reCOMPOSE Podcast 039: Phoneography

Someone once said that the best camera is the one you have with you, and we whole heartedly believe in that. Although we are perpetually carrying our professional level cameras with us, you will often see us whip out that mobile phone to make some quick images, and there are a multitude of reasons for that. In this episode Andy and Juan discuss phoneography, and why our mobile phones are so useful not only for running apps that support our photography but also why and when we use them as great cameras on their own right.

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Have Drone, Will Travel

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Theodore Roosevelt National Park

Location

Theodore Roosevelt National Park features a unique landscape of channeled cliffs, gullies, hoodoos, caprocks, wind-swept prairie grasses and dome-shaped hills. Over time, wind and water have eroded the sedimentary rocks and clay soils that make up these "badlands" and display colorful bands of blue, black and red stria.

The park is situated in west-central North Dakota and is geographically divided into three separate units. The south unit is located along Interstate 94 near Medora. The north unit lies about 80 miles away on Highway 85, 14 miles south of Watford City. The small and remote Elkhorn Ranch is situated between the north and south units and can be accessed by gravel roads. The Little Missouri River links the three units.

Driving between the north and south units is simple via Highway 85. The more adventurous can float the Little Missouri River in a canoe from the south unit to the north. The season to canoe depends on the runoff, the most reliable being in the spring.

The park was named after our 26th president who spent time seeking solitude in the rugged landscape as a young man. Roosevelt was responsible for setting aside millions of acres of land for public use, including national forests, game preserves, national monuments and five national parks.

Weather

Summers are warm, with average high temperatures in the 70s and 80s. Winters are cold, with average lows in the single digits. During the winter months, snowfall may limit access to the park. Spring and autumn are great times for photography in this park. Spring thunderstorms add drama to the rugged landscape.

Photo Experience At Theodore Roosevelt National Park

You won't be contending for a place to plant your tripod in this park. Theodore Roosevelt National Park is isolated and rarely crowded. It's easy to pick out your own private corner of the wilderness and be alone with your camera.

I find the south unit to be the most interesting place to photograph, mainly because of the overlooks and access to the Little Missouri River. The north unit is perhaps grander in scale, with steeper canyons and more pronounced stripes on the eroding hills.

There are over 100 miles of trails in the park that lead to the river, petrified forests, overlooks, coulees and layered rock formations. There are several prairie dog towns along the scenic drive, and buffalo are a common sight. If you're lucky, you'll spot a band of wild horses.

I took the photo above from the Wind Canyon Trail in the south unit. The short trail affords majestic overlooks of the Little Missouri River and the surrounding landscape. I photographed the scene with a Toyo 45AII field camera using a NIKKOR SW 90mm ƒ/8 lens and Fujichrome Velvia film. It was relatively calm and shortly after a thunderstorm had passed over. Tussocks of the previous year’s little bluestem gave diversity to the greening spring landscape.

Best Times

I prefer spring and autumn for photography in Theodore Roosevelt National Park. In these months, the prairie grasses, forbs and deciduous trees show off their seasonal plumage, and the temperatures are conducive for extensive hikes. Summer is OK, but the heat and insects can be nettlesome. Winds are considerable throughout the year, so prepare to be buffeted around a bit.

Contact: National Park Service, www.nps.gov/thro/index.htm.

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See more of Gary Alan Nelson’s work at garyalannelson.com.

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Theodore Roosevelt National Park

Location

Theodore Roosevelt National Park features a unique landscape of channeled cliffs, gullies, hoodoos, caprocks, wind-swept prairie grasses and dome-shaped hills. Over time, wind and water have eroded the sedimentary rocks and clay soils that make up these "badlands" and display colorful bands of blue, black and red stria.

The park is situated in west-central North Dakota and is geographically divided into three separate units. The south unit is located along Interstate 94 near Medora. The north unit lies about 80 miles away on Highway 85, 14 miles south of Watford City. The small and remote Elkhorn Ranch is situated between the north and south units and can be accessed by gravel roads. The Little Missouri River links the three units.

Driving between the north and south units is simple via Highway 85. The more adventurous can float the Little Missouri River in a canoe from the south unit to the north. The season to canoe depends on the runoff, the most reliable being in the spring.

The park was named after our 26th president who spent time seeking solitude in the rugged landscape as a young man. Roosevelt was responsible for setting aside millions of acres of land for public use, including national forests, game preserves, national monuments and five national parks.

Weather

Summers are warm, with average high temperatures in the 70s and 80s. Winters are cold, with average lows in the single digits. During the winter months, snowfall may limit access to the park. Spring and autumn are great times for photography in this park. Spring thunderstorms add drama to the rugged landscape.

Photo Experience At Theodore Roosevelt National Park

You won't be contending for a place to plant your tripod in this park. Theodore Roosevelt National Park is isolated and rarely crowded. It's easy to pick out your own private corner of the wilderness and be alone with your camera.

I find the south unit to be the most interesting place to photograph, mainly because of the overlooks and access to the Little Missouri River. The north unit is perhaps grander in scale, with steeper canyons and more pronounced stripes on the eroding hills.

There are over 100 miles of trails in the park that lead to the river, petrified forests, overlooks, coulees and layered rock formations. There are several prairie dog towns along the scenic drive, and buffalo are a common sight. If you're lucky, you'll spot a band of wild horses.

I took the photo above from the Wind Canyon Trail in the south unit. The short trail affords majestic overlooks of the Little Missouri River and the surrounding landscape. I photographed the scene with a Toyo 45AII field camera using a NIKKOR SW 90mm ƒ/8 lens and Fujichrome Velvia film. It was relatively calm and shortly after a thunderstorm had passed over. Tussocks of the previous year’s little bluestem gave diversity to the greening spring landscape.

