Petersen's PHOTOgraphic - Volum 23.Bak

VOLUME 23 CREATE GREAT IMAGES WITH YOUR DIGITAL CAMERA

LEARN ALL ABOUT• GEAR & HOW TO PACK IT

• COLOR & COMPOSITION

• NATURE’S GLORY & CHALLENGES

• EXPEDITIONS & GUIDES

INTO THE WILDOUTDOOR & ADVENTURE

PHOTOGRAPHY

Photos © David Shaw

photographic.com

SIM HOME TECH SERIES

4*(."�64#�%PDL

Update, adjust & personalize. Customization never thought possible. Sold separately.

*$0/0$-"45*$�

The world’s first F1.8 zoom.

An F1.8 zoom, the 18-35mm lens is

designed for APS-C format cameras.

Allowing greater creative possibilities

by setting new standards in photographic

history.

SIGMA Corporation of America | 15 Fleetwood Court | Ronkonkoma, NY 11779, U.S.A. | Tel: (631) 585-1144 | www.SigmaPhoto.comFollow us Twitter @sigma_photo and Facebook.com/sigmacorporationofamerica

Case and Hood LH780-06 included.USA 4 Year Service Protection

��NN�'��%$�)4.

OUTDOOR & ADVENTURE PHOTOGRAPHY • 3

© David Shaw

OUTDOOR & ADVENTURE PHOTOGRAPHY

4 Editor’s Notesby George Schaub

Articles & Images by David Shaw

5 IntroductionInto The Wild

6 Wild PlacesOff The Beaten Track

10 Be A Naturalist FirstKnow Your Subject: Get Better Images

14 Surviving AdversityPacking, Protection And Precautions

17 Visual ToolsColor, Line & Composition

23 Expedition CruisingUsing Excursions To Get You There

28 Photographing The Aurora BorealisNature’s Light Show

32 Black And White In The WildThe Power Of The Monochrome Image

37 Travel PortraiturePeople You Meet Along The Way

41 Creative BlurThe Energy Around You

46 Working With Outdoor FlashAn Extra Burst Of Light

Table Of Contents

4 • PETERSEN’S PHOTOGRAPHIC DIGITAL PHOTOGRAPHY GUIDE • VOL. 23

P.O. BOX 7 • TITUSVILLE, FL • 32780

Publisher Ron Leach

Editorial Director George Schaub

[email protected]

Contributing Editor David Shaw

Associate Editor Cynthia Boylan

Art Director Richard K. Leach

Associate Art Director Mary McDonel

Production Manager Christina Poncé

Ad Operations Coordinator Kari Watters

Administrative Assistant/

Customer Service Sherry Swim

Ordering Information • (800) 829-3340, (386) 447-6318

[email protected]

Shutterbug, PO Box 420235,

Palm Coast, FL 32142-0235

Please include name, address,

and phone number on inquiry.

Advertising Account Executives:

Genny Breslin (321) 225-3127

[email protected]

Joanne George (321) 225-3130

[email protected]

Advertising Assistant:

Robin Beecherl (321) 225-3144

[email protected]

FAX (321) 225-3146 • [email protected]

Source Interlink Media, LLC

CEO Scott P. Dickey

President Chris Argentieri

EVP, Chief Financial

Officer & Treasurer Bill Sutman

EVP, General Manager David Algire

EVP, Chief Creative Officer Alan Alpanian

SVP, Finance Dan Bednar

EVP, Enthusiast Automotive Doug Evans

EVP, Chief Content Officer Angus MacKenzie

EVP, Chief Analytics Officer John Marriott

EVP, Chief Procurement Officer Kevin Mullan

SVP, Business Development Tyler Schulze

EVP, Sales & Marketing Eric Schwab

Digital Media

Chief Technology Officer,

Digital Media Raghu Bala

SVP, Digital Marketing Craig Buccola

SVP, Digital Product

Development Todd Busby

VP, Product Management Geoff DeFrance

Consumer Marketing, Enthusiast Media

Subscription Company, Inc.

VP, Consumer Marketing Tom Slater

VP, Retention & Operations

Fulfillment Donald T. Robinson III

Any submissions or contributions from readers shall

be subject to and governed by Source Interlink

Media’s User Content Submission Terms and

Conditions, which are posted at http://privacy.

sourceinterlinkmedia.com/submissions.html.

Reprints: Contact Wright’s Media at

877-652-5295 (281-419-5725 outside the

U.S. and Canada) to purchase quality custom

reprints or e-prints of articles appearing in

this publication.

Copyright © 2014 by Source Interlink

Magazines, LLC. All rights reserved. Printed in

the USA.

WWW.PHOTOGRAPHIC.COM

adverse conditions that would

test the best of us in our efforts

to make startling and exciting

images. David Shaw is one of

them, and we are very pleased

to be able to showcase his

work and go behind the scenes

with him to discover his tools,

techniques and—perhaps most

importantly—his point of view

about his work and the world.

In this issue, David takes

us along as he heads into

the frozen areas at the top

and bottom of the world, the

jungles along the Equator and

into the backcountry where

nature is unspoiled—or at

the least untrammeled by

summer crowds. He shares

important tips on packing and

the type of gear that best suits

the work and how he keeps

(often delicate) photographic

equipment safe from the

intruding elements.

Gear, however, is only one

aspect of the challenges one

faces in these environments.

As important is the attitude

and state of mind he brings

to the work, and his respect

for and admiration of what is

around him. He stresses an

awareness of where he is and

the behavior of the animals

(and the weather) he seeks to

photograph. He encourages

those who wish to work in these

beautiful areas to thoroughly

research their benefits and

understand their pitfalls. To

use that understanding to both

enhance the experience and be

safe as you travel.

David also brings his technical

and compositional expertise

to the fore. He discusses ways

of seeing and using the tools

of the photographic craft

to make great images. He

covers both color and B&W,

the visual guidelines he uses

in his work and methods for

capturing the essence of what

is before him. He also reveals

his way of making portraits as

he travels, as well as working

with flash outdoors to bring

an extra touch of light to the

images. While aperture and

shutter speed techniques are

important, of course, he brings

these tools into the context of

his vision and expression.

I don’t know about you,

but one of my bucket list

excursions is photographing

the aurora borealis (the

Northern Lights) that, in some

parts of the world, fill the

winter sky. David’s portfolio

of these natural light shows has

made this quest even

more accessible, with tips

and techniques for making

images that show them in all

of their glory.

While you could view

this issue as an armchair

adventure, it is my hope that

it inspires you to begin to

consider photographing in

the wild places of the world

something that could be a

part of your own photographic

adventures. Taking his advice

and experience to heart will

certainly make it a richer and

more attainable endeavor.

THERE IS A small group of photographers who earn

their living by working in the wild places of the world

and capture images that show us the power and

the glory of nature in its most raw and challenging

form. They brave the elements and obstacles to

get these images. Often having to struggle with

Editor’s Notes Into The Wild

by George Schaub



IntroductionInto The Wild

by David Shaw


IT WAS THROUGH photography that I

realized wild places held deeper value

than an outdoor playground. The world

through a lens, surrounded by black

borders, isolated, cropped and focused was

appealing. But the image was capable of

lying, of clipping out the nearby road, the tourists,

power-lines and the discarded plastic bottle.

Through a camera, the most trafficked landscapes

could become silent, isolated—and yes—wild.

When I lowered the camera the world came

rushing back: cars buzzed, people chattered and

exhaust fumes rose. At roadside viewpoints, the

images could be lovely, but the reality was not so

picturesque. I did not want my world to just look as

wild as it did in photos; I wanted it to feel wild too.

On family vacations as a kid, I was filled with

disappointment when I discovered that the iconic

images of Yellowstone Falls were made just

feet from a large parking lot, and that most of

the apparently wild valleys of the Rockies were

populated by roads. That disappointment drove

me to wander further and venture deeper into the

remaining wild country. I sought places where the

feeling of wildness in my photos was as intense as

the actual experience.

That journey continues. I now live in a small cabin

north of Fairbanks, Alaska. From the trail of out my

front door I can—quite literally—walk for miles and

miles and not encounter a road. And as much as

wild places have become a part of my daily life, they

also have become inseparable from my profession.

My work as an outdoor photographer often draws

me into wild places, but one of the most rewarding

is sharing the experience with others. During the

short Alaska summer I guide wilderness trips

into the arctic mountains of the Brooks Range.

There, the rivers and hidden valleys are ripe with

photographic opportunities, and the images of these

wild places do not lie.

