Photo Cascadia Blog
Posts Tagged ‘travel’
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.
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In my opinion, photography is one of the most fun, healthy, enriching, energizing and positive pastimes a person can be involved in. It is a creative outlet and it also provides an ongoing source of learning and intellectual stimulation. It gets you outside and provides a pathway for greater appreciation of nature. It is accessible to people of all ages, interests, experience and ability. It teaches you to slow down and really notice the world around you. One of the greatest joys photography has brought me is the social aspect of it. While photography can certainly be private, introspective and deeply personal, it also offers wonderful opportunities to connect with other human beings. Many of my best friends and colleagues are people I met through photography and some of my most gratifying conversations, collaborations, adventures, and experiences are the result of hanging out with people who share my passion for photography. I have had the pleasure of meeting and communicating with photographers from all over the world, I have been a student and a teacher and I have been fortunate to travel with friends and lead workshops to all corners of the globe.
Perhaps my favorite social photography experiences is the “road trip”. I love the adventure and freedom of being out on the road; sleeping in a different place every night, seeing new sights and being able to simplify, focus and relax. Sharing the road trip experience with others only enhances it. I’ve enjoyed road tripping since college, although back then my road trips were rock climbing trips and the real adventure was finding out if my $600 car would break down in the middle of nowhere. My first photography dedicated road trip was in 2004. It was a solo trip and it left me with some great memories. But what was missing was the laughter, the collaboration, the camaraderie and the synergy. The conversation certainly left something to be desired as well. And now I find I miss being able to reminisce with someone about that trip.
Since then I have been on at least a couple photo road trips each year, some of them solo, but most of them with friends, colleagues, and clients. Most recently I went tripping with two of my best friends and Photo Cascadia teammates, Zack Schnepf and David Cobb. All of these photos are from that trip. I have traveled with each of these swarthy gents many times and we have THE best time together. For this trip we had planned to search out winter conditions in the Tetons or the Canadian Rockies, but the day before we left the weather forecast indicated low cloud cover for days to come in those locales, so we redirected our plan to California just hours before departure. With the Millenium Falcon filled to the gills with camera gear, tripods, duffel bags, sleeping bags, snowshoes and plenty of tortillas and refried beans, we hit Interstate 5 south with the Louis CK Pandora station playing and scarcely a clue where we were going. The next seven days on the road took us to Yosemite National Park, where thousands were photographing the famous Horsetail Falls “firefall” but we opted to shoot in solitude along the Merced River instead, then to Joshua Tree in the rain, a couple of days in Death Valley and finally up the east side of the Sierra Nevada along the Owens River Valley.
Along the way and per usual we told bad jokes, ate junk food at truck stops, listened to audio books, solved the world’s problems and held snoring competitions sleeping in the Falcon’s tight quarters. The photography conditions were good but not great, but what we lacked in light we compensated for by regaling each other with tall tales of epic photo sessions of the past. We did manage to bring home a few passable images as well. At the end of the trip, I scraped together the images and video we had taken with our phones, added in some aerial footage I took while learning to fly my new drone, and put it together into the short behind the scenes video you’ll find at the beginning of this article. I think the video will give you a fun view into the spirit of this trip. I hope you enjoy it.
We all photograph for different goals, reasons and rewards. We aren’t all cut out to be social photographers, at least not all the time. But if you do enjoy photo tripping with others consider contributing a thought, an experience, a road trip tip or a favorite route in the comments below. If you haven’t road tripped but want to and are just lacking companions, I would suggest joining your local photography club, becoming active in online photography communities such as Flickr or Facebook groups or signing up for photography workshops or photography tours.
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.
In May of this year I had an opportunity to spend a few days in Acadia National Park. If you are not familiar with the area it’s in the state of Maine, one of the six states making up the New England region. When it comes to photography the area is certainly more known for visiting in fall season to capture vivid red, yellow and orange colors from the plethora of deciduous trees filling the landscape. Fall season aside there is still much to see and photograph during the other three seasons, including spring. In spring the trees and foliage are in full bloom with an array of green hues to fill up your camera lens.
While a few days allows for seeing the main sites I would overall recommend a couple more beyond that to check out more of the area and get on a couple more trails or kayaking. I will also say I am someone that typically researches quite a bit ahead of time for any trip of a few days or more. This one I pretty much winged it. I give that caveat ahead of my trip review for additional context.
