by Jason Hahn
Photography by Les Voorhis
and Jason Hahn
Picking the Right Night
Before you even head out the door, you have to make sure the evening you have picked is going to work. The weather is key, too cloudy or windy and you will have a very frustrating night. A cool dark night with only a few clouds works best, just be sure you also check the dew point and temperature forecast as you don't want moisture forming over your lens while you are taking your shot. If you can't avoid the dew, some tricks to help with this are carrying a bulb blower to gently blow away moisture forming on your lens, or you can strap chemical heat packs ("hand warmers") around your lens. This will help keep it warmer than the night air and prevent condensation from forming.
You also want a fairly dark night, star trails work best during the period from the first quarter through the new moon, on to the third quarter. There is a balance to shooting when the moon is up, a little bit of moonlight will help add light to your foreground, too much and it lights up haze in the sky, dulling your star trails.
For this image, I picked a spot on the edge of the falls laying my camera practically on the rock, to capture the full expanse and sweep of the falls, while using the foreground rock to anchor the image and give it depth. I like my images to take your eye on a journey, here I use the flow of the water to do so, framing the scene so water exits the frame at the lower left corner. I played with a variety of shutter speeds, settling on 5 seconds, using an aperture of f16 and a polarizer to achieve this slow speed.
Work It - With landscapes like this, it is a good idea to move around and look at the scene from a variety of different angles. Use elements like the lines of the rock, waters, trees, etc., to create a composition that leads your eye on a trip through the scene. Walking up to a scene and taking a straight on pic can work some of the time, but subtle changes in angle and position can really make a composition pop.
Use a Polarizer - To get the silky look of the water you need to have a pretty slow shutter speed. Depending on the water, light, and look I am trying to achieve, I may have a shutter speed anywhere from a half a second to 10 seconds. You can use a combination of a small aperture, low ISO, and a polarizer to get your shutter speed to where you want it. Don't be afraid to experiment with lots of different speeds to find what you like. A polarizer also removes glare from wet rocks and leaves, allowing colors and textures to come through without a distracting shine.
Control Your Colors. Light like this has a very blue green look to it, using a custom white balance tool (or alternately sometimes the "cloudy" white balance setting on your camera will work) will bring your colors back to normal, giving them a richer look.
Be Careful! Lots of people get hurt each year climbing around on waterfalls, don't be one of them! Take things slow and careful, watch your step, and obey any posted signs telling you where you can or can't go. Okay, so maybe we do a few things (correction, a lot of things) to get shots that would have our mom's waving a finger and "tssking" at us. But wet rocks are no joke, they can bust you up real quick. "And don't forget your galoshes..."
Background - This image was made during the 2008 Images for Conservation Pro-Tour. This was one of the final images I took in the competition, during the last hour of sunlight on the last day. I found this pair of GHO's hanging around a pair of trees hunting in a field and over the course of an hour they gave me some fantastic photo ops, this shot was one of my favorites. This image was shot at 1/1250th @ f8 with a Canon 1DMkIII, 500mm f4 and a 1.4 x TC. This is full frame, no major crops were allowed in the competition.
Body Language - To get this particular image I was photographing the owl as it sat perched on a snag. Having photographed this species before, I had a pretty good feel for their body language, and as this one hooted and wing-stretched I knew it was probably going to take off. Knowing the body language of your subjects is a huge asset in helping you predict and capture the action when it unfolds!
Leading your Target... - Most larger birds when they launch into flight have do do so with a lot of power, taking a large initial push and flap off of their perch. GHO's do just this, launching themselves out into space. To catch this shot, I prefocused on the perch and swung my camera so it was pointing a few feet right and up at what I suspected would be where that first leap took him. I watched him out of the corner of my eye and as soon as I saw the initial flap I squeezed off a burst and began my pan with him. This little bit of a lead gave me some much needed leeway on my reaction time (I was getting pretty tired and sluggish by the end of that competition!). Granted you may clip a wing tip or two when you shoot big birds in flight this tight, but by timing my burst I got most of my shots "wings in" before the second flap brought his wings out of the frame.
Sometimes just the experience is worth it... - Settings and technique aside, this was one of the coolest experiences I had during the competition. It was a real treat watching this pair up close, and whether I had gotten a single keeper or not, it was just a lot of fun photographing them. Granted I am much happier having made this image than not
, it is still an image I come back to as a favorite just 'cause I like to tell the story about it.
Background... Digging deep into the image files, this is one of my favorites from the 2008 Images for Conservation Pro-Tour. This image was taken late morning about halfway through the competition when I found this family of Scissor-Tailed Flycatchers (STF) hunting in a meadow near a pond. The family of three were perched on a variety of mesquite snags and other perches, they would fly out from the perches, snatch a bug from the air, and most of the time return to the perch they had just left. This image was shot at 1/1600th @ f7.1 with a Canon 1DMkIII, 500mm f4 and a 1.4 x TC.
Watch and Learn... The real key to this image was just taking a few minutes to sit and watch these birds engaged in their daily routine. It is really tempting to go in with "guns blazing" when you spot an animal you want to photograph, but sudden movements and sound from you and your camera can spook off wildlife before you get a chance to really capture the images you want. By waiting a few minutes this gave the birds time to become accustomed to my presence, see I wasn't a threat, and allow me to gradually move in a little closer. It also allowed me time to analyze their behavior, and see the pattern of "fly/land/eat/repeat" that they were engaged in. This male in particular really liked this perch, chasing off his young'un who tried to land on it a couple of times. His predictable pattern really made it much more possible to get this landing shot.