This issue of the Petersen’s Photographic Digital

Photography Guide is dedicated to wild places. Here

you’ll find articles not just on gear, technique and

destinations, but also on finding your own vision and

how to explore creative photography in unexpected

(and sometimes difficult) places. It’s not all about

the backcountry because different cultures, people

and even backyard adventures share elements with

the wild.

Wilderness is increasingly rare and constantly

under threat. Through photography we have the

opportunity to influence attitudes and create

change. We can share what that few will ever see,

and hopefully help people to understand that the

wilderness is worthy of protection and far more

valuable than dollars.

About The AuthorDavid Shaw is a professional photographer,

writer, guide and wildlife biologist. He lives in

Fairbanks, Alaska with his partner Amy, a dog and

a cat. His images and articles have been published

in hundreds of magazines, calendars, textbooks

and advertising campaigns. He leads wilderness

photography workshops and natural history tours

during Alaska’s short summer for Arctic Wild (www.

arcticwild.com). During the northern winter Dave

often travels south to guide expedition cruises to

Antarctica and the Southern Ocean or explore the

incredible landscapes, cultures and wildlife of South

America with his camera. Check out Dave’s website

for more images, information on his workshops and

tours, and read his compelling blog of photography

adventures at www.wildimagephoto.com.

© David Shaw



Wild PlacesOff The Beaten Track

THE WORLD HAS turned into a heavily photographed place. Iconic locations

such as the Grand Tetons over the Snake River, El Capitan from the meadows,

or the carved stone of Antelope Canyon have been photographed millions upon

millions of times. The landscape masters made the first imagesÑand in the years

sinceÑphotographers have flocked to these places to stand, quite literally, in the

footsteps of the greats.

IÕve been there. IÕve

photographed Denali from

Wonder Lake (#1) on a dozen

occasions and waited for the

salmon to jump into the bearÕs

mouth at BrookÕs Falls (#2). IÕve

stood, camera in hand, watching

the water pour over Iguazu Falls

in Argentina (#3) and peered

over the Grand Canyon from the

South Rim (#4). There is a real

pleasure in making images from

those places, and yet there is the

gnawing sensation that IÕm not

making anything new.

Early in my career I submitted a

selection of images to a regional

stock agency. Included in the

portfolio were several photos of

which I was particularly proud:

Denali from Wonder Lake. A few

days later I received an email

from the editor at the agency,

ÒThe quality of your images is

fine, but the last thing we need

is more photos of Denali from

Wonder Lake.Ó I quickly learned

that originality scores points but

repetition does not.

That lesson taken to heart, I

ventured out again, this time to

those places that havenÕt seen so

many clicking shutters. In wild

places, we rarely have the luxury

of imitation. Where few people

travel, we have the opportunity to

make something entirely our own.

It isnÕt easy to shoot in

little-traveled areas. Access

can be difficult or expensive

and infrastructure is lacking.

ArtisticallyÑas noted aboveÑwe

canÕt get away with copying the

works of others, because often,

there is no work to copy. These

are creative challenges unlike 2

1Photos © David Shaw


those we normally encounter.

What gear to bring, and how to protect that

equipment from the elements are usually at the

top of the list of questions I get from clients

on wilderness trips. And while these things are

important, gear is rarely the limiting factor in

making successful images in the wild. Throughout

this issue I’ll talk about technique and equipment,

3

4



6 7



but I’ve peppered the chapters liberally with

some aspects that I feel are often overlooked,

and yet every bit as important (perhaps even

more important) than what lens to choose. That

is creativity.

New PerspectivesOne of the joys of learning to shoot in the wild

is that it teaches us to explore new perspectives

when we return to the more visited parts of the

world. The Grand Canyon, or the well-photographed

monoliths of Yosemite, can be portrayed in new and

exciting ways, simply because we have learned not

to imitate, but to create.

A couple of years ago I floated the Grand Canyon

in March on a personal permit. The canyon, of all

our nation’s National Parks, has probably been

photographed the most. The iconic views from the

rims are seen in post-cards and calendars in every

bookstore in the country. But drop below the rim

to hike to the bottom and wander the slot canyons,

stand by the big water of the Colorado, and the

perspective is much different and much more rare.

It’s challenging down there in the depths, the

sunlight only penetrates so deep when it is midday.

Shadows are dark and sunlight bright. And yet the

views are vastly different from those we commonly

see from the rim. The images I made from the

riverbank (#5), the side canyons (#6) and at night

(#7) are not the usual perspectives,

and I did not rely on the images of

others to find my compositions.

These photographs are mine alone

and that makes me appreciate them

even more.

Time And ConditionsAnother challenge of photography in

these more difficult to access places

is that our time is often limited. We

go in to the wild with visions of what

we want to capture: landscapes,

action or wildlife (in perfect light of

course). But because we are passing

through these locations on a float down a river, on

a backpacking trip, or even on a cruise, we don’t

have the time to linger and wait for those perfect

conditions. Rather we must take what we are

offered and make the most of it.

I’ve seen clients angrily pack away their cameras

in frustration because rain or fog overwhelmed

our location. And yet some of my favorite images

of the places I’ve visited were made under such

circumstances. I made this shot in Alaska’s

northwest Arctic (#8) on a morning when I woke

in my tent in 3” of snow. By any normal measure,

this would have been an awful start to the day. But

rather than pack away my gear, I pulled out my

camera and went for a walk through the wet snow to

the riverside. For an hour I watched the mountains

of the valley play hide and seek with the passing

clouds. The images from that morning (#9 and #10)

are important to me not just because I like their

quiet mood, but because of the stories they tell

about the end of the summer, and the way they jar

my own (somehow fond) memories of that morning.

But if you get caught up in poor conditions (and

you will), consider your story. How would you

tell that tale in an image? How would you share

the story of a trip gone awry? Sometimes these

interpretations can be more telling, more compelling

and far more interesting than the days of perfect

light and skies. These are your stories: don’t miss

the opportunity to share them.

8

9

10



Be A Naturalist First

Know Your Subject: Get Better Images

IT WAS OCTOBER, late autumn around my

cabin north of Fairbanks, Alaska. The birds

had ceased their summer chorus and the

forest was quiet. Up until the start of the

month, there were still quite a few around.

Orange-crowned Warblers gave occasional

twittery calls, a stray White-crowned Sparrow made

a loud tree-top chirp and Sandhill Cranes (#1), high

overhead, trumpeted their way south.

Only a few species of birds can withstand the

brutal temperatures, snow cover and darkness

of winter in Alaska’s interior. But those few are

admirable creatures. Black-capped and Boreal

Chickadees are equipped with an amazing ability

to store fat and conserve heat. While species like

the tiny Boreal Owl (#2) rely on the carelessness of

others to survive the long winter.

What, you might ask; does any of this have to

do with photography? Well, I’m getting to that. But

first, it has to do with being a naturalist. I know a

lot about birds because I’ve studied them for years.

I love birds. This may sound strange, but I’d give

up my photography equipment before I’d give up

my binoculars.



Know Your SubjectTo be a better photographer you first, and

foremost, must understand your subject. I don’t

care if you are striving to be a studio portrait

photographer or to shoot weddings, wildlife or

landscapes. Making connections and understanding

your focus is the single most important factor in

improving your images. In wilderness and nature

photography, this means you’ve got to be a naturalist.

Consider for a moment outdoor subject matter.

The world is a constantly shifting place. Weather

and light move across the landscape, changing the

appearance of our images minute to minute. Birds

and mammals cross the scene with the seasons.

These are the mysteries of outdoor photography

and one of the reasons that these subjects are so

compelling (and frustrating) and lure so many.

However, the mysteries that face us in landscape

and wildlife photography have answers, if you are

willing to dedicate the time to solve them.

Season And PlaceYour photography will benefit most if you focus

your research. Consider the subject matter you

wish to photograph. Is it a particular landscape; an

event like the northern lights; or a certain species

of wildlife? To get the most out of limited time, you

must have an understanding of the subject. You

can’t photograph the aurora in Alaska during the

summer (it’s daylight all the time), so you better

plan your trip in the winter. If there is a bird species

you’ve been wanting to photograph, you need to

know its preferred habitat, what times of year

it’s present, and whether the plumages vary from

season to season. From there you may wish to dive

in further by learning the bird’s song, nesting habits

or behavior, all so you can more efficiently find it in

the field.

A few years ago I led a couple of photographers

on a trip into the Arctic National Wildlife Refuge of

northern Alaska (#3). They were bird specialists and

so June—the busiest time of year for arctic birds—

was selected. We further focused the trip onto the

coastal plains, where shorebirds, ducks, loons and

other species breed in abundance. There were a few

focal species, one of which was the Buff-breasted

Sandpiper, a lovely, and increasingly rare, little

shorebird that has a remarkable breeding display. I

read up on the species and learned that they prefer

the drier patches of coastal tundra for their dancing

grounds. Within a short time, we found them (#4)

because we knew where to look and what to expect.