When I got into Acadia it was the Friday starting on Memorial Day weekend. I was certainly prepared for jammed roads, too many tourists and little space. Much to my surprise it was not bad at all with plenty of moments to take in the area without too much commotion.
There are many options just outside of park as well as some inside the park, including camping. Since lodging when I travel by myself literally means a decent place to sleep, and nothing more, I chose an inexpensive motel on the main highway just outside the main entrance of the park. It worked out well for me.
In the park options are limited. Just outside the park there places like Bar Harbor with plenty of options. As said before I was mainly there to see sites. I hit the local grocery store and used the fridge at the motel. Don’t forget to eat plenty of lobster, it’s pretty much everywhere.
You can actually fly into Bangor International which is only about a 45 mile drive to Acadia. I happened to already be in Portland (Portland, Maine that is not to be confused with my hometown Portland, Oregon) where it made sense for me to drive the 160 miles vs getting on another plane.
There is a little bit of everything here from small ponds to ocean waves and lush forests to mountain views. The Park Loop Rd is the main route in the east portion of the park. One thing I like about the setup of the main loop is the one-way two lane feature where the right lane doubles as a parking spot in most parts. For photography this is great. I see something I like and can literally stop the car in the middle of the road to get out and take photos. Yes this means that once you pass a spot the only way back to it is doing the full loop again but the pros outweigh the cons.
Whether you like rough rocky shores or small town boat harbors ANP has them as well. The iconic Bass Harbor Head Lighthouse is located outside the busiest part of the park and worth checking out. Truth be told I was looking forward to photographing the Portland Head Lighthouse more, yet on my visit it was dressed in scaffolding for maintenance, maybe next time.
The first afternoon and morning of my second day brought spells of fog which made for some great atmosphere to photograph. We often talk about national parks being too crowded and for the most part I agree with that. Yet on my first evening I was photographing this fine grove of ferns and I had wondered if the park was closed and I got locked in! I spent 15 to 20 minutes standing on the road photographing this scene in the early evening with not a single car coming by and it was on the main park loop. All I could hear was the sound of occasional water dripping and leaves waving when breezes came through. It was fantastic.
The next morning as the sun scorched it’s way through the fog there was fine scenes I encountered. On this foggy road I ‘parked’ my car just behind where I stood to take this photo. Only a couple cars and runners strolled through.
My good friend and fellow Photo Cascadia team member did tell me there are good options for photographing rocks. There certainly are some cool finds. While my hair got soaked to the point water was running down my face from the dense fog I found this neat rock formation. I am thinking boot yet I also see a dolphin. What do you see?
Perhaps the most fun to see and photograph rock wise was Little Hunters Beach. There is no big sign to show you the way; you can easily miss it if you aren’t looking for it. It’s like one gigantic bag of marbles were dumped on the shore. Can’t remember the last time I saw this many beautiful rocks in one spot.
Some of the best views are up on Cadillac Mountain; at just over 460 meters is the highest point which feels low until you remind yourself you are on the ocean. You can hike just a short ways and be away from the masses. If you are a curb side shooter this place works too. Don’t be fooled thinking that just because you are nearing summer and sunrise is before 5 am that it will be quiet. Boy was I in for a surprise. Hundreds were up there to watch the sunrise, most just to experience the scene not to photograph.
This sunrise was the best I had all trip and the sliver of sun poking through was all we saw before the clouds engulfed it. This foreground seemed fitting as the rocks look a little like lobster claws.
If you prefer a little more man made than pure nature there is very nice little Japanese one right outside the park called Asticou Azalea Garden that is free to visit.
Definitely cannot forget about getting down close to the rugged rocky ocean shoreline. I get mesmerized watching the waves slosh around. Thunderhole is a great place to see if you can time it right for waves. During my time there the water was too calm for much action according to one of the rangers. No worry for me plenty else to see.
All in all it was a pretty quick trip yet a fine place to spend a few days photographing and exploring. If you have never been it’s certainly one to add to your bucket list. I hope to make a trip back during fall in the future.
