Weary road travelers park here to close their eyes for a few minutes. It's the typical rest stop with poor restroom facilities, overpriced vending machines, and an oversized map that says "you are here". I never was very good at reading those maps so I took a quick walk around the parking area with my camera. Right before me were intense sunbeams filtering through the trees. It was still early, and the light mixed with the morning mist nicely. The scene would require a tripod, and I questioned if it would even be worth the effort. I mean, could I really make something beautiful at a pit stop? I remembered the quote by Ernst Haas who said "what we see is what we are". I trotted back to the car for my Gitzo.

Before even looking through the viewfinder, I knew this would be a tricky exposure due to the extreme contrast between the shadows and highlights.  My first order of business was to use a small aperture to create a star burst effect with the sun. At f22 this was taken care of. Since the aperture was so small I had to use a slow shutter speed of 1.3 seconds.  My ISO was at 100. This exposure allowed me to show detail in the foliage. Next, I needed to use a 2 stop grad ND filter to balance the bottom portion of the image. I actually let this part of the photo run slightly hot (overexposed) in order to accentuate the sunbeams hitting the ground. This is not something I would ordinarily do, but rules are meant to be broken on occasion.

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The sun was rising over the Machias River and I strolled from our cabin into the dewy grass.  It was our last morning in Maine and I took a deep breath to savor the crisp New England air.  Sunlight streamed through the trees from its low angle in the sky.  I watched as the forest floor was transformed into a glowing field of flora.  The contrast was brilliant and the plants took on the appearance of twinkling stars in the night sky.  I knew this magical light was fleeting so I quickly set up my tripod, and used a wide angle lens to frame this shot.  Camera settings: 17-40mm lens at 40mm, f8, 1/20, ISO 100, Canon 40D.  Upon arriving home, I converted the image to B&W in Photoshop, and selected the Infrared preset filter.  

I also found this fitting quote,  "I will love the light for it shows me the way, yet I will endure the darkness because it shows me the stars."  - Og Mandino

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It's the end of the line.  Any further east, and you're in the chilly Atlantic Ocean.  To prevent mariners from wrecking their boats along the rocky shore, a lighthouse painted like a candy cane illuminates the night skies. This is Quoddy Head State Park in Lubec, Maine.  Instead of having my photo taken with the engraved rock, I was chasing the last light of the day.  Here are three tips and techniques which consistently work for me.  Each one will help to improve your skies and landscape photos.  Give them a try!

Tip #1 Find an Interesting Foreground

Everyone who visits Quoddy Head takes this picture below.  It's nice, but the road in the foreground is not necessarily picturesque.  I like to keep working until I create something that's uniquely mine.

This is where "composing with your feet" comes into play.  Simply walk around the grounds without the camera to your eye.  Take your time, and observe everything carefully.  Take notice of anything that can be used in the foreground.  Rocks, shells, flowers, etc... Once you find it, it's time to set up the tripod.  (if you need help finding the right tripod for you, check my article here.)

Tip #2 Tame Those Skies!

People always ask me why their skies are washed out and appear white in their photos.  Believe it or not, the fix is actually not Photoshop, but a much more affordable solution called graduated neutral density filters.  These are by far the most useful filters a landscape photographer can have.  Depending on the strength, you can block 2, 3, or 4 stops of light from a portion of the image.  By placing the darker half of the filter over the sky, you will retain detail there while still properly exposing the foreground.  Here's the difference:

Tip #3 Keep an Eye on that Histogram

Those who watched my Puffin video know I'm a big advocate of using the histogram to prevent overexposure.  The same is true with landscapes.  Check out the histogram on the bottom left, you'll notice all the data stacked up against the right hand wall.  This indicates severe overexposure.  If you see this, you're skies will be washed out unless you make an adjustment.  After applying the 4 stop neutral density filter, look what happens to the histogram below.  By blocking 4 stops of light from reaching the sky, we have preserved detail in the highlights and created a balanced exposure.