32

4



Similarly, last year I made a trip

across northern Argentina. One

of my goals was to photograph

in the Esteros del Ibera (#5)—a

sprawling tropical wetland complex

just south of the Paraguay border.

My trip in the dry season assured

we’d be able to get to the pampas

outpost town where the wetlands

began, and that the water-loving

wildlife would not be spread out

over the tens of thousands of acres

of flooded lowlands surrounding

the Ibera. Thanks to good planning

I was able to photograph species

like the Rufescent Tiger-heron (#6),

Southern Lapwing (#7), Spectacled

Caiman (#8) and the South American

Gray Fox (#9).

These are the background efforts

that have nothing to do with

operating a camera and yet have

everything to do with making

better images.

But this kind of legwork is not

limited to wildlife. I once got a call

from a photographer who wanted to

come to interior Alaska to shoot the

autumn colors. He planned to arrive

in mid-October, assuming that would

be peak color. If he hadn’t done

his homework—by calling me—he

would have had a very disappointing

experience. Alaska’s interior in

mid-October is often draped in the

first snow of winter and the colors long

faded from the trees. I encouraged

him to rethink his schedule.


5

6

7


Online Resources

We can also learn a lot about the landscapes

themselves, even in the less photographed wild

places of the world. Google Earth (www.google.

com/earth/), for example, is a wonderful tool for

8

109

11

planning photography expeditions. The “Street

View” function allows a virtual perspective on any

landscape, and is remarkably true to life. The view

up the little-traveled Kugrak Valley in Gates of

the Arctic National Park (#10) is an example. Not

many people visit the Kugrak. In fact, I suspect no

more than a handful per year venture far into that

steep-walled valley. But Google Earth’s street view

provides an excellent representation (#11). Scouting

locations can now be done, at least in part, on your

computer and even a handheld device. Combine the

tools in Google Earth with your handheld GPS and

you can be guided right where you want to go.

The more we understand our surroundings, the

better our images will become. When we understand

the stories of the landscape and wildlife, we can

better know how to make our images tell those

stories. Sometimes the best thing we can do for our

photography doesn’t even involve a camera.



Surviving AdversityPacking, Protection And Precautions

A FEW YEARS ago I was guiding a

17-day paddling trip down the Noatak

River in Alaska’s western Brooks

Range. For the first 3 days we had

lovely weather. Sunshine danced

over the rugged mountains and

warmed the autumn air to shirtsleeve temperatures.

On the fourth morning, I woke to the patter of rain

on my tent. For the next 2 weeks, it seemed as

though I heard nothing else. The river rose and

rose, rapidly reaching a frightening flood stage and

making paddling a dangerous daily routine.

High water, rain, wind and cold all combined to

make a challenging photographic situation. And yet

I wasn’t unproductive, and came away from that trip

with some images that I really liked (#1, #2 & #3).

I was successful because I was prepared. I had the

right equipment, packed securely away in dry boxes

and bags. Equally important, I had the right mental

1


2

3


attitude and maintained my ability

to be creative despite the stress

of the journey, and the far from

ideal weather.

EquipmentWhat gear should I bring?

It’s a common question, and

unfortunately not one with a simple

answer. A great deal depends

on the kind of trip. On some

wilderness journeys it’s possible to

pack everything plus the kitchen

sink (#4). More often trips into the

wild country require a minimalist

attitude. During the summer of

2013, I was artist in residence at

Gates of the Arctic National Park

in the Brooks Range of Alaska.

The residency was not a stay in

a comfortable cabin with a view

of the mountains; rather, it was

a 10-day, 70-mile backcountry

journey through the core of the

park. Everything from the food

to tent to a sleeping bag and the

camera gear had to be carried

on my back (#5). For that trip I

carried what I consider to be the

bare minimum: A D-SLR (Canon

5D Mark III), a general zoom lens

(Canon 24-105L) and a small—but

good quality—point and shoot

(Canon S95). A few memory cards

and spare batteries rounded out

the kit. I won’t deny it, there were

times when I desperately wanted

more flexibility, but the gear was

relatively light, and didn’t limit my

ability to cover the miles necessary

for the trip.

Though minimalist, that kit I

carried through the Brooks Range

is not atypical for backpacking.

Occasionally, I’ll add a compact

telephoto or a wide angle and—on

shorter journeys—I’ll always carry a

compact tripod, but that’s about it.

River trips and basecamps (#6)

offer a bit more flexibility and a

broader range of gear that can be

carried. To the above list I’ll add a

telephoto like a 70-200mm with a

1.4x teleconverter or a broad range

zoom (100-400mm or similar). If

there is likely to be wildlife—and

weight is really not an issue—

then I’ll go ahead and pack a big

telephoto, like my 500mm f/4.

In short, backcountry journeys

require that you make decisions

about your equipment. You won’t be

able to carry everything you want,

so assess your photographic goals 6

5

4



and determine the bare minimum of what you’ll

need to meet those goals, and go from there.

PackingOnce you decide what equipment to carry, the

next challenge is figuring out how to keep that gear

safe and secure. For many trips, from international

travel to river trips, my SLR and lenses stay dry and

protected in a Pelican case (www.pelican.com, #7).

Importantly, these boxes are not just waterproof

(and padded) they are also completely airtight.

The case protects completely from everything from

rain to submersion. Pelicans are highly durable and

resistant to crushing.

The airtight quality is important even when

the box never encounters liquid water. Extreme

humidity, such as that found in the tropics, is

dangerous to cameras and other electronics. On

trips lasting just a week or 10-days there are few

concerns. But when the trips extend into multiple

weeks or months, humidity becomes the enemy. By

keeping your equipment in an airtight case equipped

with a desiccant such as silica gel, it is possible to

not only protect your gear from humidity but also

remove moisture from cameras and lenses.

If the bulk and weight of a Pelican are too great, a

second choice—which I rely on for backpacking—are

small, lightweight roll-top dry bags such as those

made by Sea to Summit (www.seatosummit.com).

These are constructed of waterproof nylon, and

though I wouldn’t trust them completely during a

full submersion, they are a heck of a lot better than

nothing at all.

Weather and water aside, the most important

thing you can do to protect your expensive gear

is be careful. A camera carelessly left atop the

7


8

9pontoon of a raft is likely to meet an untimely end

on the river bottom.

TravelTraveling with expensive camera gear can be

another, and equally daunting, challenge. I spend a

lot of time traveling from North America to nations

in South and Central America and I’ve rarely

had trouble with the security of my gear. That

said, I still take some precautions. First, I don’t

carry bags that shout “Camera Equipment HERE!”

Rather, I keep my kit in normal looking backpacks

and luggage and leave the camera-specific

packs behind.

In public, my camera lives in a daypack, similar

to what every other tourist wears. When an

opportunity arises, I’ll pull it out and make the shot.

Keeping the camera out of sight also can help when

approaching people for portraits. Big cameras draw

attention so think about investing in a good compact

camera for public areas.

What gear to bring and how to protect it is not

the only hurdle of photography in wild places. As

I mentioned above, we usually do not have the

luxury of shooting in well-photographed places. The

landscapes we encounter in the wild are rarely, if

ever, photographed and so we must rely on our own

creativity and patience. Too, we must cope with

frustrations. Like my trip down the Noatak River

I mentioned above, the weather isn’t always what

we hope. We may not have perfect light; it may

rain a lot; it may snow, or blow or be frigidly cold.

But even the unpleasant experiences can generate

unique images (#8 and #9). Even if your images

aren’t the prettiest, I guarantee you’ll be happy you

made them.



Visual ToolsColor, Line & Composition

PHOTOGRAPHY HAS AN extraordinary

emphasis on gear. Cameras with

X-number of megapixels, lenses of all

shapes and sizes, tripods of carbon,

aluminumÑor whatever space-age

material is the current trendÑmemory

cards, filters, flashes, gels, remote triggers,

reflectors, umbrellas, soft-boxes and batteries.

Pause. Take a breath.

All of these products are marketed in a way that

encourages us to believe that THIS will be just the

ticket to the cover of National Geographic. And

though each of these tools has its place, not one

of them will turn you into an artist. You wouldnÕt

hand the best brush, paint and canvas in the world

to some person on the street and expect them

to suddenly become the next Georgia OÕKeefe.

Photography, like any art form, starts in the mind

and leads to the camera.

