Outdoor Photography How To

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Jack Neubart  |  Jan 14, 2014  |  First Published: Dec 01, 2013  |  0 comments

“The first questions I ask myself, after receiving the layouts from the art director, are: how can I make this my own, what can I add to it?” Active lifestyle photographer Rod McLean continues: “When we select the final locations and talent, the ideas become clearer. During a tech scout, we’ll shoot various views of the location, create rough comps, and talk about the possible scenarios: the best time to shoot, the props and wardrobe, etc. We all have to have a clear idea what we’ll be shooting and how the final images are going to look because we’ll be setting up the first shot in the dark, waiting for the morning light.”

Rick Sheremeta  |  Jan 03, 2014  |  First Published: Nov 01, 2013  |  0 comments

Winter is an extraordinary time in Yellowstone. Temperatures often plummet well below zero. Moisture ejected into the icy air from myriad thermal features creates a microclimate that turns into a wintry fairyland. The colder it becomes, the more pronounced these effects, and the more beautiful the surroundings become. Whether it’s wildlife, geothermal features, extraordinary scenery, or any combination thereof, Yellowstone National Park (YNP) is, hands down, one of the best places in the world to view and photograph these treasures.

Barry Tanenbaum  |  Dec 06, 2013  |  First Published: Nov 01, 2013  |  0 comments

Chances are you won’t be photographing in the negative numbers of extreme cold that Layne Kennedy often encounters—we’re talking -15 to -30 degrees Fahrenheit—but his experience with and guidelines for cold-weather shooting can provide you with a considerable degree of comfort no matter what the temperature.

Lorin R. Robinson  |  Oct 25, 2013  |  First Published: Sep 01, 2013  |  0 comments

He stands in about 3 feet of roiling surf, wetsuit jersey glistening from repeated dunkings. The sky above Oahu’s North Shore is deep blue. Undertow currents grasp his legs—eroding sand beneath his swim fins—as water rushes seaward to build the next huge wave. He holds his bulky waterproof camera housing tightly, faces west toward the setting sun and checks the long tether attached to his wrist. He turns his head to watch the wave rise ever higher—a towering blue-green monster that’s starting to curl, white spume blowing off its top. He braces himself as best he can against the forces raging around him, points the camera toward the golden Hawaiian sunset, and waits as tons of water begins to curl over him, forming a tube. At what he hopes is the right instant, he fires off several shots and prepares to be pounded and rag-dolled by the massive wave.

Blaine Harrington  |  Oct 15, 2013  |  First Published: Sep 01, 2013  |  1 comments

I learned photography in the film days, and when the huge change to digital came along, I changed not only my gear but the way I see. I used to have to see in terms of very specific criteria of what would work within the ISO range of my film and what the film could record in terms of light and shadow. Low ISOs meant I couldn’t get enough depth of field, or a tripod was needed, or I had to light something because there wasn’t enough information in pictures that had incredible shadow detail. High ISOs often meant an unacceptable level of grain and bad color rendition. As a result I passed up a lot of situations that got my attention but were beyond the capability of my film to capture.

Josh Miller  |  Aug 23, 2013  |  First Published: Jul 01, 2013  |  0 comments

In these days of HDR, Lightroom, and Photoshop, is there still any point in carrying around Graduated Neutral Density (GND) filters? Often at photographic overlooks I hear photographers banging away with their cameras, shooting multiple exposures for future HDR images, while I nail the same scene in a single shot. More than once I have had one of these photographers scoff at me for using my “old school” GND filter, asking, “Ever heard of HDR?” While I am a firm believer in using all the tools available to me, including HDR, I feel that HDR is either unnecessary or won’t work in situations where multiple images are not possible, such as an action shot.

Jack Neubart  |  Jul 09, 2013  |  First Published: Jun 01, 2013  |  1 comments

“Whether the client is advertising a travel destination or a product, such as clothing or sports apparel, I strive to set up the shoot with talent that’s the best fit for the ad,” lifestyle photographer Dennis Welsh proclaims. “That’s what makes the shot and the client’s message believable. That’s what sells it to potential customers. For instance, if I’m shooting for a ski company or a ski resort, I want to find skiers who can easily do what I want them to do. That conveys a sense of truth and honesty. If you start with skiers who are not convincing, you start with a deficit. In that case, you have to do the best you can with what you’ve got. If I’ve got great talent and a great location, a lot of things are already working in my favor.”

