall feeling you get when you sit and appreciate a work of art. I’ve felt disturbed by documentary photos in war torn countries, pure joy viewing a photo of lion cubs wrestling his brother, I’ve felt the cold in images of mountain climbers summiting massive snowy peaks and I’ve felt awe and wonder viewing photos of majestic moments captured in nature. I’ve had many profound moments out in the field photographing. I became a photographer so I could share these profound moments with other people as well as remind myself of some of my favorite moments. If i’m able to communicate some of what I’m experiencing through my image I consider it a successful image. In this article I’ll talk about trying to communicate through my images and how it effects how I capture an image in the field and how I process and image in post production.
In the field: There are already so many things to think about in the field; changing light, composing multiple elements together, difficult environmental conditions, not to mention all of the technical settings you have to balance as well. It can be chaotic. It can be difficult to also think about trying to communicate through your image. It doesn’t have to always be something profound you are communicating, sometimes it’s simple things. In this example, I loved the lines of erosion here in White Pocket in Arizona. I noticed if I composed with my camera about 8 inches off the ground It really accentuated the pattern of erosion and helped tell the story of these petrified sand dunes eroding away over time in the wind and rain. I also tried to compose to accentuate the natural curve and texture in the rock. To me, this helped communicate the incredible history of erosion that has taken place to create this natural work of art.
In this example, I was scouting for a workshop when I saw this lone tree out in the middle of these overlapping green hills in the Palouse. I put on my telephoto lens and shot at about 300mm to focus in on the this one solitary tree surrounded by these hills. To me, framing this way helped convey a feeling I was having looking at the scene. This shot was actually captured during the workshop in much more interesting conditions. A rain storm was clearing as the sun was rising creating this atmosphere that helped convey the emotions I was feeling even more. Even in the field I was struck with emotion as I looked at this scene. It seemed to communicate an independent strength and integrity. The backlight through the falling rain just reinforced this feeling. I knew when I worked on this in photoshop, I wanted to process this in a way that helped communicate those same feelings.
In post production: There is a lot you can do in post production to enhance your images, you can also accentuate elements that help the image communicate. With the lone tree image, I accentuated the backlight on the tree and hills to help the tree feel luminous and help it stand out even more in the scene. To me this is a very successful image, every time I look at it I still feel some of what I felt in the field.
This was my first time visiting Avalanche Creek in Glacier National Park. I was with my good friend David Cobb at the time. I was so enamored with this scene, I really wanted to capture it in a way that helped convey what a unique and special place it is. This is a very common theme in my photography, I love to share my own awe and wonder when visiting these special places and I try to capture them in a way that expresses that. It was also very peaceful and I felt a great wave of tranquility as I sat and took in this scene. I set up in a pretty unusual spot, I had to be very careful not to slip and fall in, but I loved the compositional flow that was created here. Again, this is a successful image to me, because every time I look at it I feel some of the tranquility, awe and wonder I felt when I was there. This is also a popular image at art shows, and people tell me they feel peaceful when they look at it.
This last example was just taken a few weeks ago while I was vacationing and photographing on the Big Island of Hawaii. My family moved to Hawaii for a few years when I was a kid and I was lucky enough to witness Kilauea erupt in spectacular fashion when I was five years old. It is an experience that is burned into my memory. This recent trip was my first opportunity to capture some of that experience in my own photography. Cj Kale guided me out to the flow on this particular morning and it was quite a show. It’s so dynamic watching a lava flow, it’s constantly changing, moving and doing unpredictable things. There was so much going on, the flow was changing, the waves were crashing and wind was blowing the steam all around. It was such a privilege to watch the creation of a new part of the island right before my eyes. I really wanted to capture a moment like this with the lava visibly flowing, the waves crashing and the steam catching the light of the lava. Its was extremely challenging, but rewarding. Again, to me the is a successful image. It captures just how dynamic and dramatic it was to watch the lava flowing into the ocean creating new land. It was a transcendent moment for me, one where I was reminded how small and insignificant we are, it was powerful to witness something that has been shaping our planet for much of it’s four billion year history.
I love being able to share moments like this through my photography. It’s why I became a photographer. Images like these are some of my favorites, because I feel something when I look at them and other people do as well. Trying to communicate through my own images has helped me become a better photographer and continues to make photography more rewarding. You can learn more about me, my images and the workshops and tutorials I offer on my website: http://www.zschnepf.com