Landscape photography is a demanding

discipline. Most photographers shoot the landscape

opportunistically. Look! Pretty mountains! (snap,

snap, snap) A sunset! (click, click, click) Sometimes

this works. Sometimes the light, the weather and

the location fall into place and you find yourself

right where you need to be, exactly when you need

to be there. But mostly, it doesnÕt. Good landscape

images require thought, planning andÑabove allÑ

mindfulness.

Successful images of the landscape work not

just because there is pretty scenery in pretty light

(though these things are unquestionably important).

They work because the elements in the frame relate

to one another. ItÕs been said over and over again:

good images tell stories.

The way our eyes pass through the frame is how

we read that story. We arenÕt even necessarily

aware of it when we see a good image but the

elements come together, relate, contrast and

juxtapose in a pleasing way.

© David Shaw

1



Now that’s all well and good from a

philosophy of photography perspective,

but how do we make that happen

in the field? A good first step is in

understanding how the colors and

compositional elements affect the viewer.

Balance

Good images have visual balance.

Here we aren’t talking about mass,

size or weight but the visual impact

of each element in a composition. In

other words, how that aspect draws the

eye. Each of the parts of an image I

discuss below (color, lines, planes and

layers) can have different amounts of

impact. There are two primary types

of visual balance: symmetrical and

relative. Image (#1) shows a patch of

Lupines growing in a green meadow in

symmetrical balance with one another.

The cluster of flowers is equally

distributed across the frame and neither

side is “heavier” with the subject

than the other. This is a common,

and straightforward, compositional

structure. Relative balance can be

provided by counterweight, such as

the equal importance of the mountains

and clouds (#2). Relative balance can

also be provided by a small element

being disproportionately important in

the frame (#3). Where the small,

bright green alpine lake carries as

much visual weight as the larger, darker

mountains toward the back right of the

frame. (This composition also takes

advantage of the classic “S” curve as

visually appealing.)

While a “balanced” image often works,

the converse is true: an “unbalanced”

image can also work for you. Unbalance

can provide an edge to an image.

It might lead a viewer to feeling

uncomfortable or unsettled, and this

may be exactly what you are going for.

Consider how you want your image to

feel to a viewer, and don’t limit yourself

to a single recipe.

Color

Red, orange, yellow, green, blue,

indigo and violet (an easy acronym is

ROY G BIV) and every other shade in

the spectrum have an effect on us.

Some are cool and calming, others

are full of energy and strength.

Understanding these and how they

relate to one another is one of the great

tools to creative composition. But for

simplicity’s sake, let’s start with the 3

primary colors.

2

3

4


Blue is cold. The day

can be blistering hot,

but if there are deep

blues in your image, the

photograph will not feel

that way. When I think of

blue, I think of ice (#4),

water and the evening sky

(#5). Images can be made

entirely of blue and still be

entirely successful.

Yellow is hot. It shouts

sunshine, flowers and

warm days. It makes an

image feel warm even

when the reality isn’t; the

day I made this forest

image (#6) it was well

below zero. Yellow is rare

and draws the eye, like the

neck of a sleeping penguin

(#7). It is a color that will

rarely dominate an outdoor

6

7



scene. Rather, it is a highlight,

a pop (#8) and when presented

large it will become the subject.

Whether you mean it to or not.

Red. Oh Red, how I love and

hate you. Red is mean and

beautiful. Red draws the eye like

the bulls eye on a target (#9).

Red will grab you and hold on.

Images dominated by red are

dramatic and strong (#10), but

can be overwhelming. If there is

something red in my image, it is

intentional and important.

Next time you venture out with

your camera, consider the colors.

Think about how they relate to

one another. How warm and

cool tones interact, the feelings

that emerge as a result of the

combination and how they relate

to the story that you are trying

to tell. Do they influence where

your eye goes? Does the impact

of your subject change due to

its color?

LinesThere are two types of lines in

photography: literal and implied.

Literal lines are those clearly

visible in the frame, a winding

stream (#11) or a tree trunk.

Implied lines have no physical

connection and yet our eyes

move naturally between elements

that seem disjointed: a series of

stones, patches of clouds (#12),

or even the direction a human or

animal subject is looking (#13).

Lines provide a progression

within the image. Try this

exercise: Find a compelling

image—any image will do—and

take a pen and mark where your

eyes first focus on the photo.

Then draw a line as your eye

wanders through the frame

from element to element. In all

likelihood, your eye will have

followed implied or physical lines

through the frame.

Images that force the viewer’s

eyes out of the frame are rarely

successful because they provide

an immediate exit. Unless that

exit is part of the story being

told, you want your viewer to

linger on the photo for as long

as possible. Lines are the

story’s narrative. 9



More on page 22

13


10

12 11



Planes And LayersPlanes provide a sense

of depth and dimensionality. A

road disappearing creates a

trapezoidal shape on the image

(#14), which provides a sense

of distance. We know that in

reality a road isn’t shaped like

a trapezoid and so our brain

interprets the 2-dimensional

shape as depth. Textured skies

(#15) or disappearing rivers (#11)

are all examples of planes.

Think of layers as pages in a

book—image (#16) is an example.

The photo shows a foreground

layer (flowers and a boulder) a

middle ground (the fading tundra)

and the background (dark, distant

mountains). While these elements

are not planes (when viewed

alone they do not provide a

sense of depth) but when viewed

together the scale is clear. The

complementary forms of the rock

and the mountain help provide

the illusion of depth.

The elements we’ve just

examined: Balance, Color,

Lines, Planes and Layers are a

simplified look at the structure

of images. Think of these as

building blocks. The way they

combine and interact with each

other drives the success or failure

of an image. Explore them and

then study your own and other’s

successful (and unsuccessful)

photos. Eventually these elements

will come together like the pieces

of a puzzle and you’ll be another

step forward on your way to

making better photographs.

14

16




Expedition CruisingUsing Excursions To Get You There

I WAS STANDING at the

tiller of a zodiac with 10

clients aboard when I

realized I was utterly lost.

I motored along through

a maze of towering blue

ice somewhere near the south

end of the Lemaire Channel on

the Antarctic Peninsula. Where, I

wondered, was our ship? Hiding

my nervousness, I smiled and

pointed out a group of proposing

Gentoo Penguins. Pretending the

zodiac cruise was going just as I’d

planned, while secretly searching

for something, anything familiar to

guide me back.

It wasn’t a bad place to be lost,

actually. The bergs, grounded out

in the shallows, were amazing.

Their walls reached 40 or 50

feet from the glass-clear water

and were carved into monoliths

and arches—forms which would

have been at home in the desert

Southwest. The sun shone and

water (that had last been liquid

thousands of years before)

streamed from the ice in rivulets

(#1). The patterns were compelling

and my camera and those of the

clients were popping like corn.

Then, like a mirage, we came

around a great tabular iceberg

to see the bow of the ship just a

quarter mile away. The ship, an

expedition-sized cruise vessel,

seemed miniature in the context of

the ice and the mountains beyond.

I breathed a sigh of relief.

Choosing The CruiseThe world’s oceans are wild

places, too. They are access

routes to undeveloped coastlines

like the Arctic, remote islands

such as the Galapagos or the


1

2



glaciers and cold icy waters of

the Antarctic.

Ships are the only practical way

to reach these places, and there is

no better vessel for photography

than nimble expedition ships (#2,

#3 & #4). These crafts generally

hold less than 150 passengers—

small when compared to a standard

cruise liner. Some ships in this

category are custom built for

the purpose, but many others

are refurbished icebreakers or

research vessels. While size, age

and comfort level vary, expedition

ships have one thing in common: all

are equipped with Zodiacs capable

of shuttling clients back and forth

from ship to shore (#5).

There are a host of companies

providing these trips—some are

photography specific and others are

general natural or human history

excursions. Which you choose will

depend on your personal interest,

how much you want to share

the interests of your traveling

companions and, of course, cost.

To be frank, these voyages aren’t

cheap. As I was writing this article

I did a quick survey of companies

running 10-day trips to the

Antarctic Peninsula from southern

Argentina. I found prices varying

from under $4000 to over $11,000

per person. Costs relate to the

comfort and services of the ship

and the focus of the cruise.

Focus-specific trips like

photography or birding tend to

be at the more expensive end of

the range. While general natural

history trips on lower-end vessels

are the most affordable options.

Gear SelectionUnlike many wilderness trips,

expedition cruises do not limit

the amount of photo gear you can

bring. Still, it’s not necessary to

pack every lens and accessory

you own. I once watched a

photographer at the airport in

Ushuaia, Argentina, wearing a

fully loaded camera backpack with

2 monster tripods strapped to

the sides and wheeling a second

rolling camera bag with a third

tripod lashed aboard. He struggled

down the jet way, fought loudly

with a flight attendant who wanted

him to check one of his bags and

eventually took up most of an


4

3

5


overhead bin to fit all of his stuff.