The Pre-Flight plan... Having a pretty good idea of how he would come in for a landing having watched it a few times, I prefocused on the perch and then waited for the STF to fly back in. With the wind coming from the right side of the perch, I knew he would most likely approach from the left, so I set my auto focus sensor to one click left of center as being the most likely place I would have to focus on. As he hovered over the perch I rolled my focus to bring him fully in, only tweaking the focus as the bird hovered around the perch to land. By prefocusing, I cut the time needed for my autofocus to acquire the STF, reduced the possibility I would accidently autofocus on something in the background and lose him all together, and overall improved my chances of success for getting a sharp image. Prefocusing on the perch also allowed me to frame the area, and compose my background, so I could make slight shifts to get a nice clean background that was free of distracting elements.
See it before you take it... I am a big believer in Pre-visualization, in other words seeing the shot before you take it. I drive and hike around with a whole laundry list of images in my head all the time, and am constantly on the lookout for opportunities that would enable me to get the "shots in my head". For this image I had been looking for a chance to get a STF perched on something other than barbed wire or a power line, so when the opportunity presented itself, I already had an idea of how I would approach getting the image. Flying in with a bug in beak was just an added bonus!
By Les Voorhis
When the herd is off at a distance, the margin for error is much greater as the given DOF is deeper, providing more of the herd in focus. This allows you to be freer with your composition and where you place your focus points…it doesn’t necessarily have to be on a lead horse. I typically like to shoot using only one photo point selected so that “I” can choose where the focus is concentrated and not my camera.
As the herd gets closer the importance of selecting a lead horse to focus on as well as fine-tuning your composition becomes more important. Learning to quickly change your focus point to move it off center as necessary is a good skill to acquire when shooting moving, running groups such as this.
For this shot I kept my focus point on center for the black pinto horse but adjusted the zoom of my 100-400 lens to eliminate horses on each side of the main grouping. For the next photo the grouping changed yet again and the palomino pinto charged ahead and off to the side, requiring me to move the active sensor to the right side of my frame and placing that on him, to give me the framing that I wanted.
To practice “on the fly” focus point selection, find a group of constantly changing subjects that can move at differing rates of speed as well as constantly changing positions. An excellent source for this is a group of kids rising bicycles. It is easy to control their speed and where and when you want them to move. Throwing a ball for a group of three or four easy to control dogs is a good next step after you have mastered the bicycles! Beware of slobber on your camera gear however!!
For this last shot, moving to a vertical orientation can confuse the entire process and changes the way you move your focus points. Be sure to practice your group shoots and photos in both horizontal and vertical positioning so that your mind and fingers are used to both sets of movements. Be aware of what is happening in your viewfinder! Watching the edges of the frame with your peripheral vision in order to keep errant butts and heads from sneaking in, all while keeping the focus sensor on your selected subject is certainly a skill developed only from practice and one I highly recommend acquiring. Good luck and I hope to see you on a workshop in the near future.
By Jason Hahn
That being said though, the hard part about digital photography for me has been the increased time spent in front of the computer versus looking through the viewfinder. All the post processing stuff after the shot has always been the "work" side of nature photography. Give me a bug infested swamp any day, versus sitting behind the desk inputting metadata into images! So a few months ago I really looked at my workflow, because (a) I wasn't thrilled with the end results, and, (b) I felt I was spending way too much time on this to end up with (a). I looked at my shooting, my software, my editing process, and came to the realization that frankly, I didn't know what I needed to change. Sure I teach workshops, but I am not too proud to admit when I need to grow in an area, and find an expert to learn from.
This is one of the images that I submitted as part of my portfolio in the 2008 ICF Pro-tour. While making my daily circuit of the waterholes on the ranch, I found this little pond had hundreds of damselflies flying over it. I found a couple of pieces of grass sticking out of the water that these guys would regularly land on, and was fortunate to get these two landing and facing each other for a split second.
This image was made using a 1D MkIII with a Tamron 180 macro lens at 1/320 sec, f/14 @ ISO400, aperture priority (Av), +2/3 exp comp, handheld laying on belly on the bank of the pond, slowly sinking into some fairly smelly mud...
Narrowing your Focus - There were literally hundreds if not thousands of these guys zipping around the pond. With so much activity it is really hard to narrow your focus down and pick what to shoot. Over the years I have developed a habit of just sitting back and watching the activity for a while, not only is it fun to me to just watch, but it helps to pick up on repetitive behaviors that the wildlife engages in. I noticed them landing on these little stubs of grass dotting the pond, which helped me narrow my focus and zero in on this action, ignoring all the other distractions taking place around the pond. Cutting out small slices from the big 360 degree world we have to choose from to make our photos can be a real challenge. Slowing down and watching for a moment helps you do just that.
Low Down and Dirty - Usually I work off of a tripod, it results in crisper shots, less fatigue, and fewer missed opportunities. However, there are times when the tripod just plain gets in the way of getting the shot you have pictured in your mind's eye, and you have to come up with other solutions. The shot I wanted was eye level at close to the water's surface, and the tripod I was using at the time just could not go that low. So I laid down on my chest in the mud at water's edge and inched forward until my elbows were in the water, bracing the camera just above water level. With both elbows on the ground, I could still hold the camera very stable, and also get the angle I was looking for. Taking this shot from higher on the tripod would have lead to a more cluttered background and given a top down view I didn't like as much in contrast to this more intimate eye level view. Would this work in every situation? Probably not. But here I had plenty of light to work with giving me good shutter speed even at the small apertures I was working with, and a way to lock the camera against myself to control my focus point and depth of field.