Jeff Howe  |  Jul 02, 2013  |  First Published: May 01, 2013  |  1 comments

Several years ago I decided to take on a challenge of focusing on macro photography right in my own backyard. No, I do not reside in the Sierra mountains or adjacent to a national wildlife refuge or conservation area. I live in a typical South Florida suburban subdivision surrounded by homes and asphalt. South Florida doesn’t even offer much in the way of seasons. Yet, I am amazed at how many unique images I have captured over the past several years.

Chris Murray  |  Jun 25, 2013  |  First Published: May 01, 2013  |  10 comments

Straddling a beautiful stretch of the Blue Ridge Mountains of northern Virginia, Shenandoah National Park is a hiker’s and photographer’s delight. Located only 70 miles from the nation’s capital, Shenandoah provides an oasis of nature surrounded by ever-encroaching civilization. Long and narrow, the park runs north/south along a ridge crest characterized by rolling hills and mountains, quiet hollows, rushing streams and waterfalls, and verdant forests. Running through the park is Skyline Drive, a 105-mile scenic roadway that meanders along the crest of the Blue Ridge. Along this roadway are 75 overlooks offering unparalleled views of the piedmont to the east and the valley and mountains to the west. The park is also host to a 101-mile segment of the venerable Appalachian Trail as it winds its way from Georgia to Maine.

Moose Peterson  |  Jun 13, 2013  |  1 comments

Some of the best photography is in the worst weather!” I’ve been saying that for decades and it comes from coming in from the cold, soaking wet and thrilled to death with the images I captured. The drama in the light, clouds and the response to it by nature is a once-in-a-lifetime spectacle you just can’t duplicate. In order to see it and photograph it, you have to get out in it and be able to work. And that’s where the challenge lies.

Josh Miller  |  Jun 13, 2013  |  1 comments

At my workshops and lectures I am often asked by photographers how I am able to get sharp images at slow shutter speeds out of the affordable 70-300mm zoom I use for backpacking while they are unable to get sharp images with their 70-200 f/2.8 pro lenses. It is true that when it comes to lenses, the price tag does match the quality in terms of durability and sharpness at wide apertures. But by the time my carry-along backpacking lens is stopped down to f/8, it is nearly impossible to tell the difference between photos taken with it and images taken with the most expensive pro lenses. Honestly, the lack of sharpness in photos has less to do with the tele lens you are using than it might seem and more to do with long lens technique.

Moose Peterson  |  Jun 13, 2013  |  1 comments

Filing the frame with the critter isn’t required for great wildlife photography. Reflecting on how I first slanted my wildlife photography in this direction, it has its roots in the first lens I had to shoot wildlife. I started with a Vivitar 400mm f/5.6 on an old Minolta that was soon replaced with a Nikon 400mm f/5.6 on an F2. That 400mm was my main lens for a long time and it taught me lessons about wildlife photography that I still depend on to this day.

Barry Tanenbaum  |  Apr 30, 2013  |  First Published: Mar 01, 2013  |  1 comments

While most of Tom Bol’s outdoor and adventure images begin with specific assignments or great scenic opportunities, there are a good number that begin with Tom asking himself, “What if…?”

Jack Neubart  |  Mar 08, 2013  |  First Published: Feb 01, 2013  |  3 comments

Philippe Halsman, in his book Halsman on the Creation of Photographic Ideas, talked about an ad he’d shot, where he had to show a car making a splash as it was driving through a water-filled trough. But rather than give it the traditional treatment of the day, he sought to make a real splash with the picture, so he lit it differently. Shooting at dusk, he positioned flashbulbs so they hit the “wings,” as he called them, from each side. Like Halsman, photographers specializing in automotive are finding ways of introducing unusual and unique twists to make the shot stand out. Peter Dawson is one such automotive photographer who takes a particularly keen interest in dealing with challenges outdoors, on location.

Daryl Hawk  |  Feb 07, 2013  |  First Published: Jan 01, 2013  |  1 comments

After 30 years of making a living as a professional photographer I reached another milestone this past July—I traveled with my 17-year-old son Justin around the entire state of Oregon, our goal being to create an in-depth documentary of this beautiful state. We had never before traveled together solely as a photo team. This trip served as another milestone for me—it would be my first photo trip with my new Canon digital camera, having finally said goodbye to my beloved manual Nikon SLRs and Fujichrome slide film.

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