Please, I beg you—don’t be

that guy.

At the very least, you want

to be able to easily handle your

own equipment. As I write these

words, I’m prepping to guide on

a series of trips up the western

coast of South America. I’ve

chosen to bring along 2 D-SLR

bodies, a wide-angle zoom

(17-40mm or 16-35mm), a

mid-range zoom (24-105mm), a

telephoto zoom (70-200mm) and

a large telephoto prime (500mm)

with a 1.4x teleconverter. A

polarizing filter, batteries and

memory cards round out the kit.

I’m also packing a laptop

computer and an external hard

drive to back up my images.

That’s a lot of stuff by my usual

wilderness standards, but it is not

so much that I can’t easily handle

it on my own.

Due to likely bad weather, and

the certainty of splashy zodiac

rides, the final thing you need to

include is a river-rafter’s dry bag.

Select one (with backpack straps)

that is large enough to hold

your gear.

The Photographic Experience

Shooting from the ship can be

great fun. The amount of wildlife

seen at sea is a surprise to many

travelers. Whales and seals are

frequent visitors, albatross, gulls,

petrels and other seabird species

are often seen following the ship

(#6, #7). However, the moment

for photographing these species is

fleeting so here are two things

to remember.

First—whenever possible—be on

deck looking. When the PA system

announces a sighting you won’t

have to run for the deck, you’ll

already be there making photos.

Second, have your gear ready. I

would have missed this ephemeral

light (#8) if I hadn’t been outside

when it appeared over the

albatross colony on Steeple Jason

Island in the Falklands. When I’m

moving around the ship, I usually

carry a pair of binoculars over my

shoulders and a small bag with my

camera mounted with a telephoto

zoom. Tripods are useless on

board (the vibration from the

7

6

8



ship’s engines will be channeled straight through

the legs to your camera) so any lens you use will

need to be hand-held. However you carry your

equipment, be sure to leave one hand free for the

ship in case there is an unexpected wave.

While shooting from deck is fun—and a great

way to spend your days at sea—most images on

expedition cruises will be made from either shore or

a zodiac. On shore, the experience is much like any

other coastal location. Remember that you are in a

wild place, among wild animals (#9). Don’t approach

too close and keep the welfare of your subjects

as your top priority. Also, be aware that you may

be surrounded with photographers and other

passengers so watch out for people in your frames

(#10). Explore cautiously and pay attention to the

expedition staff; it isn’t uncommon in some parts

of the world for bad weather to cut a landing short.

Shortly after I made this image the wind began to

roar, and that calm water was quickly turned into 5

foot crashing waves (#11).

In the zodiac, photography gets a little more

difficult (#12). You’ll be sharing your boat with 8

to 10 others and disorganization will make that

rubber dingy feel really small, really fast. First,

be considerate. Second, be careful. A careless

step backward and you’ll end up soaked, cold,

embarrassed and with ruined camera equipment.

Stand up only after you’ve been granted permission

from your driver. Photographers closest to the

subject need to stay seated or kneel so the people

on the other side of the zodiac can see and shoot Photos © David Shaw

9

10


over their heads from a standing

position. Tripods are out of the

question. During zodiac cruises

I use a waist-belt style camera

bag for extra lenses, filters and

memory cards. Two lenses are

usually sufficient—a wide-angle

zoom and a telephoto zoom.

Expedition cruising is

incredibly fun. It allows the

luxury of good food and comfort

while photographing dramatic

landscapes and abundant

wildlife. But due to the costs and

distances, such trips are often

once-in-a-lifetime experiences

so choose carefully. Oh, and one

more thing, if you get seasick

come prepared with some strong

medications. Those wild oceans

can get pretty rough. Trust me,

I know...

Here are a few things to investigate before booking:

1. How many days will you have at your destination? For example, it takes 2.5 to 3 days to reach Antarctica

from Ushuaia, Argentina—thus half of a 10-day trip is at sea.

2. How much time is provided on land? I’ve worked as a guide and lecturer for a couple of different

companies and this can vary wildly from one trip to the next. Some companies make every effort to get

you on shore, even during bad weather days, others will not. Contact the company and ask.

3. Activity level. Some trips are mostly cruises with some relaxed outings on shore. Others offer strenuous

hikes, sea kayaking options or even scuba and snorkeling.

11

12



Photographing The Aurora BorealisNature’s Light Show

THE AURORA BOREALIS

(or Northern Lights)

are, let’s face it, weird.

They consist of swirling

green, purple and red

curtains hanging in the

dark northern sky. They’re magical

and otherworldly. But it’s all physics

and it works a little like this: the sun

(like the earth) has weather patterns,

swirling tornado-like storms, areas

of high activity known as sunspots

and towering flares that occasionally

kick charged plasma out into the

solar system. Occasionally, one of

those big eruptions (called Coronal

Mass Ejections or CMEs) sends its

magnetically charged particles hurtling

toward us. As the CME approaches the

Earth our own magnetic field draws the

material to the north and south where

it enters the atmosphere. The charged

particles interact with the gases and

burst into light like a neon sign.

The colors of the lights vary

according to which gases are

encountered at what elevations,

making the aurora a constantly

changing phenomenon. The normal

green color (#1) is created by oxygen—

about 60 miles up. The rare red

auroras are also related to oxygen in

the atmosphere but much higher—200

miles (#2). Blues and purples are

created by ionic nitrogen, which also

creates the rippling edges of the

curtains (#3).

The sun’s weather goes in cycles.

About every 10 years there is a peak

in the activity and the auroras become

more frequent. This year (2014) is the

peak and, if predictions hold, will be 1Photos © David Shaw


the best opportunity for northern lights viewing and

photography for at least another 10 years. In other

words, now is the time to bundle up, head north and

go outside with your camera.

Determining ExposureIt’s likely in night work that your camera will

get confused and won’t be able to choose the

appropriate f-stop or shutter speed, so you’ll

need to use manual settings. First, select an

appropriate ISO—if you have a top-of-the-line

camera with low noise you’ll be able to use a high

ISO setting, like 1600 or more. If, however, you

shoot with a camera that tends to be “noisy” at

higher ISOs (like a smaller sensor point-and-shoot)

you’ll need to start lower—try around 400. Next,

select a shutter speed. This will depend on your

ISO and how fast your lens is. I suggest starting

off around 15 seconds, then reviewing your image

on the LCD and adjusting up or down as necessary.

Last, make sure your aperture is wide open. If you

are shooting with an f/2.8 lens, shoot at f/2.8.

A word of warning about LCD screens: on a dark

night when the only light is your camera’s LCD,

your images will appear much brighter than it will

on your computer. Turn down the screen brightness

and keep an eye on the histogram.

FocusWhen I first began making images at night,

this was my Achilles’ heel. Focusing in the dark

is tricky. Even the best autofocus systems are

incapable of the feat, so shift your lens to manual

focus and adjust it—as shown in image (#4). Small

adjustments can be made by reviewing the LCD

screen after the first few images. If your foreground

elements are placed sufficiently back in the frame

everything should be sharp—from the trees and hills

to the stars and the aurora.

Prior to an aurora shoot, I’ll find the best focus

point on my lens and use a piece of electrical

tape to lock the focus ring in place. Then—as I’m

adjusting and carrying the camera around in the

field—I won’t accidentally bump the focus.

Last, use a remote shutter release or your

camera’s timer and mirror lock-up function (if your

camera has the ability) to minimize vibration. Some

image stabilization lenses will actually produce

lower quality images if the camera is on a tripod

and the IS is on—some don’t so check your lens

instruction manual. Remember that even a slight

bump from clicking the shutter can cause unwanted

blurring in the stars.

CompositionCompose as though it were a landscape image.

Your subject is the sky, but the other elements

in the frame are just as important. An image of

just the aurora and a few stars might have some

interesting colors, but it will lack a sense of place

2

4

3




6

7


Equipment

A tripod is an absolute necessity—the long exposures required by night photography require a stable

platform. A D-SLR is the best option, though I’ve seen good results with advanced point-and-shoot cameras.

Whichever camera you choose, it must be capable of manual shutter speed and aperture settings. Most

wide-angle lenses will suffice but the faster that lens the better. My primary aurora lens is a 14mm f/2.8.

A wide-angle allows you to show as much of the sky and foreground as you wish. And a fast lens like an

f/2.8 (or better) will permit shorter shutter speeds, which means less trailing in the stars, less wind-motion

in the trees and better definition of the curves and pillars of the aurora.