On the subject of national parks I will get on my soap box ever so briefly. With the staggering increase volume of visitors each year to some of the major parks in the United States it’s no wonder we are seeing the many headlines of a small number of people making poor decisions negatively impacting a park landscape or wildlife. I would say mostly I have seen stories from Yellowstone this year yet that park is not alone. Others may not agree with me yet I feel the most popular parks are approaching a crisis. If we don’t effectively manage through the high visitor rate that appears to be continuing upward I fear a system of national parks we know today may be a lot less enjoyable 30 to 50 years from now. Although I don’t love permitting systems or limiting access to what we deem ‘our national parks’ I am beginning to wonder if the peak seasons at large popular parks need to entertain new ideas to effectively limit traffic, both number of people and vehicles. I won’t dive into a deep debate here, simply something to ponder. On that note get out there and enjoy your parks as I will be doing the same this summer with my family.
Easter Island, also known as Rapa Nui or Isla de Pascua, might be considered the last place on Earth for a number of reasons. For example, it is one of the points of land on the planet furthest from any other point of land. Other than New Zealand and Antarctica, it was also one of the last places on Earth to be inhabited by humans. Once the Rapa Nui people had lived on Easter Island for several hundred years without any visitors and without ever making it back to other islands or continents themselves, they began to wonder if the rest of the world sank leaving them stranded on literally the last place on Earth. Finally, Easter Island is one of the last places on Earth I ever imagined having the opportunity to visit and photograph.
In my last article I shared photos and a trip report from the photography tour I helped lead in Patagonia with Christian and Regula Heeb, owners of the Cascade Center of Photography. Christian is one of the world’s most published and prolific travel photographers and there are few places he has not visited, but Easter Island was one of them. At the end of the Patagonia tour the Heebs scheduled an extension trip to Rapa Nui. Six of our group, including myself, continued on from Santiago, Chile to spend several days exploring and photographing there. I recently was interviewed about the Patagonia and Easter Island trips on The Traveling Image Makers podcast. You can listen to that podcast HERE.
It is fair to say that Easter Island is probably not a location most landscape photographers would prioritize. It is expensive and difficult to get to and it is small and windswept. If tropical seascapes and landscapes are your photography goal, there are certainly more beautiful, larger, more diverse and easier to reach islands and tropical regions. For me, the culture, folklore, history and ecology of the island made it an intriguing place to visit and the imposing visual of the moai standing watch around the island were alluring to me photographically.
Easter Island, so named because the first European explorer arrived on Easter Sunday in 1722, is best known for the massive stone moai statues the Rapa Nui carved and placed in multiple locations all around the island, but the history, culture and eventual plight of the Rapa Nui people make the tiny island all the more fascinating. The island itself is very small, just 13 miles long and as little as two miles wide in some places. From the highest points you can see all the way across the island in any direction. The nearest inhabited land is Pitcairn Island, 1300 miles away and the nearest continental land is central South America, 2200 miles away.
Polynesian people most likely arrived on the island between 900 and 1300 years ago and created a thriving society. Easter Island was forested and had a stable ecosystem at that time so natural resources, farming and fishing enabled a comfortable lifestyle. Unfortunately it seems that overpopulation, over harvesting and the introduction of the Polynesian rat eventually led to deforestation, extinction of the native birds and damage to the ecosystem. The population of the island could have been as high as 15,000 in the 1600s, but by the time the first Europeans visited in 1722 it had declined to an estimated 2,000 to 3,000 people. By the late 1800s disease and Peruvian slave traders had reduced the population to just 111.
The statues were created as part of the clan based society with one clan wielding power over the other clans through a high chief, the eldest descendant of the island’s legendary founder, Hotu Matu’a. There are 887 moai on the island, some of them standing, but many were knocked over, toppled in transport or were never completed and are still in place in the main quarry.
According to National Geographic, “Most scholars suspect that the moai were created to honor ancestors, chiefs, or other important personages.” For hundreds of years the creation of the statues was believed to be a way for the living to connect with dead ancestors and for the ancestors to provide for the needs of the living, including power and wealth. Rapa Nui villages were mostly located near the coastline with groups of statues standing nearby with their backs to the ocean, watching over the island.
The ancestor cult that worshiped the moai statues eventually faded, however. Warriors known as matatoa gained more power as the island became overpopulated and resources diminished. In the late 1700s the Ancestor Cult ended, making way for the Bird Man Cult. Beverly Haun wrote, “The concept of mana invested in hereditary leaders was recast into the person of the birdman, apparently beginning circa 1540, and coinciding with the final vestiges of the moai period.” This cult maintained that, although the ancestors still provided for their descendants, the medium through which the living could contact the dead was no longer statues, but human beings chosen through a competition. This competition was held each year and required the matatoa to climb down high cliffs to the ocean, swim through shark infested waters to a small off shore island and wait there for migrating sooty turns to arrive and begin nesting. The first matatoa to find a turn egg, swim back to the main island and scale the cliffs without falling or breaking the egg was the winner. The title and power of the birdman was then bestowed upon the warrior, or more commonly a wealthy older chief who had hired him to be his representative champion.