Wait for it... - With tons more damselflies than grass to land on, I guess it was just a matter of time before I got two on the perch I was looking at. But it sure did not seem that way while I was laying there in the mud watching this same scene unfold a number of times on every tuft of grass but mine. I was sorely tempted to try to move to get those, convincing myself that there was something wrong with my blade of grass, and the others were all so much better. But, the little voice in the back of my head kept me where I was, knowing that as soon as I moved it would spook any damselflies at rest back into flight. I picked this tuft initially because I saw lots of activity around it, it had a nice clean background, and could be shot at the angle I wanted from the shoreline, so I just needed to trust my instincts and wait it out. Not that sometimes it isn't worth getting up and moving if your instincts don't pan out, but you have to at least give a spot a chance. Often with wildlife we may see "the shot" happening somewhere else and want to move to capture it, but in reality, patience is key. Sit back, watch for a bit like I mentioned earlier, pick the best spot you can and wait for it. Too often I have seen folks get so excited about what is happening "over there" that they never settle down and make great shots of the action unfolding right in front of them.
by Jason Hahn
This image was captured in the waters of Tampa Bay while wading near a collection of spoil islands. The spoonbills congregate here in the shallow waters to forage, flying in and out throughout the day as rising or falling tides change the landscape of the area. While photographing this bird, I noticed that it had stopped feeding and exhibited a series of behaviors that from my experience told me he was getting ready to fly off. I prefocused on him, and swung my camera so it was pointing a few feet left and up from where I suspected that first wing-flap would take him. This image was taken while waist deep in Tampa Bay, with a Canon 1D MkII, with a 500mm lens and 1.4x extender, at 1/1600 at f8 and ISO250.
Shooting in Sand and Salt - Beaches and coastal waters provide some of the best opportunities for nature photography, from wildlife to scenery, but sand and salt are probably two of the worst substances to expose your photography gear to. Sand can scratch lenses, jam up tripods and focusing rings, and find its way into every nook and cranny in your gear. Saltwater can be death for electronics. While the extreme way to handle sand and salt is too avoid shooting in areas where they occur, doing this limits you from shooting in some great locations.
Carry a paint brush - In sandy areas keep a 2 or 3 inch wide paint brush with you. You can quickly knock loose sand off of tripods, cameras, clothes, and hands. Of course do not use this on lens elements, as it may scratch them.
Use a closed fist to get off the ground - If going after subjects on the ground, either by crawling or kneeling, when its time to stand up, prop yourself up with the knuckles of a your closed fist. Do not set your hand flat on the ground, as your palm will become covered in sand, which you will then have to get off before you can take another photo.
Keep a dry rag hand - If around water, especially salt, keep a dry rag handy to wipe off any accidental splashes or spray. Be sure you have it somewhere that will stay dry. I usually keep a small cloth inside a sealed plastic baggie in my pack. While wading I have had large fish jump directly in front of me and splash water all over my gear. A quick wipe with a rag was all I needed to keep shooting.
Clip and Zip - If you are in salt water, minimize the chances you will drop something by clipping everything to you. Use retractable cords or lanyards if necessary. Make sure all pockets are zipped or buttoned shut, you don’t want to have something fall out if you bend over (…which is how I lost my first cell phone at Ft. De Soto…).
Keep items high and dry - A lot of times when wading after a subject I get so caught up I don’t realize how deep I have gotten. I try to keep all items that are vulnerable to water damage waist high or higher. I never put items in pants pockets, preferring pouches on my belt harness or shirt pockets instead. Periodically check the bottoms of pouches on belts or vests to see if you have gotten them wet. If so, take a moment and check the contents to see if they need to be dried.
by Jason Hahn
This was shot in Dead Horse Point State Park, near Moab, Utah. This image was shot as a five image series to create an HDR (High Dynamic Range) image using Photomatix and Photoshop. The huge difference in dynamic range between the bright evening sky and the deeply shadowed valleys are exactly the type of situation where shooting for an HDR makes sense, to capture details in both the highlights and the shadows. The series was processed using Photomatix to create two versions of the image, a "details enhancer (DE)" tone map, and a "tone compressor (TC)" tone map. The tone mapped images from Photomatix were then brought into Photoshop with the DE image layered over the TC image, using multiply and a 50% opacity for the DE Layer. I know that all sounds complicated, but it is really a pretty quick and straight forward process once you have done it a few times, and are familiar with Photomatix. The images were shot at 1 stop increments from 1/8 to 1/125 at ISO 200 and an aperture of f8 with a Canon 1DMkIII and a Tamron 17-35mm lens at 17mm. An Expoimaging "ExpoAperture2 Depth-of-Field Guide" was used to calculate the hyperfocal distance and appropriate f-stop .
My Hyperfocal What?! I mentioned above that I used a cool little gadget to calculate the hyperfocal distance for this shot. The Hyperfocal Distance is the point in the scene you are shooting from which everything on all the way out to infinity is in focus. The reason we want to know what this is because in most cases is it allows you to get as much in focus in your scene as possible. For example, say you're on the beach, and you want a sweeping image with the seashells at your feet in sharp focus, as well as the rest of the scene extending out over the surf to the horizon. By knowing the hyperfocal distance for your particular combination of lens, camera, and distance to your nearest subject, you can get all of this in sharp focus. There is a pretty complex set of equations to use to figure out the exact hyperfocal point for your particular combination of lens, focal distance, and aperture, usually photographers use a couple of different tricks instead of trying to figure this out on the fly. One way is to carry around printed charts listing all of your lenses at different distances. Another old trick a lot of photographers use, and with pretty good results, is to focus about 1/3 into the scene, which is pretty close in a lot of cases to where the hyperfocal point will be. But you may lose sharpness in the foreground using this trick, this is where using a tool like the "Depth of Field Guide" comes in handy to really nail the settings and get the sharpness you want throughout your image. With this tool you just spin the three dials built into to it your settings and it shows you where to set your f-stop and focal distance, no math in your head required.