The filters I use are made by Hitech, which I prefer since they are truly neutral, and do not affect the image with a color cast of any kind.  I opt for the "soft edge" over the "hard edge" as there is more of a gradual blend from dark to light.  This makes it easier to blend the effect without a noticeable line across the horizon.  I also like the square version so I can easily adjust where the effect falls by sliding it up or down in the filter holder.  If you just want to start with one filter, try the 2 or 3 stop, as they will likely be used more often then the 4 stop strength. 

For more landscapes that were created using these methods, check out my online gallery of scenic shots. 

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Thousands of Puffins surrounded us and I excitedly fumbled to set up my tripod in the tight confines of the small wooden blind. Sue and I had driven over 600 miles, taken a two hour boat ride, and transferred to a smaller boat before making a dangerous leap onto land while treacherous waves crashed in behind us.  We had finally arrived on Machias Seal Island! 

There were nearly 10,000 birds flying about and resting on rocks.  Best of all, they were carrying fish back from the ocean to feed their young.  This was what we came for, and I breathlessly shot over 600 images as the action unfolded around us.  Working in a blind was more difficult than I had anticipated, especially with a tripod. 

Just overhead, the Puffins webbed feet slapped about the wooden roof, reminding us exactly how close we were.  The smell of seawater and fish was heavy in the air.  Using my 400mm lens I framed some tight portraits, and then switched to a 70-200mm on a different camera for more full body compositions.  Ultimately, I found the 400mm to be the preferred lens.  One of the important aspects of the shoot was to find nice clean backgrounds without distracting elements.  There were two or three spots which were ideal, but the birds weren't always there.  Nevertheless, I focused on the spot, and waited.  Sure enough, a Puffin would land and I began to rattle off exposures.  When they had fish in their bills, I would fire a series of about eighteen shots in three seconds.  Then, as quickly as it arrived, it vanished underneath the rocks to feed the young. 

It was approximately 9am, and the conditions were sunny without a cloud in the sky.  I had to pay careful attention to the histogram to properly expose the bird without blowing out the highlights.  My approach was to expose as far to the right as I could in order to capture the detail in the black feathers while stopping just short of overexposure.  Here is an example.  Notice how the data falls just shy of touching the wall on the far right. This means I have not lost any detail in the whites. 

The technical considerations were as follows: 

• I wanted tack sharp photos so I used a fast shutter speed to completely freeze any motion.  This was generally 1/800 or 1/1000.  Even with this fast of an exposure, it is still necessary to use a tripod, especially with a heavy 400mm lens.  After a few hours of hand holding, your arms get tired, and the likelihood of camera shake increases.  With the tripod, you are leaving nothing to chance.

• A wide aperture of f5.6 allowed me to completely blur the background and draw attention to the Puffin.  Although it was a shallow depth of field, it wasn't too wide like f2.8 or f4.  My concern with shooting that wide is that certain parts of the subject will get soft since it falls outside of the depth of field.  I feel that 5.6 is the perfect compromise.

• Since there was plenty of light, I was able to shoot at ISO 100 allowing for nice saturation with no noise.

Puffins steal the spotlight, and with good reason.  They are incredible birds to see in person, and fun to photograph.  Yet, you may be wondering, what else is on the island?  How about Razorbills!  Exotic looking in its own right, this bird was a photographic challenge due to the black on black coloration.  Still, I'm so glad I took some time to capture images of this beautiful bird.  Using the same techniques noted above, I was able to retain feather detail while revealing the dark eye.

This island isn't only for the birds.  There is actually an old Lighthouse here which is operated by the Canadian Coast Guard.  I took a picture with the 70-200 as the boat approached.  Interestingly enough, ownership of the island is contested with both Canada and the United States having claimed it.  

