"Be Still..."

The fall season carries on its shoulders a melody of color, clear brisk evenings and a night sky filled with countless points of light. It is a time to refresh and recover before the cold months arrive. Here in Kentucky the fall colors tend to hesitate for weeks providing just a hint, just a tease of what is to come, waiting, waiting, then almost overnight the color explodes with a burst of energy that engulfs the visual senses.

During this time, it is easy to lose time when a gentle fall breeze sings to you as it searches through the tree tops. Maybe that is why fall is one of the favorite seasons, certainly it is mine. As much as I enjoy hearing the wind carried across the fields and thru the trees, nothing else soothes the soul quite like the serenade of a lively creek on refreshing fall afternoon where the dappled sun lays across the shadows and all the sounds and vibrations of the season bid an Indian Summer welcome. It is a time special made for photographers.

One of my favorite places to get lost is to simply find a creek where the clear waters roll and dance around softly rounded stones, over casual drops, to create an unending echo of natures music. When the fall colors turn in earnest, these small creeks reflect golden light to provide an art exhibit beyond compare. Combined with its musical concert, the visual effects will suspend one above the trials of the day. I suppose that is why God created these small creeks, to remind us to slow down, to reflect, to listen so we can hear him and know who he is. There is wisdom in those immortal words, "Be still..."

Old Trees, Shade, Backlight and Highlights

The tree once stood tall and straight with a broad base anchored along the ancient creek bank. For untold
years it helped to stablize the soil along the steep sides of the creek, but now all that remains is a toppled over trunk that is slowly being compromised by the elements of natural decay. It now serves a new purpose, one that adds to the aesthtic value of the scenic view, and one that provides a photographer with an amazing natural prop for a location shoot.

New trees have now sprouted and grown large enough to support the bank and provide a lot of dappled afternnon shade. My photographers eye locked onto the scene within the first few moments of my initial survey. This I knew would be a great place to photograph any model. Problem was the shade, which in many ways is beneficial, but at the same time can cause your images to appear flat and lifeless. What one needs is controled light to add vibrancy to the scene.

We arrived mid-afternoon on a bright and sunny day, however as was expected the tall trees prevented most of the suns rays from penetrating very deeply allowing only a few veins of dappled light. These rays came in handy as they added a measure of natural background light to scene. I setup one speedlight with a 24 x 30 softbox for my main light and one bare speedlight to use as a backlight. The key for the backlight was to generate a separation layer or halo while the main light provided a soft light that brought a flair to the eyes and provided just a kiss of fill light that brought life and vibrance to the face.

When shooting in a shaded area like this one, you really have to look for ways to highlight your model by using either natural beams of light that cause the hair to glow, or providing your own light to accomplish the same thing. The natural light provides a bit warmer and softer look while the speedlight provides a whiter brighter look. Some photographers prefer natural light exclusively which works well in certain situations, but you tend to have less control over intensity and direction. I've grown fond of using speedlights in the field as they provide a greater measure of control and you can dial up the intensity to fit your desires.

The main reason for a backlight is to separate your model from the background. I tend to dial up the intensity to really make it shine. What happens is you not only get that great hair glow, but it will also provide a subtle glow around the edges of your model to further separate her from the dark background. I don't get overly concerned about ratios between the two, I just go with what looks good to me at the time changing each light's power output according to the need at the moment. I will usually start with 1/4 power for both lights and change one or the other up or down depending on the circumstance. Sometimes I simply move the light closer or farther away to get the desired effect. Keep in mind by using a small softbox like the 24 x 30 one I was using you want to avoid the spotlight effect. Moving the light farther away makes the light source smaller so it tends to look more like a spot light as a result. Moving it in closer makes the relative size of the light larger so it provides a wider wrap around effect. Moving it closer usually requires you to dial the power down a notch or so to keep from blowing out your subject.

With a lovely model and a great location, combined with creative use of the light, well, I'll let the results speak for themselves.

Back To My Roots - Standing On Solid Ground

We walked along the old abandoned golf cart path that weaved over and around the remains of a golf course. Where greens once spread  their manicured surfaces, weeds now grew. Where sandtraps once glinced in the sun, they were now inundated with scraggly looking thorny growth. The bridge that arched across a large pond was still there, but its once glowing white paint was flaking off and it was in need of repairs. It was a shame in a way to see this once wonderfully scenic area crumbling from what was a pretty nice course. But, in a way it was a good thing because here nature was reclaiming its own, and that is good for a photographer. The scenic deposit discovered here only increased in value with its slow return to nature.

Early fall in Kentucky can be some of the best times to get out as a photographer. On this late afternoon the wind was not a factor and the sun began to slip below the openings in the thick cover of rolled clouds. A rich vibrance spread across the scene, one only nature can supply. At once I knew this was a special moment.

I enjoy all kinds of photography; nature, wildlife, scenic, portraits, astrophotography. My roots lie in landscapes and sometimes I tend to fall away from what I know best to explore other avenues of expression. Overall it is a good thing to branch out and try new things, but, it is good to return to those roots, for there is where my creative desires find solid ground.