Another ramification of deforestation and dwindling resources was fighting among the clans and toppling of each others statues. The European explorers who came to Easter Island in the earlier 1700s reported seeing many statues standing all along the coastline. In 1774, British explorer, James Cook, reported noticing that some of the statues had been knocked over. In 1825 the British ship HMS Blossom arrived and reported seeing no standing statues. The only statues still standing were the ones located on the side of the crater below the rock the quarry where they were carved. This was due to the fact that soil erosion on the steep slope had caused the moai to be partially buried over time, making them topple proof. The toppled statues remained in this state until 1956, when the first statues were re-erected. To date about 50 statues have been put back in their upright positions.
During our five days on the island we photographed most of the main moai sites that have standing statues, some of them multiple times and at different times of day. Since I had previously seen many documentary and archaeological images of the moai, my goal was to create photographs that were unique, dramatic and gave a sense of the statues in their environment. All of the statues are protected and part of the national park system. It is prohibited to touch them or access certain areas, some of the sites are only open during the day and the most popular sites can be crowded during the day and at sunset, so there are some challenges to finding the right composition and not having people in the photos.
For me this was a wonderful life experience. I am happy with the photos I was able to capture, especially the long exposure image of the Tongariki moai group under a full moon. Mostly I feel fortunate to have had the opportunity to visit such a remote spot on the planet and one with such an interesting and storied history and culture.
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.
Ode to the Silhouette
By David Cobb
Silhouette: The dark shape and outline of someone or something visible against a lighter background, especially in dim light.
There was a time in photography when the silhouette was used more because it had to be. There wasn’t much dynamic range for a camera to work with so your options were limited. When photographing a strongly backlit subject without lighting or flash, you either chose to show detail of the subject and over-exposed the sky or you chose to expose for the sky and lose the detail of the subject to create a silhouette. The latter option was often chosen.
Today the silhouette isn’t in vogue. It’s fallen out of favor to the technology of high dynamic range which allows us to display as much detail as possible, but the silhouette is still a viable option. The silhouette creates a layer and a useful pattern simplifying form against a beautiful sunrise or sunset to make a striking graphic image. It generates mystery, drama, mood, and can help make an image more emotive. As you look for your subject, search for an uncluttered image stripped of detail and depth. (It often works best if it fills the frame in an interesting way or balances against a dramatic sky.) Try to keep your elements separate or at least the outlines defined in some way; if there is too much overlap the composition becomes confusing. Also focus your lens on the subject that is silhouetted. This is the part of the image you want to be the sharpest.
Next time you’re in a situation of choosing between showing detail or going with a silhouette, expose for the sky and go for simplicity. Leave part of the image up to the viewer’s imagination and choose the silhouette.
By David Cobb
The first time I explored Croatia was when I crossed the eastern border through the countries of Montenegro and Albania. Six years later I explored the western portion of the country arriving through Slovenia. Both times I was greeted by friendly faces, wonderful food, and beautiful scenery to photograph. On my first visit I had time constraints so I only made it as far as Dubrovnik, but the second time I was able to explore more of the country along Plivitce National Park as well as some of the towns and villages along the Istrian coast and a bit further inland.
Dubrovnik is a photogenic city along the Adriatic Sea. The old town consists of many ancient churches, and its polished streets make for great reflections during night photography. Climbing the wall of the old fortress you can shoot down into the city and pick out patterns amongst the rooftops.
Along the western end of the country lies Plivitce National Park and its many lakes and waterfalls. Fall here can be spectacular, and there are so many grand waterfalls it’s hard to know where to begin photographing so just start and explore. I recommend you plan on spending more than a day here.
Inland near the Istrian coastline are a number of hilltop villages surrounded by vineyards. The small towns surrounding the ancient castles are more photogenic when you walk the stone streets—and offer views down to the surrounding agricultural fields that make for great pattern photography.
The Istrian Coast is beautiful too, with its beaches and cliff-side views. As always in Croatia, the towns along the coast are most photogenic and are photographed best during sunrise, sunset, and night.