As the boat pulled away and Machias Seal Island slowly dissapeared in the distance, I realized just how lucky I was to have seen these birds in the wild.  Maine may be known as "Vacationland", but on this island there are no souvenir stands or ice cream parlors.  In this little pristine section of the earth, the birds far outnumber the people.  It's their sanctuary, and I'm grateful to have shared it with them for a short while.

For a behind the scenes video filmed inside the actual blind, check back in a few days! 

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Just walked in the door from an amazing trip to photograph Puffins in the wild.  I still have hundreds of photos to sort through.  In the meantime, here is one that made me smile.  More to come.

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I love road trips!  Gas up, pack some PB&J, the GPS, camera gear, and set off for new territory.  For this adventure, I explored Long Island's North Fork where the towns have Indian names like Aquebogue, Cutchogue, and Mattituck.  There are no mega-malls, or concrete jungles.  Out here, it's only vast farmland owned by friendly families.  Business operates at a different pace with most accepting cash but not credit cards.  You slow down, taste wine, and enjoy the view. To document the experience, I brought along my Canon 40D with an Canon 85mm f1.8 lens. 

I happily wandered through acres of peaceful lavender while enjoying the heavenly aroma.  I wondered how one can capture "scent" in a photo.  Normally when shooting landscapes, I use f16 or even f22 to render everything sharp from near to far.  Yet here, I wanted to capture the softer, ethereal quality of the flowers.    I decided to shoot wide open at f1.8 so only part of the image would be sharp.  I composed the shot above to show the symetry and patterns of the sprawling farmland.

When shooting a type of photo story, it's also important to remember to take a few detail shots.  For the image below, I used the 85mm again, and focused on one flower stem.  At f1.8, everything else turned into a wash of lavender.  I could have stayed here all day, but alas, there was more country to explore.

What would a visit to the East End be without sampling some wine?  This view is from the second floor balcony of Raphael's Winery.  Perhaps I fell under the spell of their 2004 Merlot Estate, or the samples of Riesling, but I decided to keep shooting at f1.8!  Here, the neatly arranged rows of grapes stretch into the horizon with a little barn in the distance.  

Back inside, I took this photo of the processing area through a window.

We also stopped at a local fruit stand where the berries were ripe for picking.  Continuing at f1.8, I photographed the local produce, and a sunflower before making thr long journey home.

A colorful Rooster signals the end of this day's farm adventure

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I'd like to present the story of this landscape photo in an Audioboo. 

For more Audioboos, visit my page here.

If the player does not work in your browser, here is the text:

I noticed it in the rear view mirror.  A brilliant display of purple wildflowers resting in the shadow of the Athabasca Glacier.  After pulling the car over abruptly, I ran into the middle of the field, camera and tripod in hand.  From this perspective, the Glacier appeared massive and powerful. This is the way I wanted to remember it.  I used a 4 stop neutral density filter in order to hold detail in both the sky and foreground.  Then, with a small aperture, and slow shutter speed, I made this photo.  It was bittersweet, as I knew this scene would not last forever.  A few minutes earlier, I stood at the base of the Glacier, and saw just how fragile it had become.  Having lost over half it's volume in the last 125 years, it's now more parking lot than it is ice.   As nature photographers, it's up to us to preserve these areas, and do what we can to educate others about our natural world.  As conservationist Jane Goodall said, "Every individual matters. Every individual has a role to play. Every individual makes a difference".

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I recently asked what kinds of things you'd like me to use audio for, and many of you requested that I share the stories behind some of my photos.  For this first installment, I'm bringing it to you in both text and audio.  It's a particularly meaningful photo to me, and a story I hope you will enjoy. 

With nearly four million annual visitors, Yosemite National Park is easily one of the most heavily trafficked natural areas in the United States.  Considered by many to be the Mecca of landscape photography, it's statistically possible that over one billion photos have been created here.  Much of the park's notoriety is due to the iconic black and white images created by Ansel Adams.  More recently, Galen Rowell climbed these peaks, creating beautiful color photos which were widely published.  Although the grounds of Yosemite stretch over 1200 square miles, the vast majority of pictures are made in a small seven mile area known as Yosemite Valley. There are countless books, maps, and websites which detail exactly where to stand in order to get the best perspective.  Signs appear on the side of the road which read "Preserve your Kodak moment here."  Tour buses packed with shutterbugs spill into parking lots while paid guides point out each landmark through a bull horn.  In 2005, I hiked in these same woods and wondered how I could possibly create something unique when so many photographers had gone before me.      