You definitely have to dress for the occasion. Since the aurora primarily occurs at far northern (or southern)

latitudes and only at night, it is likely be cold, and sometimes extremely cold, when you are out shooting.

Long underwear, thick socks, gloves or mitts, oversized winter boots, down pants and a jacket are my

standard gear.

Have some plastic Ziploc style bags big enough for your camera and lenses. If you pack your gear in these

before you return indoors it keeps condensation from building up on your equipment. If it’s cold—which it

likely will be—keep a couple of chemical hand-warmers in your pocket with a spare battery. Batteries don’t

last long in the cold, so having a spare could save your evening. And last, don’t forget a headlamp—you’ll

need one for navigating in the dark.

or depth and a poorly composed foreground will be a distraction.

Select a tree or a cabin, mountain, person, rock, or whatever and

compose carefully (#5, #6, #7 and #8).

The night sky offers creative possibilities unlike those in any

other genre of photography. Long exposures can cause otherwise

obstructing clouds to create new patterns in the sky (#9). And

active techniques like “light painting” the foreground with the

beam of a headlamp or a flashlight can provide a compelling level

of depth and detail (#10).

Aurora photography is a tricky pursuit. We spend a lot of time

discussing the techniques and equipment. We worry about how

our gear and ourselves will stand up in the cold. But none of that

matters if we don’t find the lights themselves and THAT is the

hardest part. The lights are fickle, difficult to predict and the

clouds seem to obscure the skies on the most promising nights.

The unpleasant fact about shooting the northern lights is that you

have to be out there, looking, waiting and hoping. There is no

tool in our kit to replace patience and persistence. You’ve got to

be there. 8

9 10



Black And White In The WildThe Power Of The Monochrome Image

THERE IS SOMETHING elegant about

the monochrome image. Black and

white photos harken back to the

early days of photography, when

the process of making an image was

akin to magic. Things are easier now.

Though digital—all ones and zeroes—lacks the

tangibility of film. Shooting in black and white offers

us the opportunity to return to a film mindset, a

time when thoughtfulness and purpose were the

requirements for making an image.

During the first days of September, I was guiding

a group of paddlers down a little-travelled river in

northwest Alaska. It was my final trip of the season,

the days were crisp and the air had the feel of snow.

One morning, mid-way through the trip, I woke and

peered cautiously out of my tent. It was snowing

lightly and everything was coated in 3” of the white

stuff. I crawled out and looked around. It wasn’t

as bad as it first looked. The mountains across the

valley were striped in patches of sunlight and the

textured clouds above showed occasional portholes

to the blue sky. I grabbed my camera.

The river, flowing in sweeping curves through the

1


snow-covered gravel bars was perfect for black and

white (#1). Mentally, I pulled the color out of the

scene (it wasn’t hard, there was little to begin with).

I looked for the darkest and the lightest parts of

my composition. Considering how they interacted

with each other. I composed and shot, composed

and shot, concentrating on the texture, pattern and

contrast—the keys to black and white.

Like that snowy morning, certain days and

subjects will just scream for black and white.

Interestingly, successful monochrome images can

be made under high contrast situations. In fact,

high contrast is often at the heart of the image’s

effectiveness and is eminently suitable for a black

and white interpretation (#2). But black and white

also has a wonderful quality in flat light, like on

the foggy day when I made this image of rocks

emerging from the lake (#3). Other times it’s the

subject that will dictate the need for color—or the

lack of it. The caribou skull on a stormy day looked

flat and boring in color (#4), but in black and white

it provides a compelling subject (#5). Monochrome

3 4

5




works with a surprising number of subjects, but

it’s hard to go wrong with images of old structures.

For example, the mode provides a feel of history to

the crumbling bricks of the centuries-old tobacco

barn in Argentina (#6). Details too, like the tangled

branches of a coastal forest in Brazil (#7) or the

endless patterns of a birch forest in Alaska (#8)

appear better in black and white.

Making strong images in shades of gray requires

an understanding of how the contrast will appear

in the final image. As I noted above, this does not

mean that the scene has to be high contrast—rather,

6

7


you must understand how the existing contrast

will be translated onto the final image after

post-processing.

Ansel Adams, one of the unquestioned masters

of black and white, understood the importance of

developing (though of course his work took place

in the darkroom instead of on a computer). In his

classic book The Print, he states, “The point I wish

to emphasize is the dual nature of printing: it is

both a carrying to completion of the visualized

image and a fresh creative activity in itself.” Adams

understood that an image captured in the field was

incomplete. Though the tools have changed, his

wisdom remains as apt as ever.

Color And Black & WhiteSometimes, despite forgetting a black and white

mindset, I’ve gotten lucky. A number of years ago I

was on a solo photography trip in Bolivia. During my

exploration of the country I spent a week touring

the high, dry (and profoundly weird) altiplano of

the Atacama Desert. There, not far south of the

equator, the sweet light of morning and evening

was brief while the majority of the daylight hours

were spent under searing, high elevation sunlight.

The light was flat, hot and extremely high contrast.

Knowing I wasn’t likely to return to the area any

time soon, I made scores of photos regardless of

the light. Most of those images, later viewed on my

computer, were unsurprisingly disappointing. The

light was miserable and flat.

At the time I failed to see the potential of those

images but fortunately, rather than delete them, I

left the photos to linger on my hard drive. Recently,

I was browsing through my Lightroom catalog

and encountered a few of those forgotten shots.

9 10




Inspired, I converted them to black and white.

I added some contrast, dodged and burnt and

watched something entirely new appear from the

bland original (#9 and #10).

Black and white is a great medium that

encourages us to be thoughtful in our photography.

It teaches us to look at a subject critically and

consider not how it looks in reality, but how the

final image will appear. Work with purpose and your

images will reflect the effort.

Black and white comes alive in post-processing, and

while a full guide is beyond the scope of this issue,

here are a few things to consider as you experiment

with your images. Most digital cameras have settings

dedicated to black and white. Do not use these. The

in-camera black and white conversions are primitive

compared to those in Adobe Photoshop or Lightroom

(www.adobe.com) and plug-ins from companies like

onOne Software (www.ononesoftware.com) and Nik

(www.google.com/nikcollection). It is far better to

capture the image in color with the Raw format and

later convert it to black and white in the computer.

Black and white images usually appear most

compelling when the blacks are black and the whites

are white. In other words, the histogram of your final

image should cover the whole graph (#11) without

cutting out too much on either side.

Some portions of the image will require more or

less contrast and brightness than others. The

Tools in Lightroom and other programs designed

to selectively dodge and burn (lighten and darken,

respectively) are vital when processing a black and

white photo. Look at the difference in the impact of

these two interpretations of the same scene. One

was “converted” to black and white using software

(#12) and the final is the result of some further work

on contrast—darkening and lightening select areas

of the frame (#13). This is the type of potential that

resides in every image file (black and white or color)

and exploring the processing options will help you

to attain great results.

13

11




Travel PortraiturePeople You Meet Along The Way

IT WAS A crazy day

in Cuzco, Peru. The

streets were full of

people waving signs,

banners and flags

bearing the symbol

of Tupac AmaruÑthe final

leader of the Incas. In the

plaza, kids were kicking soccer

balls, families dined on picnic

lunches spread out on blankets

and teenagers walked hand in

hand. There were smiles and

waves of greeting. I wandered

around with my camera in hand,

snapping the occasional photo

but mostly just looking.

As I crossed the plaza, I

caught the eye of a nattily

dressed old man who was

sitting on a park bench. I

nodded and smiled but before

turning away, I saw he had an

old medium-format camera

slung around his neck. That

made me stop. Instead of

walking away I turned and

sat down next to him. In my

somewhat passable Spanish we

talked about photography. Using

my digital camera I showed

him some of my images from

the day; he described some

of his. After a few minutes, I

asked him if I could make his

portrait and he agreed. I rose

and framing the cathedral

behind him, I snapped exactly

two exposures (#1). I checked

the images, and then turned

the camera to show my new

friend the shots. He smiled and

with that I shook his hand and

wandered on.

Technical MattersThe human connection is 1

© David Shaw



2

4



6

the hardest and the most important part of travel

portrait photography, but there are some technical

aspects that are important as well. As to lighting—I

look for natural, soft light. Window light, an open

door, cloudy days, the shade of a tree or an awning,

all of these can make excellent portrait light.

“Almost never” is direct sunlight the best choice.