Don't Overdo it! As I have mentioned in other articles on HDR images, it is very easy to overdo things in the post production and end up with an image that looks like, well, an HDR. To me a good HDR is subtle, where it has the viewer wondering how the image was done, without slapping them in the face screaming "HDR!". I like to use one of the images in my original series as the "foundation", and layer the Photomatix file(s) over it, changing the layer blend to multiply, lighten or darken (depending on the image), and using the opacity slider to get just the effect I want. Also be careful of noise and over-saturation, the very nature of HDRs intensify both of these. Shoot at a low ISO, usually 200 or less, and be careful not to over intensify the saturation in Photoshop.
"Scrapping Sea Lions" by Jason Hahn
by Jason Hahn
This photo was taken on my recent trip up to British Columbia, during our whale watching portion of the trip. The area we we were cruising through in search of whales (of which we found plenty!) is also host to a series of islands on which hundreds of Sea Lions haul out, rest, argue, and generally do what Sea Lions do. This image was shot with a Canon 1d MkIII and 100-400, handheld from a boat, 1/800th sec @ f8 and ISO640
Settings for Sharpness - Shooting hand held in soft light from a bobbing boat sounds pretty much like a good way to come home with a lot of out of focus images. But you can make a lot of choices in your settings to still get sharp images despite these factors working against you. One of the easiest things to do as light levels drop is begin moving up your ISO to allow you to continue shooting at higher shutter speeds and equivalent apertures. The latest generations of digital cameras have exceptional noise characteristics, I find I rarely shoot wildlife at anything lower then ISO 400 anymore with the Mark III. It is far better to get a sharp shot with a bit of noise, than no shot or a blurry shot. Noise can be fixed, out of focus, not so much... There are some great noise reduction programs out there, I find Noise Ninja to be an exceptional plug-in for Photoshop to clean up noisy images.
On the Fringe - While I certainly took plenty of large group shots, this image is an example of working the "edges of the crowd" to isolate individual animals or small group interactions. To capture images of single animals, instead of shooting into the mass of animals, which can sometimes provide very "busy" images with clipped parts of animals in your backgrounds, keep an eye on the edges. Look for animals entering or leaving the group, and constantly scan for opportunities as they arrive or depart. If possible, try to position yourself nearer an edge also, instead of directly opposite the middle of the group. Not only do you get better opportunities at individual action and portraits, but you end up with much cleaner backgrounds, such as this, that really frame your subject.
Remember though, there is nothing wrong with group shots, just be very aware of your composition to best "tell the story" of the rookery, herd, or flock.
"Getting the Shot" is regularly featured on our Facebook page, please check it out for the latest installments in this series.
Ever wonder what the WB button on your camera does, or just want to get a better handle on how to have rich accurate color in your images. In our latest video tutorial, we explain and explore the White Balance setting for digital photography. We look at the science of white balance, color temperature, and how different white balance settings will affect the color in your images.
by Jason Hahn
by Jason Hahn
Part 2 of our White Balance Video Tutorial explores custom white balances; how to set them, when to use them, and how to get the best results.
by Jason Hahn
by Jason Hahn
"St. Mark's Lighthouse" by Jason Hahn
by Jason Hahn
This image was made this past spring at St. Mark's NWR, in the Florida panhandle. This was shot as a 5 image series to create an HDR (High Dynamic Range) image. Although I liked the silhouette look of the scene, I wanted to bring a little detail out in the lighthouse and trees, while preserving the colors of the sunset; using the HDR technique helped make this possible. The series was processed using Photomatix to create two versions of the image, a "details enhancer (DE)" tone map, and a "tone compressor (TC)" tone map. The tone mapped images from Photomatix were then brought into Photoshop with the DE image layered over the TC image, using multiply and a 50% opacity for the DE Layer. I know that all sounds complicated, but it is really a pretty quick and straight forward process once you have done it a few times, and are familiar with Photomatix. The images were shot at 1 stop increments from 1/50 to 1/640 of a second at an aperture of f13 with a Canon 1DMkIII and 24-105mm f4 at 45mm.
Ever wondered just what to do with all those settings and sliders in the Unsharp Mask (USM) filter? In our first video tutorial we cover the basics of sharpening and how to get the best results using the USM Filter in Photoshop. This is part of our ongoing video tutorial series for nature photographers on outdoor photography techniques and digital workflow, be sure to check out all our videos!
by Jason Hahn
by Jason Hahn
by Jason Hahn
Part 1: Wildlife Photography
As the (insert amazing wild animal of choice here) steps out of the edge of the woods into view and you prepare to capture your award winning images of it, you suddenly are confronted by a vast array of choices on how to make the images, with only a short period of time to make them.
What aperture should I use...what ISO...should I try to move closer...should I shoot it as a vertical...should I put on a teleconverter...should I take off the teleconverter... should I switch my car insurance to that company run by a lizard...
In this article we cover some of those decisions you face when photographing wildlife. While many of the same types of decisions have to be made for other nature photography subjects like landscapes or macro, the decision outcomes will often be quite different. Remember these are not rules, just guidelines, and that every opportunity needs to be evaluated for the conditions presented, and what you hope to achieve as a photographer.
Part 1: Wildlife Photography
As the (insert amazing wild animal of choice here) steps out of the edge of the woods into view and you prepare to capture your award winning images of it, you suddenly are confronted by a vast array of choices on how to make the images, with only a short period of time to make them.
What aperture should I use...what ISO...should I try to move closer...should I shoot it as a vertical...should I put on a teleconverter...should I take off the teleconverter... should I switch my car insurance to that company run by a lizard...
