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By Lee Friedman.
This year, aside from all the wonderful speakers each chapter brings to our members, we are augmenting them with a new set of speakers we recruited. These speakers are nationally known and award winning nature photographer. They come by special invitation for the benefit of our members. We have established a schedule for the entire year, bringing our members at least one of these speakers each month. Here is the schedule:
|Michael||Birnbaum||Lightroom New Masking and Selection Tools||1/19/22|
|Mary||McDonald||Photographing Wildlife Both Near and Far||2/16/22|
|Kathleen||Clemons||The Art of Flower Portraiture||3/9/22|
|Ray||Hennessy||Creative Bird Photography||3/16/22|
|Clay||Bolt||Macro Photography 101: How Macro Photography Can Change Your Perception of the World Around You||4/20/22|
|David||Desrochers||Painting with Cameras||6/15/22|
|Tom||Wilson||Nature Photography along the Chattahoochee River||7/27/22|
|Jamie||Davidson||Getting Creative with Motion and Multiples||9/21/22|
|Alyce||Bender||Black Oystercatchers (a Pacific coast shorebird and species of special concern)||10/19/22|
|Mike||Moats||Is Your Flower Photography Boring, Let Me Help You||11/16/22|
Watch for these speaker announcements each month on Meetup and on the Members page for registration. They are for members only as an added benefit of GNPA membership.
Not a member? Click here to learn more about joining GNPA!
By Jenny Burdette2021 12-30 Edited Follow Instagram
By John Mariana
From my perspective, successful nature photography is comprised of two very different elements. Understanding the role that each one plays in the process is critical. Capturing the photo is clearly important, but so is our thought process for presenting that image.
The camera, of course, is only a tool. Yes, it is the tool we use to capture nature images, but the tool itself does not create the image or provide the final presentation. Our own in-the-field experiences, our training in composition and the understanding of the elements of “good images” are the critical aspects for the capture. Composition, special light, depth of field, shutter speed and good exposure represent the craft of the capture. These should become second nature to you, so when a special nature opportunity presents itself, you are prepared to capture it.
Capturing moving animals and birds in flight requires good depth of field as well as a fast shutter speed to freeze the action. For flying birds, I typically use f11 at 1,000th of a second to capture sharp details from wing tip to wing tip. I will try to focus on the eye and use focus tracking for multiple captures as the bird or animal is moving. Also, I always shoot images in raw format. You can capture both raw and jpeg images simultaneously, but those raw images will provide many more pixels. And those extra pixels will give you the ability to crop the image and still produce quality prints.
Positioning yourself is also critical, but too often overlooked. Locate a position where the background is simple, distant, or shows an environment that brings special meaning to the capture. Then you are prepared.
Once you’ve captured quality raw images, the next step is determining your final presentation. This step is accomplished with software, not in the camera. Certainly, today’s cameras have very good software for adjusting light, shadows, color and more, but the best method is to simply capture the best raw pixels in the camera and then use software to enhance the captures. I use Photoshop, Topaz Modules, DXO modules and Luminar NEO to enhance my images. Those enhancements involve cropping, sharpening, color enhancement, vignetting, dodging shadows and burning some highlights. I use these tools to bring the eye of the viewer instantly to the main subject. Post processing is the difference between just presenting an image and presenting an image with real impact.
Happy Little Green Frogs
Darcy Elleby Pino conducts workshops in Costa Rica, where I assist her. This image (“I’m So Happy”) was one of several that I captured as a 3-inch tree frog was climbing a Bird of Paradise plant. Timing is everything with these opportunities. I made sure I had good depth of field for the frog’s body, and I darkened the background with a small amount of highlight behind the frog. The face is highlighted to bring the viewer’s eye instantly to the frog’s face. Compositionally, the frog dominates the center of the image, breaking the rule of thirds, but is in the upper third of the image.
Images with instant impact are the most appealing. This image has been cropped, and the highlights increased, so that the viewer looks instantly into the face. This presentation also has increased contrast to emphasize the three-dimensionality of the frog and the entire image. The frog seems ready to jump out of the image. This elicits emotion in the viewer. Winning images are those that have great composition, instant impact and elicit emotion.
The next image (“Hi Honey, I’m Home”) is a composite made from two separate frog photos. I created this image to tell a story and elicit amusement. Still, the image demonstrates the use of highlights, dark background and good depth of field to capture the details. The very dark bakcground creates the three-dimensionality of the frogs.