The image of the old woman spinning yarn (#2) was

made at mid-morning on a piercingly bright day on

an island in Lake Titicaca. The light is good because

I found this woman in the shade of a stonewall,

where her faded cloak and sweater went nicely

with the stones behind her. The same is true of the

Quechua man knitting (#3). Hot, bright light was the

rule of the day but the shade and the reflected light

of the whitewashed buildings provided a soft,

even light.

Most any lens will work but, in general, it’s best

to avoid a very wide-angle lens, which can be great

for street work but not for portraits—as working too

close can distort your subject’s face. Anything from

a 30mm on up can work. Longer lenses do a great

job of isolating your subject, while the shorter ones

can incorporate the setting. Your choice will depend

on your vision for the final image and what you

feel comfortable carrying. I opportunistically made

the portrait of a young indigenous girl (#4) with a

500mm f/4 from 15 or 20 yards away, while I was

photographing birds. A long lens will separate your

subject from the background while shorter lenses

are better for environmental portraits.

7

5


Approaching a complete stranger, perhaps one with whom you don’t share a common language, can be

terrifying. Here are a few tips that I’ve used successfully in my travels. 1. Keep your camera out of sight

as you approach.

2. Ask them (even in gestures) a question about themselves: their name, family, what they are working

on or something about the city in which they live. It can be anything, the important thing is to show that

you are interested in them as a person.

3. Often that first question will lead to a conversation. Take advantage of that. Chat, crack a joke and

become friends.

4. Once your subject is comfortable, pull out your camera and ask to take a photo.

5. Always (always) ask first.

With permission granted, the photography begins. I will raise the camera and take a quick snap during

which the person will inevitably give an uncomfortable smile and stare right at the camera. With the snap

of the shutter, the subject often relaxes. Here, I ask another question. If it’s a craftsman I might ask to

see them work. To a local on the street, I’ll ask something about a visible landmark, anything to return

to the conversation—but I don’t lower my camera. It usually doesn’t take long before a natural bearing

returns and I can continue snapping photos.

Making Contact, Making Pictures


interesting than a simple portrait. Similarly, the

photo of a child peering out from his family’s hut

(#8) is as much about the place (and the living

conditions) as it is about the face of the child.

Learning to share the stories of your subjects

through an image is one of the most important and

challenging aspects of travel portraiture.

Few elements of travel say more about a place

than the local people, but photographing them takes

tact and sometimes requires you to leave your

comfort zone. The faces at our destinations provide

a sense of humanity to an image collection that may

otherwise be dominated by landscapes or wildlife.

Some of my most rewarding travel experiences have

involved reaching out to a stranger, making a friend

and, perhaps, making a good photograph.

Travel portraits may not be the best time to break

out your top of the line D-SLR with a vertical grip

and your 70-200mm f/2.8 lens. These set-ups—while

delivering top quality images—will be intimidating

to your subject. Think smaller. An SLR is great,

but keep your lens choice compact. Alternatively a

good point and shoot, a mirrorless or a rangefinder

camera can be a great option.

Focus On The Eyes The image of a young boy in an Amazonian village

(#5) would not be nearly so compelling if I’d focused

elsewhere. The portrait I made of my guide (#6) in

the lovely evening sunlight breaks this “rule” but

this is more a character statement and adds a slight

touch of mystery to the subject. In retrospect, I

probably should

have asked him

tip his face up just

an inch, but at

the moment this

seemed right.

While up close

photos with eye

contact can provide

a nice personal

touch to an image,

environmental or

action portraits

tell stories about

the people. I

made the photo

of a young monk

in a monastery in

Bhutan on a windy

afternoon (#7).

The bright billowing

robe contrasting

with the stone

corridor makes the

image far more 8© David Shaw



Creative BlurThe Energy Around You

FOR MOST IMAGES,

sharpness is

desired and

desirable. All

too often IÕve

been frustrated

(at times practically brought

to tears) over an otherwise

lovely image that, because of

poor focus or motion blur, is

ruined. Yet, when that lack of

focus is purposeful, some very

pleasing results can be created.

Ones that express the rush of

color and energy in all the wild

places weÕve discussed. Call it

modern art or impressionistic

renditionsÑwhatever. TheyÕre

an interpretation of the world

around us that only a camera,

or a painter, can create and

although I donÕt make a habit of

them I do see them as a valid

way to express the world in

another way. The only thing you

need on the camera side is one

that you can focus manually,

although even autofocus can be

used with some of these effects.

Panning BlursIt was a cloudy, late autumn

day. The leaves of the birches

and aspens lay like a golden

carpet on the ground. I walked

up a trail not far from my home

and when I was forced to step

over a small, wet area a clump of

tussock grass caught my eye.

The blades of grass were

turning rusty brown and dull

yellow. Only small sprigs of

green remained in the mix. First

I made a few images with varying depths-of-field,

some showing just the grass tips in focus (#1).

Then I slowed down the shutter speed to 1/8th

of a second and panned the camera parallel to

the direction of the spreading grass blades to

create Òblurs.Ó

The process is simple. The camera must be in

motion for the entire length of the exposure (longer

than 1/15 of a second). If the motion pauses, starts

too soon or ends too early then elements of the

image will retain detail and the clean washes of

color will be less effective. Here is the same cluster

of grass using a vertical pan (#2).

I moved a few feet down the trail where a patch

of fireweed was a brilliant mix of red, orange and

green. First, I tried a quickly panned blur (#3)

followed by a slower movement (#4). The results

are two very different interpretations.

Colorful subjects are well suited to abstract blurs,

but donÕt limit yourself. A snowy walk in the forest


1

2



on a dim morning can also yield an interesting

interpretation of the scene (#5) even when a

standard landscape image would fail due to poor or

boring light.

Zoom BlursJust as the name implies, this technique requires

a zoom lens. These fun images often retain a

sense of the subject and can work to make creative

portraits, flower shots, landscapes, wildlife, action

or almost anything. Just as the camera must be

in motion throughout the entire exposure during

panning blurs, here the zoom must be in motion.

Start out with a stable subject, such as a patch of

flowers (#6). Begin your zoom, click the shutter

and don’t stop zooming until the exposure is over.

Try 1/10th of a second as a starting point. Zoom

blurs can create interesting effects of busy or

confused subjects, even a dense colony of King

Penguins (#7).

Subject BlurFor the previous techniques, it’s the camera or the

lens that needs to be in motion. But for this method,

the camera stays steady while your subject moves.

This is probably the most common use of blur in

photography and the results can be everything from

completely abstract to clear representations of your

3 5



68

7 9

subject. Landscape images frequently incorporate

this technique to create the pleasing, soft-textured

feel of water.

Moving water, whether it’s a stream or a river

(#8) or waves on a beach (#9), is a great subject

for creative blurs. Exposures generally need to be

long—depending on the speed of the water. Slowly

rippling waves may require several seconds to blur

nicely (#10), while a fast tumbling creek or waterfall

may require only 1/15th of a second to create a

suitable sense of motion. Either way, the exposures

are long enough that you’ll need a solid tripod to

support you camera.

There are times when shooting slow might cause

overexposure, since the aperture might “max

out” at its narrowest setting. Keep the ISO as low

as possible and if you are still overexposing the

scene use a polarizer or a neutral density filter to

restrict the amount of light—neither will affect the

color. ND filters come in varying “strengths” (or

light restricting powers) with the higher numbers

indicating greater stopping power. Lacking those

add-on filters, shooting in low light will often

remove any problems.

While water is the obvious subject for this kind of

photography, don’t limit yourself to it. I was atop

a tundra ridge with my camera on a cool, windy

evening and I wasn’t having much luck. Just a few

minutes before I was about to lose the sun and give

up for the day, I noticed one of the many patches of

grass reaching out of the tundra. It sat on the edge

of the ridge right where the last of the day’s light

would catch it. I waited a few minutes for the sun

to move off the surrounding vegetation, leaving just



the blowing stems of dry grass in the light. I made a

single 1/4 of a second exposure the moment before

the light faded. The slow speed was enough to blur

the wind-blown grass to washes of gold (#11).

Action BlursBlurs, as we’ve seen with other subjects, are a great

way to imply motion in moving water and blowing

grass. But blurs can also be a very effective tool for

11



portraying motion in human or animals subjects.

Action blurs come in two flavors. Those where the

camera is in motion—racking the subject (#12)—and

those where the camera is still and the subject is in

motion (#13). The first strategy retains detail in the

subject while the background is blurred. The second

blurs the subject while the background is sharp.

Both tell a clear story of motion.

Technically, these can be tricky to execute and

require a lot of trial and error. The combination of

the long shutter speeds and motion often lead to

images that appear simply out of focus. The speed

of your subject will dictate your shutter speed.