In this article we cover some of those decisions you face when photographing wildlife. While many of the same types of decisions have to be made for other nature photography subjects like landscapes or macro, the decision outcomes will often be quite different. Remember these are not rules, just guidelines, and that every opportunity needs to be evaluated for the conditions presented, and what you hope to achieve as a photographer.
by Jason Hahn
Excerpted from Janary 2009 OPW Newsletter
"In Mom's Shadow" - Sandhill Crane
I watched a pair of Sandhill Cranes foraging with their chick along the banks of the Myakka River, near Sarasota, Florida for several days. Each day this pair would start out at the north end of a stretch of the river and work their way south. After spotting the pair, I picked a nice spot in the mud along the river, and waited. In my neck of the woods Sandhill Cranes are constantly on the move, and I have found if you try to follow them, they just keep moving away from you, rarely giving you nice front-side portraits. By standing back for a while and watching their foraging route, you can pick a place to wait for them to pass by you, which will give you a great series of photo opportunities. Then carefully leap frog to a spot further down their route and do it all over again. This minimizes any chance of you stressing the animals, and puts you in positions to make great
For this image, I picked a spot in the mud about 15-20 feet or so back from the edge of the river, and waited. The family walked in front of me, and instead of continuing on, they stopped, and began flipping over rocks and rooting through the mud to pull up food for the chick. They stayed in this spot for close to an hour, giving me a fantastic photo session, and one of my most memorable wildlife experiences.
Excerpted from Janary 2009 OPW Newsletter
"In Mom's Shadow" - Sandhill Crane 
I watched a pair of Sandhill Cranes foraging with their chick along the banks of the Myakka River, near Sarasota, Florida for several days. Each day this pair would start out at the north end of a stretch of the river and work their way south. After spotting the pair, I picked a nice spot in the mud along the river, and waited. In my neck of the woods Sandhill Cranes are constantly on the move, and I have found if you try to follow them, they just keep moving away from you, rarely giving you nice front-side portraits. By standing back for a while and watching their foraging route, you can pick a place to wait for them to pass by you, which will give you a great series of photo opportunities. Then carefully leap frog to a spot further down their route and do it all over again. This minimizes any chance of you stressing the animals, and puts you in positions to make great For this image, I picked a spot in the mud about 15-20 feet or so back from the edge of the river, and waited. The family walked in front of me, and instead of continuing on, they stopped, and began flipping over rocks and rooting through the mud to pull up food for the chick. They stayed in this spot for close to an hour, giving me a fantastic photo session, and one of my most memorable wildlife experiences.
by Jason Hahn
Whether it is landscapes or wildlife, the sharpness of an image is often the difference that separates a keeper image from those getting sent to the recycle bin. Many workshop participants state that getting consistently sharp images is a concern for them and something they want to improve in their photography. No single technique will give you sharp images every time, but a combination of techniques will make your rate of success skyrocket.
Whether it is landscapes or wildlife, the sharpness of an image is often the difference that separates a keeper image from those getting sent to the recycle bin. Many workshop participants state that getting consistently sharp images is a concern for them and something they want to improve in their photography. No single technique will give you sharp images every time, but a combination of techniques will make your rate of success skyrocket.
by Jason Hahn
Originally published on Naturescapes.net October 2007
Introduction
The Chair Blind from Ameristep is a relatively new type of blind option, offering a one person blind built around an integrated seat. My first introduction to the Chair Blind was last winter in South Carolina on a trip to take pictures of wintering waterfowl. Several of us had been invited to the South Carolina Waterfowl Association’s private properties to take pictures of the ducks there, and fellow photographer Doug Gardner, the trip organizer, had obtained a few of these blinds for us to try out. We put them through the paces in some pretty rough conditions, and by the end of the trip I had ordered two of them for myself.
Originally published on Naturescapes.net October 2007
Introduction
The Chair Blind from Ameristep is a relatively new type of blind option, offering a one person blind built around an integrated seat. My first introduction to the Chair Blind was last winter in South Carolina on a trip to take pictures of wintering waterfowl. Several of us had been invited to the South Carolina Waterfowl Association’s private properties to take pictures of the ducks there, and fellow photographer Doug Gardner, the trip organizer, had obtained a few of these blinds for us to try out. We put them through the paces in some pretty rough conditions, and by the end of the trip I had ordered two of them for myself.
by Les Voorhis
We’ve all seen them, the perfectly composed frame filling portrait, a beautiful bird or animal in the ideal pose, wowing us with its simple beauty. We even talked in the last article about the mechanics of making these portraits work and how to transfer our vision to a piece of film or pixels. However, the opportunity for close-up portraits is often fleeting or non-existent. Like our children behaving in the grocery store, the opportunity for close-ups comes along - but not always as often as we’d like.
What then do we do when we are not able to get closer to our subject or have a long enough lens to fill the frame? This is a prime opportunity to make an environmental portrait. While all of the rules of portraiture still apply, such as making contact with your subject, ensuring that your subject is in an attractive pose so on so forth, you must approach the environmental portrait with a different mind set.
We’ve all seen them, the perfectly composed frame filling portrait, a beautiful bird or animal in the ideal pose, wowing us with its simple beauty. We even talked in the last article about the mechanics of making these portraits work and how to transfer our vision to a piece of film or pixels. However, the opportunity for close-up portraits is often fleeting or non-existent. Like our children behaving in the grocery store, the opportunity for close-ups comes along - but not always as often as we’d like.
What then do we do when we are not able to get closer to our subject or have a long enough lens to fill the frame? This is a prime opportunity to make an environmental portrait. While all of the rules of portraiture still apply, such as making contact with your subject, ensuring that your subject is in an attractive pose so on so forth, you must approach the environmental portrait with a different mind set.