Cross Training

I stood in the middle of the railroad tracks casting hurried glances towards the sky. Whenever I would look
away even for a short time and then gaze again toward the sky it seemed to have undergone a dramatic change. The thick overcast was beginning to split apart and the upper currents of air were pushing and forming the remnants into elongated rolled cylinders. What I hoped would happen was for the setting sun to fill those formations with a golden hue, but where the sun hovered the clouds were too thick for any such magic to happen. The beauty of digital cameras is that you can impart some magic of your own with a few simple tweaks and settings.

I call it 'Jumping Light'. It's not a term you will find in any photography text book, just something I made up a couple years ago while experimenting with the white balance settings. I do that a lot; try something just to see what happens. Pushing the WB toward the upper end of the Kelvin scale I artificially forced the sky and clouds to look as though a golden hue was indeed being cast across their rolling forms.

I do not always know what I will discover when I head out. No amount of planning ahead can always guarantee the results you hope for. More often than not, the light doesn't cooperate so I have to adapt. The important thing here is to get out and there are times regardless of the conditions that I just have to get out and try. I have discovered that by diversifying what I do photographically opens up a lot of opportunities that might otherwise not be fulfilled. I know a lot of good photographers. They are very good at what they do, but tend to shy away from photo opportunities that do not fall inside their comfort bubbles. Just like cross training in sports helps the athlete to achieve a higher standard of fitness, cross training in photography can achieve the same kind of results for the photographer.

From location portraits I've learned the importance of expression, light, and timing. Landscapes and scenics
have taught me about how to simplify...to identify what is really important. From nature and wildlife I've learned to be more patient and exacting. Night photography has helped me read drama and story into a composition. From astrophotography I've learned to anticipate the extraordinary and to look for what is not always seen. From working events I've learned how to operate at a fast pace and make quick instinctive adjustments. Black and white has shown me the importance of shape, form, and texture. Floral's have helped me discover subtle details and how to apply light to enhance those details. Video has taught me about angles, steadiness of hand, and continuity. Cross training your photography will in time generate a stronger overall performance that will show up in all forms of your photographic pursuits.

Country Roads - A Great Place to Climb Out of a Rut

There are times when I find it difficult to discover something new locally to photograph. It  happens more



often than I would like, but it also serves a good purpose by forcing me to look beyond my normal range. It is easy to fall into a rut and become dissatisfied with my results, but again it also serves to as motivation to seek out something fresh and rewarding. Often it is simply a matter of waiting for good light or different light on old subject matter. Sometimes it requires me to find a new subject altogether. Once the need arises to seek out something new, one of the best places to find it is along a country road.

Country roads are one of my favorite photographic haunts. Kentucky is blessed with an abundance of winding and random flowing back roads with hundreds of old barns and ponds and other rural paraphernalia. Each of them adds a unique flavor to the landscape and how one observes this unique landscape is how one will photograph it.

Light is still the key ingredient so simply photographing what you see will only produce snap shots of the landscape. I often will spend the middle of the day driving along a new country road simply looking for potential locations taking note of where the sun will rise or set, are there any valley's or low areas where fog will collect, is there a clear view of the horizon or sky, what is actually important in what I am observing and how best can it be captured. This kind of approach helps to simplify your approach and narrow down the time and place to attempt a capture.

Country roads; and great place to climb out of a rut.

Now On Fine Art America

Just a quick plug. I am now on Fne Art America. Click on the link on the right side of this page to take you there.

Big Sky - Big Country

As first light brightened over the horizon I realized I was once again running about fifteen minutes late, so I hurried my pace across the rough terrain to close the gap between what I was seeing and arriving at the location to capture it. There was a cool breeze whispering over the top of the prairie and the bottoms of my pants grew damp from the morning dew. A few birds were already beginning their morning songs and I stopped for a moment to absorb the moment. Could not tary long for the sun would not wait and I hurried to setup my camera before the light changed.

Photographing Oklahoma's Tallgrass Prairie requires one to arrive early and stay late. Sometimes it is difficult to separate the task at hand from just simply enjoying the moment, so sooner than I wanted, I began to snap off images as the morning colors progressed across a palet as large as the prairie itself.

The Tallgrass Prairie is one of my favorite places. Browse through this blog and you will discover a number of articles that reflect my fondness of this location. It can be a challenge to photograph sometimes because the diversity that is the prairie makes it difficult to decide what is important to capture. I often find myself second guessing my choice of locations. Once I decide on place, I wonder if maybe I should have chosen the other location. What if? That is a question that plagues my thoughts as I wait for the light. What if I were here yesterday or wait until tomorrow, or should I have setup someplace else, but no, I'm here now so take advantage of what has been offered.

There are elements I look for, things like a compelling foreground to add interest and depth to the landscape. The angle of the light, the color and quality of the light are just a few. Sometimes elements just fall into place, other times I have to search for them, and sometimes it requires taking a hike just to see what lies over the hill. Most of my scouting is done during the middle of the day when the light is flat and harsh. While scouting I look for potential, then hope the light changes as anticipated.