Fast moving subjects may require only 1/60th of a

second to get the desired result while others may

need far more. For example, image (#11) was made

with 1/10th of a second shutter speed, while image

(#12) only required 1/30th of a second.

Blurs are great fun, and an inspiring creative

exercise. There is the additional pleasure of

flaunting an unspoken rule of photography and still

coming up with an image that works. Next time you

hit a creative slump take the camera outside, set a

slow shutter speed and shake it around a bit.

12

13



Working With Outdoor FlashAn Extra Burst Of Light

SUNLIGHT, HOW FICKLE you are. You

cannot be moved or adjusted to suit our

photographic whims. The clouds cover

you when we want strong light and you

are bright and unrelenting when we

wish for softness. Or we are surrounded

by darkness when a slice of sunlight is just what

we need. What is an outdoor photographer to

do when forced to work with such a varied and

unpredictable source of light? We make our own,

of course!

Working with flash can seem a little scary. Look

through any book on artificial lighting and you

are likely to encounter a sea of numbers, ratios,

lumens, watts and power. Lighting a subject in

the studio can be as much science as art when

angles, distances and lighting power are combined

and finessed to make the best image possible.

Outdoors, things grow a bit murkier and (as I hope

to demonstrate) a bit less intimidating.

Getting Started: GearWhile Canon and Nikon both make excellent

fully dedicated flash units with TTL (automatic

Through The Lens metering control), there are

a number of third-party manufacturers making

quality flash units—often for substantially less

cost. Add to that a way to get that flash off your

camera (direct flash, unless done carefully, can

look flat and amateurish). You’ll need either a

hard-wired cable or, better yet, a wireless infrared

or radio trigger. Radio triggers are available from

numerous outlets and are extremely useful and

some can be quite inexpensive. You’ll also need

some kind of flash stand. Small table-top stands

come with most flash units and will suffice, but

investing in a couple of telescoping light stands

with adjustable “cold shoe” mounts will be worth

it, and they aren’t too expensive.

Flash For BirdersA couple of years ago, I was photographing

birds at a backyard feeder array in the foothills

of Colorado. Chickadees, robins, nuthatches,

woodpeckers and finches were frequenting the

area and I was hoping to add a few new species

to my image collection. The light, however, was

rotten. There was heavy overcast and within the


1

2


dense branches of the pines where the birds were

loafing, it was dim indeed. After a few fruitless

efforts resulting in blurred or gray images I pulled

out a flash, radio triggers and a stand.

I set up the flash to my right and raised the stand

to a position about equal with my head and few feet

away. I pointed it at an area where the birds were

frequenting, set up my camera and lens on a tripod

and waited.

Within moments birds started moving through my

frame. A scrub jay perched briefly in the open and

with a click of the shutter and pop of the flash I was

able to assess my set-up. I found a harsh shadow

from a branch was thrown across the bird (#1)

so I moved the flash a bit closer to me and tried

again (#2). With the next exposure the angle of the

light was just right and I kept on working. A downy

woodpecker (#3), a red-breasted nuthatch (#4),

an American robin (#5) and other species came

through what looks like a patch of low-angle sun.

But it wasn’t sunlight—it was the magic of flash.

Later I shifted locations down near the ground,

where the snow provided a clean white backdrop.

The flash created a nearly cutout, studio-like look

3

5

4


to the images. In fact,

I’ve sold several of these

images just for that reason

(#6 & #7).

Flash And The Landscape

On clear nights—after

the sun has slipped

below the horizon—the

sky becomes a smear of

deepening blue. The pale

light creates deep shadows

and black silhouettes.

It’s called the “blue hour”

and it is the time between

sunset (or sunrise) and

when true darkness (or

daylight) takes over. By

the time the blue has

erupted in the sky, most

photographers have

packed up their gear and

headed home. They are

missing out.

Blue hour and other night

photography techniques

can be, and often are,

entirely successful without

any artificial light. So

first it is necessary to

determine whether extra

light is even desired and

don’t assume that it is.

Unlike astral

photography, when it’s

easiest to pre-focus your

camera to the infinity

line and leave it, during

the blue hour foreground

elements are often

the subject (#8 & #9).

Therefore you’ll need to

constantly be adjusting

the focus. Since most

cameras will not be able

to autofocus in the near

darkness, you’ll have to set

it manually. Manual focus

can be tricky in the dark—

our eyes are not always

the best at distinguishing

between a sharp and a

slightly unsharp subject.

To avoid disappointment,

use your camera’s LCD to

confirm the focus on a test

shot and then adjust it as

necessary. Once it’s set,

don’t touch it again until

you change compositions.

Exposure is perhaps the

most difficult aspect of


7

8



blue hour photography, particularly when

flash is incorporated. Rely on your camera’s

histogram, not just the image on the LCD

screen when you are determining your

exposure. (LCD screens are notoriously

difficult to interpret in low-light conditions.)

Blue hour images are naturally dark and so

a graph pushed to the left is fine, but watch

out that it isn’t too far over. You will want

at least some definition in the dark areas

of your image. If you are adding a flash,

watch the highlights to make sure that you

aren’t burning them through overexposure.

Integrating Flash I was photographing on a winter

evening along a ridge in Colorado’s Front

Range. The sun had set some time before

and the sky was a deep, rich blue. The

small scrubby trees made perfect black

silhouettes in front of the darkening sky

(#10). When I spotted a small spindly

Pinion Pine perched atop a rock outcrop.

I set up my camera and tripod, composed

the image, determined the exposure

and clicked the shutter. The result was a

pleasing composition of blues and blacks

(#11). But I knew I could take the scene

further. I wanted some texture to provide

depth to the rocky foreground, and show

details in the hardy little tree.

I reached into my pack and pulled out

a flash, a tabletop stand and a couple of

cheap radio-triggers. I set the flash up on

a boulder a few feet above the ground and

about 10 feet to my left, pointed it toward

the tree and turned the power down low,

then I snapped the shutter again. The pop

of light provided some pale illumination to

the foreground but the color of the flash,

toned to emulate daylight was too white—

garish in these circumstances.

Again I reached for my pack, this

time pulling out a sheet of CTO (Color

Temperature Orange) gel, which I attached

over the flash with Velcro. Again, I snapped

the shutter. Glowing on the LCD was exactly

the image I wanted (#12). The warm light

was just a splash across the scene, almost

like a last beam of sunlight. The depth,

11 12

10

9


color and texture made visible by the use of the

flash greatly improved the photograph.

A bit of light on a scene can change the tone of a

blue hour image. Light can warm the photo and pull

elements from the darkness. And yet, flash is risky.

Shortly after I made the successful image of the

pinion, I tried a new, broader landscape composition

using the same technique (#13). Clearly, the light on

the foreground shrubs is unnatural, yet it provides

a new element. It’s been years since I made the

image and I’m still unsure how I feel about it.

Light PaintingAnother technique for lighting large subjects

is “light painting”. This method requires only a

flashlight and a long shutter speed. Light painting

is so named because during the course of the

exposure you “paint” the light across your image.

This can be the entire foreground or you can be

more selective.

I made this image during a stay at a farm

in northern Argentina (#14). The mix of porch

lights, the headlights of a passing car and my own

headlamp combine to create an image that (aside

from the sky) is lit entirely by non-flash, artificial

light. The long, 15-second, shutter speed allowed

sufficient time to light the scene.

Artificial light adds a new element to outdoor

photography that—unlike the weather, the sun

or the activity of wildlife—is actually under our

control. Yet, flash does complicate things and I use

it judiciously, but knowledge of how to add your

own light outdoors can become another tool in your

kit. With it you can make images that are otherwise

impossible and exploring the options it affords can

be great fun.

14



6/$0.130.*4*/(�

Quality, reliability and versatility.

The 17-70mm F2.8-4 lens, designed for

APS-C format cameras, delivers stunning

images in a lens 30% smaller than

conventional models.


Case and Hood LH780-03 included.

*OS is not available for Pentax and Sony mount

USA 4 Year Service Protection

��NN�'��%$�

.BDSP�04�)4.

4*(."�64#�%PDL


http://www.SigmaPhoto.com

http://Facebook.com/sigmacorporationofamerica

��NN�'��

%$�."$30�04�)4.Case, hood (LH676-01) included. USA 4 Year Service Protection

A standard superzoom offering

outstanding optical performance

throughout the entire zoom range.

The definitive ultra-compact all-in-one

lens for the high-megapixel era.

UPGRADE.

4*(."�64#�%PDL



http://www.SigmaPhoto.com

http://Facebook.com/sigmacorporationofamerica

Documents

Petersen's PHOTOgraphic - Volum 23.Bak