By Les Voorhis
I climbed back into my truck covered in mud, sweat and cockleburs. I’d just spent the better part of the morning on my hands and knees and I couldn’t be happier. The subject of the day was wildflowers and the best way to find them was to get down on their level.
When it comes to photography, I often go into the field looking as if I am prepared for battle. I arm myself with a photo vest filled with extra lenses, converters, film, filters, flash and accessories. I carry my camera mounted on the tripod, with a second body and lens often slung over my shoulder. I wear kneepads, gaiters and depending on what I plan to encounter, even elbow pads. On my back is a camelback water bottle so I never need to stop what I am doing to quench my thirst. In the pack are also a snack, first aid gear, bug repellant and usually a lunch.
I climbed back into my truck covered in mud, sweat and cockleburs. I’d just spent the better part of the morning on my hands and knees and I couldn’t be happier. The subject of the day was wildflowers and the best way to find them was to get down on their level.
When it comes to photography, I often go into the field looking as if I am prepared for battle. I arm myself with a photo vest filled with extra lenses, converters, film, filters, flash and accessories. I carry my camera mounted on the tripod, with a second body and lens often slung over my shoulder. I wear kneepads, gaiters and depending on what I plan to encounter, even elbow pads. On my back is a camelback water bottle so I never need to stop what I am doing to quench my thirst. In the pack are also a snack, first aid gear, bug repellant and usually a lunch.
By Les Voorhis
It finally came through…your significant other gave the go ahead and you can take one of those expensive, multi-day photography workshops. You couldn’t be more thrilled. Now the fun part begins! You get to spend hours browsing the Internet, magazine ads and talking to friends looking for the perfect workshop. But wait a minute - this isn’t fun! There are too many choices! Do you want to go to a far off exotic location or stay close to home? How about a workshop from a well-known Pro? Birds, Wildlife, Landscapes…how do you make sense of the hundreds, no thousands, of workshops promising the perfect photo opportunities?
This can be a daunting task and even frustrating to the point of being paralyzing. Then come the horror stories about trips gone bad, unreturned deposits and promises not delivered. This can put some people off so much that they decide to not even take a workshop and end up using the money for a new car, a cruise or, god forbid…bills!
It finally came through…your significant other gave the go ahead and you can take one of those expensive, multi-day photography workshops. You couldn’t be more thrilled. Now the fun part begins! You get to spend hours browsing the Internet, magazine ads and talking to friends looking for the perfect workshop. But wait a minute - this isn’t fun! There are too many choices! Do you want to go to a far off exotic location or stay close to home? How about a workshop from a well-known Pro? Birds, Wildlife, Landscapes…how do you make sense of the hundreds, no thousands, of workshops promising the perfect photo opportunities?
This can be a daunting task and even frustrating to the point of being paralyzing. Then come the horror stories about trips gone bad, unreturned deposits and promises not delivered. This can put some people off so much that they decide to not even take a workshop and end up using the money for a new car, a cruise or, god forbid…bills!
by Jason HahnPublished on Naturescapes, May 2006.
I often joke that I do know how to work a camera unless I am wet. I spend a lot of time in the water wading after shots, both in freshwater and salt. Wading gives you some unique opportunities to approach wildlife or capture scenes that you simply can’t get from dry land. I find most animals will allow me to approach closer, and I am able to get better angles, interesting behavior, and pleasing compositions. However, wading can be difficult and dangerous. This article is a guide to get you started wading, avoid or identify common dangers, and provide tips to help you make great shots from the water.
by Les Voorhis
Snow is leaving the valleys and flowers are beginning to poke their heads from the moist earth. Soon the countryside will be blanketed with a multitude of colors from rich greens to vibrant reds. Winter has a hard time leaving here in Colorado, but when it does, it goes with a rush. It is at this time of year that my thoughts turn to landscape photography and how to capture the beautiful season before me.
One of the struggles that all photographers face is how to make our work stand out from the rest. With the large amount of images that are being produced each year, this becomes more and more difficult. My answer is to turn to the sky. Or more specifically, add impact to your images by adding a dramatic or interesting sky.
Snow is leaving the valleys and flowers are beginning to poke their heads from the moist earth. Soon the countryside will be blanketed with a multitude of colors from rich greens to vibrant reds. Winter has a hard time leaving here in Colorado, but when it does, it goes with a rush. It is at this time of year that my thoughts turn to landscape photography and how to capture the beautiful season before me.
One of the struggles that all photographers face is how to make our work stand out from the rest. With the large amount of images that are being produced each year, this becomes more and more difficult. My answer is to turn to the sky. Or more specifically, add impact to your images by adding a dramatic or interesting sky.
by Jason Hahn
Published on Photomigrations, September 2005.
Part II: Florida Flora and Fauna: Crocodilians
As I was walking down a trail at one of our local state parks last year, I came across a gentleman lying on the ground. Worried that he was injured I ran over to him, noticing also the tripod and camera set up a few feet away. My initial concern was quickly replaced as I saw he was not hurt, but rather had his arm shoved down a gopher tortoise burrow, all the way up to his shoulder. I cleared my throat to get his attention, and asked if everything was okay. He replied, ”Yeah, this turtle just went down this hole, I want to see if I can pull him out to get a picture of him”. He figured he would just pull it out and set up in a good spot to get a few shots. Shocked into silence I did not know how to respond to him, this was someone who had a much different set of ethics than I did for dealing with wildlife, and also did not know a whole lot about gopher tortoises and their “roommates”. Taking a deep breath, I then asked him how much he knew about gopher tortoises. He gave me a funny look, arm still in hole, and said “Not much.” So I told him that the gopher tortoise burrow is shared by many other animals (one study found 360 different species used gopher tortoise burrows as shelter). Still getting the funny look, I then said one such animal that particularly favors it is the Eastern Diamondback Rattlesnake, and I saw a 6 foot one not 20 yards from this burrow two days ago”. I have rarely seen a human move this fast, but he was able to go from prone to standing 10 feet away from the hole in the blink of an eye. Then I had the dilemma of whether to tell him about the poison ivy patch he had landed in or not…
Published on Photomigrations, September 2005.