On a pleasant evening in July, I found myself standing directly in front of Half Dome, one of the park's most well known features. As the sun went down, I made several pictures of the majestic 8,836 foot dome reflected in the Merced River. It was a beautiful scene, but nothing that was really different from the postcards being sold on the souvenir racks. In fact, my image looked quite similar to the back of the 2005 California state quarter. I waited restlessly as the last light of the day vanished. What happened next was nothing short of remarkable. A group of teenagers rolled in on bicycles and carelessly tossed them to the ground. Just as quickly as they arrived did they begin to leap from the top of the bridge and free fall into the river more than 50 feet below. With each jump, a few seconds of tense silence was followed by a jubilant splash and shouts of joy which echoed through the darkening sky.

My opportunity to create a unique photo of Half Dome had arrived, and I ran through a quick mental checklist of what was needed to capture the moment. At the time, I did not own an external flash and was forced to use the pop up on my then new Canon 10D. While not ideal, it would provide enough light to illuminate a person in the foreground. In order to properly expose the landscape, I raised the ISO to 800 and used a wide aperture of f5.6.  The shutter was set to maximum flash sync speed of 1/250th.  Next, I arranged my composition with a wide angle zoom lens and set the camera on a tripod. Just then, this young man soared from the bridge and I snapped one photo.  A feeling of euphoria came over me as I reviewed the LCD screen.  Having captured the shot I wanted, I began to pack my bags by the light of the moon.  Before heading back to my campsite, I gave the group a few business cards and offered to email the image once I got back to New York. I never heard anything from them, that is until now.

I received an email from a gentlemen named Scott. He wrote, "Probably 6 years ago my family and friends went to Yosemite.  I remember meeting you there. I was with a couple of my friends jumping off the bridges.  One of the pics was on your website for a while."  He went on to say, "I've recently been thinking about starting a photography business in Springfield Missouri and thought I would check out your site once again for some inspiration. I love your work, and am very jealous of the beautiful places you get to shoot."  The irony of his message made me pause.  It was his leap which helped me believe I could create unique images, and succeed in the photography industry no matter what the odds were.  Now, six years later he was looking to me for inspiration.  The truth is, he doesn't need my advice.  He only needs to continue leaping fearlessly while forging ahead to follow his dreams.    

When we set aside ego and put ourselves in a position where we stand to fail, the possibility for success is much greater than if we had played it safe.  The risk is often equal to the reward.  For me, success is not merely defined by print sales.  In fact, this particular photo was not one of my best selling images from the trip, nor was it without technical flaws.  Yet, when I think of Yosemite, I'll always remember this moment as a turning point in my career. 
 

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This just seems to fall a bit outside their "green" policies published here.

Photo taken in front of the Environmental Protection Agency headquarters in Washington DC.

This pigeon comes from the island of New Guinea.  I photographed it at the National Zoo in DC.  One of the tough things about zoo photography is finding an uncluttered background.  Light fixtures, and other man made objects can be very distracting.  In this particular habitat, I noticed a little rocky area in the shade about 30 feet behind the bird.  By "composing with my feet" I was able to position myself to take advantage of the clean background. To make sure I blurred the rocks sufficiently, I used a wide aperture of f5.6.  Since the bird was in the light, and the rocks were in the shade, I exposed for the bird and let the background go dark at around -2.  This allowed me to bring attention to the bird's beautiful feather detail. 

Camera settings: Tripod mounted 400mm lens, Canon 40D at ISO 800, 1/125, f5.6. 

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