Photographing the prairie can be cold, hot, wet, dry, windy, overcast, and bright sun, all in one day, but it can also be one of the most rewarding and challenging of photo adventures one can pursue. The key is get off the access road, shy away from the cliche, and seek out new potential by walking into the prairie. It is there you will discover its true identity and it will reveal itself to you. Take only its portrait, but leave a part of yourself blowing with the prairie wind.

Daytime Artifical Light to Create Dramatic Portraits

I especially enjoy location shoots. They provide an almost never ending array of backdrop and light, plus it allows one to get out of the house and enjoy being outside. We recently were involved in a shoot at a new location for me. It proved to be a spectacular day with a gentle breeze, fall-like temperatures, and lots of puffy clouds.

Here is one photograph from the shoot where a combination of using onsite speedlights, a stunning model, and some simple post processing created a dramatic portrait. The shooting conditions were somewhat difficult with broken clouds accented with a bright sun. Shooting in anything except a full shade was pretty much out of the question.

The setup for this image was rather simple. It was shot in the shade of porch area using two speedlights fired remotely. On the key light was attached a 24x30 softbox and it's power setting was reduced to about 1/4 power. It was placed about 4 feet from the model at somewhere between 90 and 60 degrees inline with the head and was adjusted to just above eye level. This allowed the softbox to extend slightly above and below the models head and shoulders and to also provide some soft wrap around light. Behind the model about 10 feet away another speedlight was setup dialed down to about 1/8th power. It was a bare light raised to about head level and pointed directly and the model.

It was shot on manual set at ISO 100 at f/9 at 1/200th with the lens zoomed out to 200mm.  This setting produced a well exposed portrait with a sharp drop off of contrast and some wrap around from the key light and nice separation highlights on the hair from the second light.

Post processing included convertion to black and white using a film noir process which generated a dramatic contrast without blowing out the highlights. The midtones were dropped to darken the background and the resulting image became a stunning example of how artificial light can be used to make a natural looking, yet powerful portrait...even in daylight.

V-Slats and Artificial Lighting

As I have stated numerous times photography is all about light. It doesn't matter the source of the light. It could be natural or artificial, how you employ the qualities of that light determines to a large degree the final value of the image. I recently started exploring in more detail the use of artificial lights both studio guns and smaller speedlights. Both have their advantages and disadvantages, but both can also provide a spectacular array of lighting potential. One technique I find intriguing is the use of what are known as V-Slats. They are most often employed in a studio environment and provide a wonderfully soft and compelling light.

First of all V-Slats are very simple to construct, there is nothing fancy about them. I used two sets of two 3x4 foam boards joined along one edge with tape to end up with two V-Slats. The idea is to bounce your light into the V of the folded slats facing away from your subject. The light is then bounced off a larger white wall a few feet behind them. The White wall in effect becomes your light source.

The light coming off the wall presents a huge flood of soft light that envelops your subject. Combine it with say 400 watts of constant lighting set behind and to one side, you end up with an interesting and dramatic soft light effect.

Playing with the exposure values also allows you to introduce motion into the equation without sacrificing the clarity and sharpness required for your subject.

Using Light as the Narrator of Your Image Story

Well, after a long absence I am back. I’ve missed the blogging world sharing photography and outdoor experiences, and I am looking forward to adding to the 200+ stories already posted.

 During my absence I was able to explore more closely certain elements about photography requiring improvement on my part. I watched numerous videos and acquired some extra gear to fill in some of those equipment gaps that constantly haunted my efforts. Also, well I found myself sort of forced into early retirement, well semi-retirement anyway. It’s not such a bad thing.

I discovered again how light in all of its forms is what makes photography fun. Telling a story using light as the narrator became a stronger element. Often stumbling into discoveries like this is like working a crossword puzzle. A word here and one there provides enough hints to help you fill in the gaps. A photo here, a combination of lighting events there, and suddenly you begin to recognize a pattern. Once you see the pattern, compositional gaps are more easily filled.

Take the example image above. It was mostly an overcast morning, but the clouds were breaking apart just enough to allow momentary beams of light to flow across the landscape. The low angle of the sun perfectly filled the image story with beams of light that illuminated the tall grasses in the foreground and lifted the trees in the background toward a separation of contrasts against the sky. The story is one of a country road. The narrator was light who spoke in a soothing language to perfectly express the moment and carried the image beyond the ordinary to become a story with meaning and purpose.

Using light as the narrator of your image story requires one to understand how a story flows. There is a beginning, middle, and an ending. Light, like words, illuminates each part in such a way as to bring importance to each one, but to also tie or bind together the loose ends. Without a good narrator used effectively, the story falls flat. Without effective use of light, your story image will become ordinary. This applies to all forms of photography, and over the next few weeks we will explore more deeply the significance of this concept.