Part II: Florida Flora and Fauna: Crocodilians
As I was walking down a trail at one of our local state parks last year, I came across a gentleman lying on the ground. Worried that he was injured I ran over to him, noticing also the tripod and camera set up a few feet away. My initial concern was quickly replaced as I saw he was not hurt, but rather had his arm shoved down a gopher tortoise burrow, all the way up to his shoulder. I cleared my throat to get his attention, and asked if everything was okay. He replied, ”Yeah, this turtle just went down this hole, I want to see if I can pull him out to get a picture of him”. He figured he would just pull it out and set up in a good spot to get a few shots. Shocked into silence I did not know how to respond to him, this was someone who had a much different set of ethics than I did for dealing with wildlife, and also did not know a whole lot about gopher tortoises and their “roommates”. Taking a deep breath, I then asked him how much he knew about gopher tortoises. He gave me a funny look, arm still in hole, and said “Not much.” So I told him that the gopher tortoise burrow is shared by many other animals (one study found 360 different species used gopher tortoise burrows as shelter). Still getting the funny look, I then said one such animal that particularly favors it is the Eastern Diamondback Rattlesnake, and I saw a 6 foot one not 20 yards from this burrow two days ago”. I have rarely seen a human move this fast, but he was able to go from prone to standing 10 feet away from the hole in the blink of an eye. Then I had the dilemma of whether to tell him about the poison ivy patch he had landed in or not…
by Jason Hahn
Published on Photomigrations, June 2005.
Part 1: Sun, Sand, and Storms
At least once per week I hear someone comment about those “tame” Florida birds and how easy it is to shoot in Florida. Each year droves of photographers come to Florida, many unprepared for the conditions they will encounter here.
For all of the beauty and abundant wildlife, Florida can be a difficult, and at times dangerous, place to be a photographer. There are certainly many places where you never have to leave a boardwalk or the comfort of your car to take a picture. However, for those willing to venture into the real Florida, there are some precautions that should be taken. The climate and critters of the “Sunshine State” can imperil both the photographer and his or her equipment if they are not properly prepared
Published on Photomigrations, June 2005.
Part 1: Sun, Sand, and Storms
At least once per week I hear someone comment about those “tame” Florida birds and how easy it is to shoot in Florida. Each year droves of photographers come to Florida, many unprepared for the conditions they will encounter here.
For all of the beauty and abundant wildlife, Florida can be a difficult, and at times dangerous, place to be a photographer. There are certainly many places where you never have to leave a boardwalk or the comfort of your car to take a picture. However, for those willing to venture into the real Florida, there are some precautions that should be taken. The climate and critters of the “Sunshine State” can imperil both the photographer and his or her equipment if they are not properly prepared
By Les Voorhis
Making pleasing photographs is often about overcoming obstacles. While many of these obstacles can be overcome by applying various artistic techniques (composition, light direction etc…) others are conquered with technical prowess. Understanding the technical aspect of photography is, for many, the hardest part of the process. Typically one of the most difficult to understand and master is the use of depth of field.
Utilizing depth of field (DOF) correctly can lend a third dimension to a 2-dimensial image. In other words you can create “depth” and draw your viewer into your scene. Depth of field is best described as the amount of the scene that is retained in sharp focus. This can vary from a landscape scene where everything from the foreground to infinity appears in sharp relief to a flower portrait where only the blossom of the flower is sharp and the background is a blur of color. Having control over the depth of field in your image can greatly improve your photographs.
Making pleasing photographs is often about overcoming obstacles. While many of these obstacles can be overcome by applying various artistic techniques (composition, light direction etc…) others are conquered with technical prowess. Understanding the technical aspect of photography is, for many, the hardest part of the process. Typically one of the most difficult to understand and master is the use of depth of field.
Utilizing depth of field (DOF) correctly can lend a third dimension to a 2-dimensial image. In other words you can create “depth” and draw your viewer into your scene. Depth of field is best described as the amount of the scene that is retained in sharp focus. This can vary from a landscape scene where everything from the foreground to infinity appears in sharp relief to a flower portrait where only the blossom of the flower is sharp and the background is a blur of color. Having control over the depth of field in your image can greatly improve your photographs.
by Jason Hahn
Originally published August 2006 www.jasonhahn.com
1. Know your equipment. When it comes time to take a picture the settings and operation should be instinctual. If you are fumbling with buttons and settings, you will miss the shot. Read your manual, twice, and practice, practice, practice!
2. Take Control. Especially with the newest generation of digital cameras coming out, the cameras try to do all the thinking for you. While they have become “smarter”, the best images are made when you take control of the settings. Know how to properly expose a shot, and when to override what your camera is telling you to do.
3. Know your subject. When working with wildlife there are certain behaviors that indicate what the animal is about to do. The better you know your subject, the more of these behavior cues you will pick up on. When you know what an animal is about to do, you can be prepared for the decisive moment to capture that behavior on film. Whether it is a person, place or animal, knowing your subject will help you make more natural and dynamic photos, capturing the true personality and life of your subject.