It is quite easy to capture a beautiful bird when it’s just sitting on a branch. This image was captured at a zoo, of a bird behind glass. However, it’s been enhanced in many ways. Originally, the image contained distracting branches, the background was not appealing, and the light was from above. Using the gradient background emphasizes the erectness of the bird. Meanwhile, enhancing the color of the head and beak immediately brings attention to the upper portion of the bird.
Hummingbirds are perhaps the most difficult bird to capture well. The best hummingbird images show detail in the wings and are difficult to capture. Understandably, depth of field and shutter speed are critical. Place yourself in a position where the bird has been flying and you have a good background and light. Then, patience and timing are required to seal the deal.
Note the sharpness of the wings, the body and the head in this photo. The curve of the stem on the flower brings the eye up around and back to the hummingbird. Capturing these tiny speedsters requires lots of time watching the same flower and waiting patiently as the bird flits around. But if you’ve done your homework, that patience will be rewarded.
From early September to late October, the male elks in Cataloochee Valley, Tennessee, offer a great opportunity for photographers. This is a prime location to capture big bulls as they gather their females. They often butt heads with other large elks to protect their territories. The best time to capture images is the early morning, just as the sun is rising and casting beautiful beams of light. This image is a panorama of three images as the elk turned to look at me. I had positioned myself near the open field because of the light rays there, and I waited. Timing is critical.
Early morning mist often fills the fields before the sun rises high enough to burn it off. This large elk stood very close to the female and searched for other females to add to his group. For this photo, I waited until the bull stopped eating, lifted his head and turned it toward the female. It made for a special moment.
This image was captured during early spring in Cades Cove in the Great Smoky Mountain National Park. Again, I found the position I wanted, on a hillside with the farm in the distance and the sun creating a burst through the tree limbs. Patience, patience! I knew the location from previous occasions, positioned myself and waited. Eventually, a doe brought her young offspring into the pasture to feed.
One of the most delicately beautiful flowers is the Magnolia. But the special beauty of this flower can be fleeting. Once the bud opens and the flower unfolds, it is pristine for only one day. By the second day the inner areas begin to fall out. I first tried to capture pristine magnolia blooms on the tree, but it’s very challenging to be in the right position at exactly the right time. So, I recommend removing a bud from a tree, taking it home and placing it in water. The next morning the flower will begin to open. Place it in front of a plain background, near an open window with soft light. With the camera on a tripod, make several captures at different levels as the petals are opening. This first image was placed against a white backdrop and the close-up capture emphasizes the beauty of the shape of the flower.
In the next photo, using a black backdrop emphasized the overall shape and beauty of the bloom. It was critical to preserve the detail in all the white areas. This was accomplished by utilizing very soft light from a side window. As the bloom continued to unfold, multiple images were captured. When all the petals have unfolded, a beautiful gold center pod is revealed.
The Magnificent Beauty of Yosemite National Park
Yosemite is one of the most beautiful of all the national parks, and I have visited there at least 50 times. As you enter the valley and look at the 2,000-ft.-high cliffs all around you, you understand why this park is so special. The Merced River runs through the center of the valley, providing great reflections of the famous mountains and waterfalls.
Winter is spectacular in Yosemite. The mountains are covered with snow, creating a stunning three-dimensional look, and the pine trees are highlighted by the clinging snow. Panoramas are the best way to capture the entire scene. Depth of field is critical for all the details from foreground to background. As I studied Bierstadt paintings, I discovered a compositional “must” for photographers. I call it “a place to stand.” When the viewer has a place to “stand” in your image, that viewer will feel the emotional experience of being there. But if there is not a place to stand, the viewer is only looking at an image.
The Coastal Lights
The coasts of Massachusetts and Maine are filled with special lighthouses, stretching from Boston through Acadia National Park in Maine. Morning light is very good for capturing these iconic structures, and late day can be special when the beams from the lighthouses can be seen against the darker sky of sunset. A A tripod can be used to capture several images at different exposures, with a high dynamic range image. This provides details in the shadows and in the highlights. You never want to have photos with “blocked up” shadows or “blown out” highlights.
These are a few of the ways I approach capturing and presenting images. By concentrating on the nuances of these two different steps, I believe you can continue to improve as a photographer.
John Mariana is a well-known photographer and educator who has conducted numerous workshops across the United States, Scotland and Tuscany, as well as volunteering time to speak at functions, museums and photography groups. He has specialized in large print images and published two books. John is also a founding member of the Booth Photography Guild at the Booth Art Museum in Cartersville, GA. You can find his website at: www.marianaphotography.com
Photo by Eric Bowles.
By Eric Bowles.
As nature photographers, we need to be prepared for just about anything out in the field. That’s why, through the years, I’ve learned that one of the most important things I can pack for any photo outing is my Spares & Repairs kit.