Your Best Lenses are Your Eyes – Your Best Filter is Your Imagination

Well...I've come to a milestone and made a decision. After much thought and the better part of five years and 230 posts, this will be my last Blog Post on Beyond The Campfire. It's been quite a challenge and a wonderful journey one I have both appreciated and have been encouraged by the response and feedback. I hope the few words I've shared about photography and about getting outdoors...beyond the campfire...has encouraged and challenged you the readers and followers. Thanx for all the support. It's been fun, but time to move on. I will from time to time provide a post on the Nightscapes portion of the Blog, but for now, I close the book on Beyond the Campfire and leave you with this one final post.

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My worst habit is I tend to photograph the same subject matter all the time. Not sure how many images I have snapped of that old downed tree with the snarled overhanging branches being reflected on the surface of the pond behind my house. For some reason I keep taking that same old shot over and over. I suppose thinking that one day I will actually come up with a shot of some merit using that subject. So far it hasn’t happened. Sometimes we get tunnel vision and only see what is obvious when more often than not, what is not obvious provides the greatest potential for a great photograph. What happens is that we rely too much on mechanical devices to do the work for us and fail to use our greatest assets; our eyes and our imaginations.

Your eyes are your best lens. It is thru these lenses you build the composition. Learning how to see photographically is the key. Your best filter is your imagination because employing that aspect of the photographic process is what opens your mind to all the possibilities. It is being able to see beauty amongst the ordinary and then developing the technical skills to capture it, that separates the great photographer from the average one.

Using your eyes means to see beyond what is simply visible and using your imagination resolves 

 

being able to recognize how different light and a changing atmosphere will affect the scene. What is most important is being willing to be there when those times exist. Two favorite examples of mine are the first two images included with this post. Both were taken at the same location, a place I found several years ago in the middle of an ordinary day in the middle of the summer. On that ordinary summer day, the ordinary nature of this little valley would have been easy to overlook. But, as I gazed across the valley from my high vantage point I recognized the potential of the place. Arching behind the tree line along the bluff flowed Barren River. I knew Kentucky was a great place for foggy mornings. I also knew that in a few months when cooler weather arrived that fog could potentially provide a wonderful photo op.

Using my eyes, seeing what wasn’t there…yet…I was able to visualize something extraordinary evolving from this ordinary location. It took several pre-dawn attempts to catch the right moment, but when it happened, I was there. The moment would not have happened had I not used my most valuable lens; being able to see past the ordinary.

The last image is one I took a good number of years ago using slide transparency film. It was almost by accident how everything lined up, but what I saw visually was not what I created photographically. That came from looking beyond the ordinary, beyond what was visible, to see what was possible. It became one of the most iconic images I have ever taken and have never duplicated.

With this being the last post, I want to leave you with one final word of encouragement. The world is full of amazing opportunities, so do not settle for the simple, the ordinary. Seek out the extraordinary and use your imagination to create your own amazing images.

 

Thanx for following...

Keith

Moving the Baseline - Bridging the Creative Gap with Streams of Light

What is this photograph about? This is a question I have asked myself countless times, and just as often, I struggle to find the answer, yet I keep asking it, seeking how to bridge the gap between what is ordinary and what is extraordinary. Sometimes the answer comes unexpectedly, illuminated by streams – streams of light.

Recently I began photographing the night, not just the night sky which in its own right requires a unique set of techniques and conditions. Photographing meaningful images and creating imaginative compositions when light is concentrated in short bursts or by streams of illumination, requires a different kind of visualization than photographing in daylight. Even at first light or dusk it requires being able to see how light affects the dark. This kind of photography explodes with drama and drama is what closes the gap between routine and exceptional.

 

The night creates an all-encompassing shadow that covers the subject matter with an absence of light. It is this absence of light that defines the baseline of what your night photograph is all about. Add a thin stream of light from a faint source and the shadow is pierced and the baseline moves. Change the angle of your perspective and the stream of that light changes the drama, and the baseline move a little more. Look from a lower or from a higher vantage point, and the composition evolves toward the answer you are seeking for what the photograph is about. Sometimes it happens on the first try, usually it requires many trials and experiments with light at different vectors to discover what is there. You have to keep moving the baseline, shift it and mold it until it gives in to succumb to your creative desire.

The trick is to keep asking yourself, “What is this photograph about?” The gap that separates you from finding the answer is most certainly a product of your own persistence. Too little and the answer becomes weak, but stay with it, keep looking, keep experimenting, and the gap narrows with each attempt. The odd discovery you will eventually realize is there is no single best answer for any given situation. You may discover the answer was already there before you began, it was in your heart. You just needed to find how to release it.

Keith

Young At Heart

I’ve often agreed with the axiom that youth is wasted on the young.  As I have grown older I have noticed a slowing down of sorts. Oh, I still have moments where I can recall, when required, the energy reserves which lie dormant most of the time. And I still find it hard to recognize the old guy I see in the mirror every morning. Locked deep within the recesses of my memories resides the young man who was energetic and full of adventure…way back when. He’s still there, sort of mostly, just suppressed and not allowed to surface as often as he would like. Although my physical youth left me many years ago, my emotional youth is still alive and for some strange reason I believe I am still that young guy from years ago. Those thoughts often get me into trouble when I tempt fate believing I can still do the things I once could do.  So when an opportunity presents itself to rekindle that dormant youthful spirit, I will occasionally allow myself to pursue the moment.