Originally published August 2006 www.jasonhahn.com
1. Know your equipment. When it comes time to take a picture the settings and operation should be instinctual. If you are fumbling with buttons and settings, you will miss the shot. Read your manual, twice, and practice, practice, practice!
2. Take Control. Especially with the newest generation of digital cameras coming out, the cameras try to do all the thinking for you. While they have become “smarter”, the best images are made when you take control of the settings. Know how to properly expose a shot, and when to override what your camera is telling you to do.
3. Know your subject. When working with wildlife there are certain behaviors that indicate what the animal is about to do. The better you know your subject, the more of these behavior cues you will pick up on. When you know what an animal is about to do, you can be prepared for the decisive moment to capture that behavior on film. Whether it is a person, place or animal, knowing your subject will help you make more natural and dynamic photos, capturing the true personality and life of your subject.
By Les Voorhis
One of the most difficult aspects of wildlife photography is finding and getting close to willing subjects. The ability to achieve frame-filling images is often a challenge and is the goal of almost all wildlife photographers. This can be accomplished by working with habituated animals, shooting from your vehicle or even hiding from your subject so that they are unaware of your presence.
While I typically prefer to work unencumbered and free to move about, this is not always possible. I am then required to hide from my subjects and this can be accomplished in a variety of ways. Donning camouflage clothing and blending into the natural surroundings is one option. Quite often I will build natural blinds using sticks, grass or reeds…anything I can find in the immediate vicinity. But more often than not today my choice is to use a portable pop-up blind that enables me to not be tied to one specific area and I can easily move the blind to a new location if necessary. A good blind allows for more freedom of movement than camouflage clothing; you are more comfortable yet you remain completely undetected.
One of the most difficult aspects of wildlife photography is finding and getting close to willing subjects. The ability to achieve frame-filling images is often a challenge and is the goal of almost all wildlife photographers. This can be accomplished by working with habituated animals, shooting from your vehicle or even hiding from your subject so that they are unaware of your presence.
While I typically prefer to work unencumbered and free to move about, this is not always possible. I am then required to hide from my subjects and this can be accomplished in a variety of ways. Donning camouflage clothing and blending into the natural surroundings is one option. Quite often I will build natural blinds using sticks, grass or reeds…anything I can find in the immediate vicinity. But more often than not today my choice is to use a portable pop-up blind that enables me to not be tied to one specific area and I can easily move the blind to a new location if necessary. A good blind allows for more freedom of movement than camouflage clothing; you are more comfortable yet you remain completely undetected.
by Les Voorhis
When thinking of great landscape photography, ones thoughts instantly turn to the great masters like, Ansel Adams, Edward Weston or David Muench. These great photographers produced many icons of today’s landscape imagery. Using 4x5 view cameras, they made the wide-angle grand landscape the stereotype for landscape photography.
Because of that stereotype, many people believe that to be a landscape photograph the scene must include as wide a view as possible. Typically set off by a strong prominent foreground leading to a complimenting background. To be effective, these types of images work the best and have the strongest impact by using a wide-angle (wider than a “normal” 50mm in 35mm cameras) lens and a small aperture for maximum depth of field.
While such images are striking and I take many of them each year, I have found that an increasing number of my landscapes are taken with a short to long telephoto lens (70-400mm) and I am “optically extracting” what I think is the most important part of the scene. For many people this is not a normal way of viewing a landscape and therefore the images can be more intriguing and often more studied than a wide-angle image.
When thinking of great landscape photography, ones thoughts instantly turn to the great masters like, Ansel Adams, Edward Weston or David Muench. These great photographers produced many icons of today’s landscape imagery. Using 4x5 view cameras, they made the wide-angle grand landscape the stereotype for landscape photography.
Because of that stereotype, many people believe that to be a landscape photograph the scene must include as wide a view as possible. Typically set off by a strong prominent foreground leading to a complimenting background. To be effective, these types of images work the best and have the strongest impact by using a wide-angle (wider than a “normal” 50mm in 35mm cameras) lens and a small aperture for maximum depth of field.
While such images are striking and I take many of them each year, I have found that an increasing number of my landscapes are taken with a short to long telephoto lens (70-400mm) and I am “optically extracting” what I think is the most important part of the scene. For many people this is not a normal way of viewing a landscape and therefore the images can be more intriguing and often more studied than a wide-angle image.
by Les Voorhis
Sun is kissing the ridge tops and warm weather is settling into the valleys. Winter has a hard time leaving here in Colorado, but when it does, it goes in a rush. The snow is melting and the trees are beginning to bud, a sure sign that spring is only a short distance away.
It is at this time of year that I begin to think about landscape photography and the bright and bold colors that the spring and summer seasons bring. I would categorize myself as a generalist outdoor photographer, shooting everything from macro to outdoor recreation. Landscapes, however, hold a special place in my heart and my favorite season for them is fast approaching. I have found that there are a few basic rules that help to make landscape imagery successful. While all rules are made to be broken, if followed, these can improve the likelihood of coming home with images for the wall.
Sun is kissing the ridge tops and warm weather is settling into the valleys. Winter has a hard time leaving here in Colorado, but when it does, it goes in a rush. The snow is melting and the trees are beginning to bud, a sure sign that spring is only a short distance away.
It is at this time of year that I begin to think about landscape photography and the bright and bold colors that the spring and summer seasons bring. I would categorize myself as a generalist outdoor photographer, shooting everything from macro to outdoor recreation. Landscapes, however, hold a special place in my heart and my favorite season for them is fast approaching. I have found that there are a few basic rules that help to make landscape imagery successful. While all rules are made to be broken, if followed, these can improve the likelihood of coming home with images for the wall.