What’s that? For me, it’s a zip-lock bag that contains solutions for all the problems I might run into in the field (and for all the workshop participants or friends who may be with me). It goes beyond just a spare battery and memory card. Instead, it’s a small bag with all the replacements and tools for things I might lose, break, or need to repair on a trip. My kit is like an insurance policy covering all of the problems I’ve encountered through the years – including the solutions I wish had been with me at the time.
You should put together a Spares & Repairs kit that suits your particular needs. But to get your started, here’s what’s in mine.
My kit starts with the thing I lose most often – lens and body caps. It’s such a nuisance when you lose a cap, and it adds some risk that you will scratch your lens elements or expose your camera body to dust. I carry a rear lens cap that fits all of my lenses, and the 1-3 most commonly used front lens caps. I also have an extra camera body cap. These items don’t need to be branded OEM parts. You can buy a set of three third-party lens caps for any size at about the same cost as one lens cap from your camera’s manufacturer. I carry 82mm, 77mm, and 62mm spare lens caps. That’s not enough for every lens, but it covers the ones I use most frequently.
Next for me is a set of tripod wrenches. You know, those small wrenches you need to tighten or adjust your tripod legs or the hub. A floppy tripod leg can be a horrible nuisance, so you need to be prepared. Gitzo uses a special star-shaped wrench, while others may use hex keys or Allen wrenches. Just be sure you have the types and sizes you need. Also be sure to carry the wrench you need to tighten or remove camera and lens plates if necessary. After all, a good camera plate doesn’t do you much good when your camera is spinning around loosely. I also pack a spare tripod foot; it’s not something you need often, but it can be a real nuisance if you lose yours.
On the subject of tools, a handy item for me is a set of small screwdrivers. This is an easy-to-find item often used for computer repairs or eyeglass repairs, but it can be very useful for tightening a screw on your camera mount or on a lens foot. On my 70-200mm lens, for example, the foot mount is attached to the lens with four small screws, and if they are loose my lens will not be stable even on the best tripod. If you are dealing with a loose screw, there is a risk it will loosen again, so I also carry a small tube of Blue Loctite as a thread locker. Just a fraction of a drop is enough to hold a screw in place. Don’t use the Red Loctite, which requires heat to loosen.
I like carrying some basic cleaning supplies as well. Start with a bulb blower to clean your sensor. Dust can be a problem, so at the very least, carry a blower in your bag. I use a Giottos Rocket Blower to handle most dust on my sensor. It’s also great in the field just in case you get something on your lens or camera that might scratch the glass if you rub it. Add a small microfiber lens cloth as well. This is an all-purpose item that not only cleans lenses, it can double as a lost lens cap. For lenses, I carry a handful of Zeiss lens wipes, the small alcohol-based wipes intended for optical lenses. These wipes are perfect not only for removing dust and fingerprints, but they work very well with rain, mist, snow or frost on your camera or lens. Alcohol is used in anti-freeze to prevent freezing, but it also dries more quickly than water.
Let’s remember a few basics that are probably already in your bag. These are items you can’t live without and are probably not in a Spares kit, but you better have them. Start with an extra battery and memory card. If you use more than one type of memory card in your cameras, keep at least one old card for each format (this is a great use for old cards). Have you ever left your camera battery sitting in the charger at home, or a memory card in your card reader? Having spares of these items can save a lot of stress. If you are traveling, the other critical item is a battery charger with any cables required. Finally, if you wear glasses, be sure you have an extra pair in your camera bag for emergencies.
So, what’s in your Spares & Repairs kit? Everyone will make their own decisions about what is important. But before your next trip, make sure you have the supplies you need to handle the unexpected.
Eric Bowles is a former president of GNPA, a professional nature photographer, and director of Nikonians Academy. He leads bird photography workshops for Nikonians, Chattahoochee Nature Center and Georgia Audubon in addition to his own programs.
GNPA photographers create amazing images, and we want to share them–so we’ve created the new GNPA_PIX Instagram page to offer a new way to network, learn, and be inspired by the outstanding work our members share.
GNPA_PIX is a curated page, where our moderators post selected images. And we’d love to feature your captures!
To let us know when you’d like an image featured on GNPA’s page, post it in your Instagram account and use the hashtag #gnpa_pix on your Instagram post. And don’t forget to follow our account, too.
Ready to see what GNPA_PIX is all about? Here are some quick tips to get you started:
But remember… If your account is “Private,” only your followers will see your post, even if you use #gnpa_pix.
Come check us out, and look for more Instagram Tips and Tricks soon!
(Copy and image by Jenny Burdette)
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