Two or three times a year our photography group will do a model shoot where we offer a few young folks the opportunity to get some free location portraits made. All they have to do is use their energetic youthful spirit and allow us older geriatric types, an opportunity to use our photographic skills. All of us have a great time with it and the models are always delightful and full of energy. By the end of the shoot, we the photographers are worn out, but the young folks, well, they are off and running toward some other adventure and never seem to skip a beat. If I think back real hard, I can almost remember being that way myself at one time.

On a recent Saturday one of those amazing spring days greeted us. With temperatures in the upper 70’s and a nice breeze stirring through the shady trees, a group of us met on the Western Kentucky University campus for our first model shoot of the year. On a normal model shoot we usually have two or three maybe four models at best, but on this day we ended up with ten…we only had seven photographers, so there were plenty to go around. I invited two young ladies I know to join us, both of whom are delightful and lovely.

Over the course of three hours they proved to us again just how energetic they are and hundreds of images were taken. It is interesting to see the different photographic styles employed. Those with a studio background reflect that thought process in their photographs. Those of us with a nature background, tend to employ more nature elements to our portraits. One of the photographers leans toward an edgy fashion style and his photos certainly reflect it in the poses and angles he uses. I tend to use a more informal style and allow the models to perform in their natural manner giving direction only to change the mood or energy "…look over this way, your right shoulder…no, your other right…tilt your head this way…big smile…soft smile…think about your first kiss…look up…look down…close your eyes". It’s a lot of fun to see them respond and begin to have fun with it. When they are having fun, they loosen up and look more natural and that makes our job as photographers much easier, but it fun to inneract with them. "…wow…what a shot!...that was a great one, but I missed it…so let’s try it again…got it…!" 

With ten models and only three hours, there was no way to effectively shoot all ten of them, but we did the best we could and all of them were able to get some very nice images. By midday we the photographers were worn out. All of us had so much fun, I almost forgot how old I was. Being around those energetic young folks transported me back to another day and time and I saw myself reflected in their lives. They were great sports, polite, and genuinely enjoyed what they were doing. Although I stay in reasonably good shape physically, there are other kinds of exercise required to remain young at heart. That would be to exercise your sense of perspective and place into context all the years of experience it took to get where you are now. 

 

To get this far one requires a bit of a youthful attitude and it helps to have a cheerful one along the way. These young folks with their energy and adventurous spirit, without even knowing it, helped to cheer up and encourage an older generation of photographers simply by reminding us about our own youthful past. They were grateful to get a few photos. We were grateful to share in a few moments of their youthful energy. http://www.sunnysixteen.org/gallery3/index.php/Keith_Bridgman/Model-Shoot-514

 

Keith

A Walk About

Sometimes I will take an hour or so and do a walk about in the fields and around the pond behind my house. I have photographed that area dozens of times and usually tend to capture the same kinds of photos each time I head out. Sometimes, I will stumble onto something that stands apart from everything else and when that happens, this rather ordinary location can produce some amazing photographic moments.

The other evening I managed to head out that way and came across a dragon fly that must have just hatched for he was still clinging to a blade of grass suspended above a large pool of dark water left over from a previous rain. I was using an old 75-300 Minolta lens on my Sony A65...its not a great lens but sometimes its size and ease of use is preferable to my larger 50-500 Sigma lens.

I zoomed in and fired off a few quick shots. When I took a closer look at them on the back of the camera I realized first of all the auto focus just was not locking in like it should. Secondly, I was metering using the evaluative mode and the dark background really thru off the exposure. Lucky for me, the dragon fly was not yet ready to start flitting about like they do and he stayed put while I adjusted the camera. First, I shifted the exposure compensation to -1.3 to allow for the dark background. Secondly, I turned off the auto focus and switch over to manual.

The A65 has an extremely cool manual focusing system where whatever you are focusing on will be highlited by a color you preselect...in this case it was red. That feature visually helps when trying to focus thru a lot of stuff that might otherwise fool the auto focus. I took another aim at the dragon fly and manually turned the focus dial until he was highlited in red and fired the shot. Closer examination revealed a crisp and clean shot properly exposed that clearly showed the blood being pumped into his newly inflated wings.

As I continued my walk about, the sun settled closer to the horizon and started filtering thru trees and other cover. Some of that light backlit a small branch where new leaves were beginning to form. I have taken backlit shots like this hundreds of times...this one appeared no different than all the others and I almost passed up on the opportunity. Sometimes though the camera will see things we cannot, and it will capture a moment in ways we cannot visually see it...so I made a quick frame and fired off a couple quick shots. What was captured was an exquiste example of how light reveals details thru the lens of the camera. What set it apart was how the background served to frame the backlit leaves against a natural dark green matting.

