Happy Earth Day to You

I have many “favorite” photo locations—many are known to all; others aren’t exactly secrets, but they’re far enough off the beaten path to be overlooked by the vacationing masses. And while I always like to have a spot or two at my favorite photo destinations where I can count on being alone, I’m usually happy to share prime photographic real estate with a kindred…

He Ain’t Heavy,…

… He’s My Sony 12-24 f/4 G (With apologies to The Hollies.) The road is long, with many a winding turn… But that’s no excuse to cut corners. Probably the question I am most asked on location is some variation of, “What lens should I use?” While I’m always happy to answer questions, this one always makes me cringe because the implicit question is,…

Weather or not

When the weather gets crazy, do you sprint for cover or reach for your camera? Your answer may be a pretty good indicator of your success as a landscape photographer. It’s an unfortunate fact that the light, color, and drama that make the most memorable landscape photos all come when most sane people would rather be inside: at sunrise, when the rest of the world…

Static Juxtaposition

My previous post was about dynamic juxtaposition in landscape photography—combining static landscape subjects with transient meteorological and celestial elements. The other side of the juxtaposition coin I call static juxtaposition: combining stationary landscape objects. I am a little reluctant to use the word “static” because there is one element that absolutely can’t be static in these compositions: You. Since I don’t photograph people or wildlife, I…

It’s in the bag(s)

I just returned from a trip to Oregon with Don Smith. The prime purpose of our trip was to check out the fire damage in the Columbia River Gorge in advance of our annual spring workshop there. Because the damage in the areas where we take our groups wasn’t as severe as we’d feared, we didn’t need to spend a lot of time scouting…

Playing with my new toy

Leading 15-20 photo workshops per year means coming to terms with photographing the same locations year in, year out. This is not a complaint—I only guide people to locations I love photographing—but it sometimes makes me long for the opportunity to capture something new. Which is why I’m loving visiting my familiar haunts with my newest lenses, the Sony 12-24 G and Sony 100-400…

Rules are a crutch

Aloha from Hawaii! Let’s have a show of hands: Who feels like their photography has stagnated? Let me suggest to all with your hands up that what’s holding you back may be the very rules that helped elevate you to your current level of proficiency. I’ll be the first to acknowledge that rules are important, the glue of civilization. Bedtimes, homework, and curfews got…

Going wide

After years of drought, in spring of 2016 I had the good fortune to photograph Yosemite Valley with actual flooding—nothing devastating, just enough for the Merced River to overspill its banks and create reflections where meadows normally exist. One such location was a spot beneath El Capitan, where I found myself faced with the challenge of capturing more scene than my 16-35 lens could…

Yosemite game-changer

“Game changer” is most certainly a cliché, but every once in a while I get to use the term without shame. I used it when I switched from film to digital; again when I discovered that the Sony a7R (and now the a7RII) gave me 2- to 3-stops more dynamic range than my Canon 5DIII; one more time when I first turned the Sony…

Seeing the future

Ansel Adams and visualization Most photographers know that Ansel Adams visualized his prints, and the darkroom work necessary to create them, before clicking the shutter. This ability to look into the future of each capture is part of what set Ansel Adams apart from his peers. But Adams’ extensive darkroom work is often cited by digital photographers defending their over-processesed images. We’ve all heard…