There is still so much for me to explore in Croatia, especially in some of the backcountry river canyons and mountain ranges. I plan on seeing and exploring more when fellow Photo Cascadia member Sean Bagshaw and I join Luka Esenko for a fall color workshop here in 2017. There are still a few spaces available in the workshop for those interested in experiencing this great area.
Thrills, chills, and a bit of spilled milk, but I attended the 19th Annual NANPA (North American Nature Photography Association) summit in San Diego to be inspired, make connections, meet old friends, and greet new ones. I was not disappointed. This year’s keynote speakers listed a number of heavy hitters from Nevada Wier to Dewitt Jones to Frans Lanting. Fighting L.A. traffic, I arrived late to the summit but caught a keynote address by NANPA’s 2015 Outstanding Photographer of the Year–Steve Winter. The work and dedication he put in to photographing snow leopards and other big cats was mind-boggling and impressive; and his images were fabulous.
The next day Nevada Wier took the stage to show images and recollect stories from her many travels to remote and distant lands. Her love of varied cultures and its peoples shows through her work. Backpacking into isolated valleys rarely visited by anyone, she has photographed untouched clans for months on end. Her National Geographic assignment to raft the Blue Nile in Ethiopia and photograph the cultures along the river consisted of a remarkable set of images. She also presented a number of her new infra-red cultural photographs which showed cultures in a new light.
Before and after the keynote addresses there were breakout sessions that ran the gamut from processing to copyright protection. You could attend photo walks or field trips before the first keynote address, and get a portfolio review. And of course no summit is complete without its exhibitor trade show, which also had a demonstration area.
It’s always great to head south for warm weather in February, so next year plan on attending the 20th annual NANPA Summit in Jacksonville, Florida.
By David Cobb
A decade ago I traveled through Iceland exploring and planning for my 2006 walk across the island. I marveled at the stark scenery and the long hours of beautiful light-a photographer’s paradise. Today, you can’t fling a spoonful of Slátur (blood pudding) in Iceland without hitting a photographer. Those early feelings in an earlier day I had for Iceland rose again on a recent trip to Slovenia, but on this trip I felt I had barely scratched the surface of discovering the beauty of Slovenia.
The Slovenian photo opportunities are much more than the beautiful Church of Assumption atop an island of Lake Bled–waterfalls abound, gorges seemingly are everywhere, the Julian Alps are spectacular, and the countryside is filled with vineyards farms, and picturesque landscapes.
My trip began in the capital city of Ljubljana (a place I joked was the only city with more coffee shops and bicycle riders than my hometown of many years Portland, Oregon). The streets of old town are attractive and easy to wander with a camera and tripod, and at night they truly become alive with lights reflecting onto the river below. And like many European cities, Ljubljana is topped with a castle that you must explore.
Next on the list was a trip to Lake Bled which is truly in a fairyland setting. From here short trips can be made to the popular sites of Lake Bohinj, Vintgar Gorge, Savica Falls, and other parts of Triglav National Park. I’m sure there are more than a million places to discover, explore, and photograph here, but I only had time for a few as we moved on to our next destination east to the town of Ptuj which is surrounded by rolling hills and vineyards that reminded me a bit of Tuscany or even the Palouse. The rural countryside, green grasses, and fall color combined with the soft light to make for some enjoyable photography. The small city streets are also quite photogenic, and the morning city fog adds an air of mystery to it all. From here we left to explore the northern section of Croatia, a country I’ve visited in the past but wanted to see more. We returned to Slovenia along its small coastline and stayed in the town of Piran–a lively coastal city and photogenic along the harbor.
A two-hour drive brought us back to Ljubljana and completed our loop of the country. The people here were always friendly and knew English well. The food ranged from very good to excellent, so I never had a bad meal. Like I said, I barely scratched the surface of this country’s photo opportunities. Fellow Photo Cascadia member Sean Bagshaw also vacationed here in 2014 and we’re planning to conduct a fall color photo tour of this country with Slovenian photographer Luka Esenko in 2017, so stay tuned for updates.
By David Cobb
The other day I was asked my thoughts about today’s outstanding female landscape photographers. So below is a list of 21 practicing women landscape photographers whose work inspires me. (This isn’t meant to be an all-inclusive list by any means.) I’ve linked their names to their websites, so you can enjoy their photos too.