Walk abouts are easy to do and many times they will offer up an opportunity that defies the simplicity of the moment. Maybe it is because of that simplicty those kinds of opportunities can be so productive.

Keith

A New Blog Site: Beyond The Campfire: NightScapes

AS if I didn't have enough to do to keep up with one blog site...I've started another one with a different twist to it. Check it out and join me on a facinating journey of discovery.

http://beyondthecampfirenightscapes.blogspot.com/

A Great Photo Adventure Program

I don't often promote programs on this blog, but there is one program worth promoting I'd like to introduce you to. It's called Wild Photo Adventures with Doug Gardner.  http://www.wildphotoadventures.com/index.html

There is also a Facebook page:  https://www.facebook.com/home.php#!/pages/Wild-Photo-Adventures/163178650411777

This is a wonderful program now in its fith season where the team travels around the country on photographic adventures. What is so great about it is that the adventures are of the type where anyone can do them. I've enjoyed watching the programs online and have learned a great deal about adventure photography.

Some of the best programs are the behind the scenes programs where they give the viewer a glimpse of how they make the shows. Doug Gardner is a world class professional nature photographer who demonstrates the principles of nature photography in an easy to understand way. Even experienced photographers can learn from this series.

Check out the shows online and if you can try to catch them on the television.

Please enjoy!

Keith

Capturing Ghost Light

I will at times fall into in a slump. This past winter was a rather cold and dreary winter and for whatever reasons I failed to get out very much. That along with work related pressures took a toll and what I enjoy doing most suffered the most as a result. Even though those elements do carry a lot of blame, to be truthful, I have no one to blame except myself. I just did not take the time to get out when I had it, and my inspiration suffered.

Photography is not unlike writing in that we as photographers often stumble along with Photographers Block trying to reignite those creative elements that drew us to photography in the first place. As I reflect on the slump. . . again . . . and as I examine the quality of what I've recently created, I am not very pleased with what I discover. Usually, in time, I will happen upon the work of another and find inspiration from it. With any luck at all, it will trigger a string of ideas that leads to an exciting revelation.

One such event took place recently from an Arkansas photographer, Tim Ernst, whose work I have often used as inspiration. It is no coincidence that his style of photography and mine have some similarities. In recent months he has been exploring low light / night photography of waterfalls and other places of interest around his home range. His work is amazing. As a result I realized that I have been neglecting a wonderful opportunity to capture similar images, and so this spring I have started a new project called - Capturing Ghost Light. It just might prove the cure to my slump ailment.

Light possesses so many qualities it becomes difficult to attach meaning and purpose to the variety of ways it impacts a photograph. Low light, or what I call Ghost Light, imparts a magical softness to the scene. It works in almost all situations, but is especially effective with moving water, and works wonders with waterfalls.

So what exactly is Ghost Light? It is mostly the use of ambient light that softly glows in the sky after sundown. That glow will remain for quite sometime after, but it does fade quickly. Even after it fades, Ghost Light still provides a unique atmosphere. Another form of Ghost Light is the moon. Moon light is basically reflected daylight...just softer and less intense. A very bright moon will cast shadows, and it imparts a soft even light across the scene. But, the Ghost Light I prefer is when there is a redish, or pinkish, glow in the sky. That particular glow generates some amazing light reflections off water or wet surfaces and is usually present right up until it gets too dark to see.

Another form of Ghost Light comes from the night sky itself. It is full of stars, and during the summer, the band of the Milky Way arches across a clear dark sky like a silver ribbon and provides a wonderful subject when combined with proper technique. One of the best captures of Ghost Light is to combine moving water / waterfalls with the night sky. That is an area I will explore more as the season progresses.

Capturing Ghost Light is actually pretty easy. You will need a sturdy tripod as the exposures are long, upwards to 30 seconds or longer. A cable release is recommended, but not required. A wide angle lens tends to work best, anything from 10mm upwards to 35mm will do a good job...it just depends on the composition you want to create.

Camera setup is pretty much the same as any daylight situation, although you may want to experiment with a few things like White Balance, and Color saturation. For moving water, I will use a f/stop somewhere between f/16 and f/22 to be able to capture foreground to background sharpness...f/22 seems to work best. I will place the camera very low to the ground and make sure there is something in the foreground even if you have to reposition an old tree limb or large rock to do so. Even scattering a few leaves around will help. I usually shoot with Aperture Priority and focus about 1/3 to 1/2 of the way into the scene (with f/22). Auto focus may fail you during those low light times because there is not enough light contrast for it to work, so switch to manual focus. As mentioned previously, the White Balance is usually set to daylight or (5500k), but you can adjust up or down depending on the effect you want to achieve...you are the artist...you decide that...not the camera!

Ghost Light begins just after sundown. The soft ambient light eminating from the sky will fill shadowed areas with a faint even light. As the light grows dimmer, the only thing that changes is the length of your exposures. Even light where it is almost too dark to see will provide enough light to capture an amazing image.

I am growing more excited about this new project. Capturing Ghost Light is just another way to explore this amazing science called photography. It is also a great way to explore your own creative instincts.

Keith

Hunting Without a Season

It is amazing how five hours sitting in a hunting blind goes by so much more quickly than five hours sittings in an office. It's a whole lot more fun too. Today was no exception. The real turkey gun season does not begin for another couple of weeks, but I spent this beautiful early spring day sitting in the corner of a wheat field hoping the turkey's I had been seeing would again make an appearance. I was hunting, but not with a gun this time. I was hunting with a camera.



See the blind in the background?  Blends in well doesn't it!

You can hunt with a camera year round without a license and there are no seasons that apply. Seems to me there are numerous advantages to doing that, not the least of which is that the critter you hunting gets off unscathed, and you can go pretty much whenever you want to. All the techniques are the same as used in hunting and in some ways they more difficult with a camera because not only do you have to get the critter in reasonably close, you also have to consider the direction of the light and time of day...plus all that other camera/photography/composition stuff.

For the past couple of months I have been seeing anywhere between 25 and 75 turkeys using the same corner of that wheat field I spent five hours in. Almost everyday, they were there between 4:30 and 5:00 pm and many times they were also there early just at daybreak. I set up the blind in a perfect location about 30 yards into the wheat field next to a large tree with an old GMC 4x4 sitting under it. The three yards of dark brown burlap I had painted up blended perfectly with the backdrop and provided a great hiding place. I setup two hen decoys about 20 yards out. It was great fun whating them spin and tip up and down in the breeze. They sure provided a lot of eye catching movement and looked pretty real to boot.

She knew I was there...but couldn't see me

But, alas wildlife does not always cooperate even for a photographer, and today proved that rule true. Not a single sighting of a turkey where for weeks they have been. That is the luck of a wildlife photographer...or at least someone aspiring to become one.

I did see a few deer and managed a few long range photos. I also managed to develop a few cramps in my legs, back, neck, and rearend sitting there for so long, but it was fun none the less. It was good to get outdoors after the long hard winter and feel the sun on my back and breathe some good clean country air. Think I will do it again soon. Maybe next time the turkey's will show up.

Keith

The One Defining Moment

Here is a repost from a couple years ago. Sometimes I go back thru some of the blog posts for no other reason than to hopefully regain a bit of inspiration and to remind myself why I am doing this. This one I think is a good reminder....

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I've missed more great photographs than I've ever come close to making. Maybe one percent of what I take could be considered pretty good...the other 99 percent was practice. Even so, I am always on the look out for that one defining shot...the single moment in time where everything falls into place...when location, light, preparation, and opportunity all come together and I succeed in capturing that one defining moment. It hasn't happened yet...but I keep trying...keep looking.

Many years ago I witnessed such a moment...all the elements were there...except I wasn't prepared. On this occasion I was driving south along Oklahoma's I-75 and was a few miles south of Henryetta. A big spring storm was brewing...dark clouds...distant thunder. It was late in the afternoon not far from sundown. The dark cloud spread out above me and was threatening the entire region, but off to the west there was a break in the clouds low on the horizon.

There was plenty of lightning, but not the normal cloud to ground type...the lighting was spreading out across the sky from cloud to cloud in a web-like manner like electric fingers extending in all directions. There was very little flashing...just a slow expansion of electric tentacles that moved across the sky. As I topped a hill the view changed to where I could see a valley off to the west and at the same time the sun popped below that break in the clouds. Everything lit up in an expanding warm light...yet the lightning continued to flash across the clouds. For a few moments...that may have been one of the most remarkable sights I've ever witnessed....and I had not a camera of any type with me. That may have been the first time I've ever wished I had a quality camera and knew how to use it...but it wasn't to be. I've never seen anything that remotely came close to that moment.

Another time probably around summer, 1975, I found myself visiting Crater Lake National Park in Oregon. An absolutely remarkable place. I spent pretty much the entire day there making a couple loops around the rim drive, photographing ever nook and corner of the view I could find. I've never seen such blue water or blue sky. As I was leaving it was right at sundown and the entire region was enveloped in a red glow. The surrounding mountains were layered in purple and the sky was on fire and spread out from horizon to horizon. I was at the right place, at the right time, under the right circumstances...but I had no film left in my camera. All I could do was stop..get out of my vehicle...and watch one of the most spectacular endings to a day I've ever seen...and was unable to take a single photograph of the moment. All that remains of both of these moments are the memories stored in my mind.

That one defining moment is an elusive dream that maybe someday I'll be able to capture. My eye is always on that search...and as I mentioned before I still continue to miss great photo ops simply because of a lack of readiness. One of my favorite locations to photograph is Oklahoma's Tallgrass Prairie. If there is any location that will offer such a defining moment that is unique to photography, it must be this place. I can visualize what it must look like...that one moment...but time and circumstance has yet to provide it.