Erin Babnik splits her time between California and Slovenia, and her jaw-dropping images from Slovenia and Italy’s Dolomites are truly an inspiration. She comes from an art background and by the looks of it, she’s not afraid to put on a pack and wander off into the backcountry.
Oscar Wilde mentioned “youth was wasted on the young,” but he hadn’t met Kari Post. I first learned of her when she won the International Conservation Photography Award with an image of a snowy owl. She likes to photograph wildlife, but also has strong landscape and intimates to complement her portfolio.
Nevada Weir has been a mainstay in cultural photography for many years, and I find her landscape photographs (particularly of Asia) to be strong.
In the realm of the urban landscape, Julia Anna Gospodarou is probably my favorite. Her black-and-white architectural images are stunning, and I truly wish I could learn how to photograph like she does. I think I need to take one of her workshops.
Two travel photographers I love to follow are Yen Baet and Lucie Debelkova for their countryside and urban images caught at the blue hour. I enjoy living vicariously through their photographs and one day hope to see some of the places they’ve so beautifully captured.
I first met Mary Liz Austin in the field (actually in a pear orchard) with her full-frame camera, and I’ve admired her scenics from around the U.S. in calendars, books, and magazines.
Elizabeth Carmel is a frequent contributor to Outdoor Photographer Magazine and I’ve viewed her prints in galleries near Lake Tahoe. As far as I know, she’s the first person to photograph the now-often photographed bonsai rock at Lake Tahoe. Her landscape photography is inspiring and best viewed in person and close-up.
Deb Harder is little-known in social media circles, but I find her landscape images of southern Oregon stunning and impressive.
I’ve wanted to travel to Texas for years now to capture the classic blue bonnets and paintbrush under oak and fog, but because of the nine-year drought I haven’t made it. Lately, I’ve noticed the images of Laura Vu are inspiring me to travel to the “Lone Star State.”
I first knew of Varina Patel as a participant of the Nature Photographers Network (NPN), and I was impressed with her nature photography then. She’s only improved her skill as a photographer over the years.
Valerie Millett derives from an art background as a painter, so her transition to photography and composition has been smoother than most. If you’re looking for interesting images of the Arizona backcountry from a passionate photographer, check out her work.
Isabel Synnatschke seems like she’s always on the go from her base in Germany. If you’re interested in finding a new spot to photograph in the U.S. (especially the desert Southwest) or Europe, this is the woman to follow online.
Born in Indonesia and now living in Qatar, Helminadia Ranford captures spectacular images in soft light situations. She travels quite a bit, so her images vary from Asia, to North and South America, and the Middle East. Her processing is flawless.
I first met Darcie Sternenberg during one of my workshops. Everyone on the workshop was pointing their camera in one direction and she in the other–now I know why. Her black-and-white images carry an ethereal feel and are broken down into the simple elements of light and dark.
Cindy Jeannon lives and photographs in a world of stark beauty. Her compositions are simple yet complex, and her reverence for nature is felt while viewing her landscape images.
Hailing from the Greek islands, Mary Kay can capture light with the best of them. Her atmospheric photos and classic compositions complement a beautiful style of photography that almost always includes water.
Danielle Lefrancois is based near Banff, Canada so her north-country landscape is pretty spectacular. She captures it well at all times of the day and in all seasons.
Ann McKinnell’s style reminds me more of a disciple of Ansel Adams, and her photographs seem to carry the weight of a large-format composition. It’s refreshing to see that some traditions carry on in photography.
I photographed with Jennifer Wu a few years ago at Mount Rainier National Park during one of the best sunsets I’ve witnessed there. Named to Canon’s “Explorer of Light” team, she excels in the realm of night photography and has been perfecting her craft for many years.
I believe Hillary Younger is the only female landscape photographer from Tasmania, and her rugged coastal images of light and color bring her “neck of the woods” alive. She occasionally journeys elsewhere, but she certainly has her region dialed in for beauty.
Like I said earlier this is nowhere near a complete list, but a list of female landscape photographers whose work inspires me. I hope you will check out their sites, and maybe they’ll inspire your photography too. If there are some I missed or other photographers you wish to add, please comment and add them to the list.
David Cobb Interview on the “Back Page”
By David Cobb
Last March I sat down with Jody Seay for an interview on “The Back Page,” to talk about my images in the book “Quiet Beauty: Japanese Gardens of North America.” Her show is distributed to various PBS affiliates around the nation, and the following video is the result.