That one defining moment may never happen...but I'll continue to search for it and even though I'd rather be good than lucky...maybe a little luck will come my way and I'll stumble onto a magical moment of light and actually have my camera in hand.

The Natural Still Life

I found myself one day sitting on the trunk of a blown down tree that had fallen along the edge of a creek I was hiking around. I wasn't doing much of anything other than sitting and enjoying some much needed nature time. A few birds flittered in and out but I was unable to capture any meaningful images. Mostly I just sat there...being still.

Afer a short time I began to see photo opportunities around me that I did not see before. To my right a part of the old tree roots stuck out. I pointed my camera in that direction and zoomed in to tighten the frame. As I shifted the frame around a natural still life came into view and I fired off several quick images. Of all the images I took that day, that particular unexpected event produced the most pleasing of the batch.

Sometimes you just gotta be still to be able to see a Natural Still Life. I like most neurotic photographers tend to move to quickly and fail to see what is really there. I want to jump around looking for the Big Picture...the big landscape...big sky shots, when often it is the small more subtle opportunities that provide us with the best shots.

 

There are times I go through dry spells where I seem to have lost my edge and my work tends to look clicheish and ordinary. When that happens, I will often purposely find a location and sit still and allow the opportunity come to me. Eventually, I will see it...it's just a matter of remaining still long enough to let it happen.

Keith

Camp Cooking with Mosquitos and Grasshoppers or Building Self Asteem Through Trial and Error

I got to looking at an old book the other day called Roughing It Easy. It's all about how to camp cook in style and has all kinds of recipes and outdoor cooking ideas to make your life afield more enjoyable. Well, I got to laughing to myself as I remembered a number of camp cooking learning experiences I was able to endure over the years and so having nothing else to write about at the moment I thought I'd share one of the most memorable ones with you.

My camp cooking career began many years ago oddly enough in my grandparents backyard. The year was probably around 1960 or 1961. My dad had purchased an old canvas army surplus pup tent. It was a drab army green and had that old musty smell like it had been stored away wet since 1942. It was summer and as was typical of that era, I spent a good part of my time outdoors running around barefoot and looking for something to do when I came up with the brilliant idea of camping out...in the backyard...but, regardless it was a real genuine campout for a nine year old.

The tent was setup in a strategic location; far enough away from the house so it would feel like being out in the wilderness, but close enough so if too many creepy crawlies creeped and crawled too close I could easily make a dash back to the house. The old army cot was wedged inside the tent with more blankets than the one hundred degree plus temps required piled on top.

There were numerous broken limbs lying around the yard and I gathered everyone of them I could find and built a small fire late that evening. That time of year in that part of the country it doesn't get dark until well after 9:00pm, and I couldn't wait to sit up at night around my campfire. What I didn't realize was just how much firewood would be required to last until then. For the next several hours as my campfire continued to burn down I would run around in the ever widening circles in ever increasing darkness looking for something to burn. My intent of course was to cook my supper over the fire after it got dark, but by that time, it was too dark to find any more wood to burn and my grandmother had fixed fried chicken whose aroma kept drifting across my campsite, so I ate inside that first night. But, I was determined to fix my own breakfast the next morning.

Morning was long in coming. Army cots are not the most comfortable of devises to sleep on and it was hot and the mosquitos swarmed inside my open ended tent. I'd pull the covers over my head to protect me from their blood sucking bites until I would get too hot and then have to come up for air. I've often wondered what it is about the inside of your ears that is such an attractant for mosquitos. They were constantly buzzing and dive bombing around my head and wanted to burrow deep into my ear cavities. The grasshoppers were thick that year and a number of them along with daddy longleg spiders turned the inside of my tent into a residence. It was a regular commune of mixed species trying to co-exist. That pretty much was the pattern all night. Somewhere between one of the coming-up-for-air bouts and the hoot owls and whippowills seranade I fell asleep.

By the next morning I was skeeter bit from top to bottom. But, I jumped out scattering grasshoppers as I tossed the blanket aside. I quickly gathered another arm full of firewood searching high and low for the fuel...rekindled the fire and ran to the refrigerator and extracted a couple of eggs and several strips of bacon. Using my old army surplus spit kit I commenced to burning the bacon and destroying the eggs. What I ended up with was part burnt bacon bits blended with rubbery eggs and egg shells pieces and probably a hapless grasshopper or two that managed to find their way into the mix when I wasn't looking...which by the way probably considerably improved the taste and texture of the meal. I loved it. I was now a genuine fully fledged camp cook.

Over the years just how much my camp cooking skills improved could be debated long into the
summer night. Although I've managed to graduate to a more modern approach to camp cookery, those first feeble attempts proved much more valuable in the long run. What has improved is my appreciation for having done those things. As simple and comical as those trials-by-error events were, they were none the less great learning tools for those time when a good sense of self became important. I guess my parents and my grandparents instinctively understood things like that. They allowed me to build my own self asteem through trial and error, mostly through error. It is amazing just how effective cooking burnt bacon and eggs over your very own campfire...and throw in a grasshopper or two...can be when it comes to building such things.