Best Times

I prefer spring and autumn for photography in Theodore Roosevelt National Park. In these months, the prairie grasses, forbs and deciduous trees show off their seasonal plumage, and the temperatures are conducive for extensive hikes. Summer is OK, but the heat and insects can be nettlesome. Winds are considerable throughout the year, so prepare to be buffeted around a bit.

Contact: National Park Service, www.nps.gov/thro/index.htm.

---

See more of Gary Alan Nelson’s work at garyalannelson.com.

---

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Wildlife Of The Great Plains

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Photo Of The Day By Laura Roberts

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Photograph The Conventional Unconventionally

Prior to directing my focus to wildlife photo tours, I ran numerous trips that were 100-percent scenic. Doing this for a great number of years, I returned to the same iconic locations where everyone wants “that shot.” As the years went on and I saw each photo hot spot once again, I began to think about what unconventional way I could capture the scene before me and still have it look like a nature photograph. Additionally, in always wanting to share new ideas with my participants, if I came up with a new strategy, I could contribute something different that could be added to their repertoire. A win for all. In pursuing my quest to change it up, I share with you a few of the ways I went the extra mile that I’ve since adopted for my own image making in addition to providing new ways for others to create their images.

Freeze It / Slow it Down: Every spring, I'd head to the coast of Oregon and bring people to my favorite places to photograph the waterfalls along the gorge, sea stacks, state parks, lighthouses, formal gardens and more. Hands down, the most iconic of all sea stack locations is Bandon Beach. But unless the sky did something spectacular, as the years went on, all my captures looked the same. I wondered what could I do to change it up, then it hit me! I had participants bring neutral-density filters to photograph the waterfalls to give the flowing water the cotton candy look. If it worked for moving water of a waterfall, what would happen if I attached an ND filter and captured the moving ocean waves and clouds in the sky? Ever since trying it, I made it a regular thing and every year, smiles came to each person’s face when they looked at their LCDs after making 10, 20 and 30+ second exposures of the Pacific swirling around the sea stacks. To be even more unconventional, I took it a step further and whenever we encountered moving subjects, everyone attached their ND filter and let the movement happen. Each shot was different and we started a new craze.

Pan It: Each year I brought a group to Yellowstone, I drove to my favorite stand of trees that has a small thermal creek running through it. I called it the Bobby Socks trees because the bottoms are always white. In fall, the grasses turned golden yellow, which contrasted nicely with the blue sky reflected on the creek. We’d spend a lot of time there working the entire area. Being primarily a landscape photographer at the time, I always used a pan and tilt head although I was in the minority—most people use a ballhead. In thinking of a pan and tilt’s virtues, I turned the conventional way of once again making the same composition unconventional. I loosened the vertical axis knob of the head and over the course of a 3-second exposure, I very slowly moved the camera upward. Since doing this, I’ve repeated the technique on aspen trunks and also the huge redwoods along the California coast. I’ve even experimented with architectural subjects—heck, anything that’s vertical is fair game. Give it a go to see what you come up with.

River Awareness: Another place I visited every year was Zion National Park. During one of our sessions, we’d always walk the banks of some of the tiny tributaries of the Virgin River. One of my favorites was lined with cottonwoods along with a few maples. We’d concentrate on making images of the fallen leaves in addition to capturing intimate abstracts of the swirling sandstone along the river’s edge. During one year, I set up the photo of the leaves that had fallen onto a small pool and told people to be on the lookout for such images. Upon looking at the LCD in live view, you could see the participants kind of questioned why I had them do this—the composition was a bit boring. In that sun broke free from some clouds, I had everyone gather around and told them to watch the LCD closely. As I spun my polarizer, smiles were everywhere and each person jockeyed into position to make the shot. While spinning a polarizer may not be all that unconventional for some, if you don’t know that it cuts through glare, you’ve just been enlightened. I hope you get to use this new info the next time you head into the field.

Macro Your Macro Images: I went through a period of photographing every insect that flew or crawled through my backyard. It got to the point where I'd order a chrysalis or cocoon and wait for each to hatch. When all of my butterfly, moth, bee, beetle, etc., pictures began to look the same, I knew it was time to go the extra mile. The timing coincided with my reading about dual element close-up filters. They're high quality, dual element filters that screw onto the end of my dedicated 150mm macro lens that allowed me to get really close to my subject. I could now go “more macro.” Depth of field at these magnifications is measured in millimeters, so I needed a lot of light to use very small apertures to acquire the necessary range of focus throughout the image. To achieve this, I incorporated the use of flash. Armed with my dual element filter and a system of two flashes, I went deeper than what my straight 150mm macro lens would allow and therefore entered a new and tinier world.

Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.

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Fundamental Foreground Factors

There are three primary reasons for incorporating good foregrounds into your landscapes. First and foremost, they provide a leading line that draws the viewer into the photo. Second, depending on how they're lit, they add pop to the image. Third, they create a sense of depth. And, as a bonus, a well-executed foreground helps eliminate distractions that might otherwise prevent the viewer from entering the photo and continuing to course his or her eye through the rest of the image. Bring your landscape images to the next level by including strategically placed and well-chosen foregrounds. It challenges you to look harder and carefully scrutinize the overall scene. This acts as a plus. As you scan the area for a foreground, you may find yourself being more conscientious about how you compose the rest of the image—it’s a win/win. Use the following strategies to bring your landscape images up a notch.

Provide a Leading Line: The purpose of a leading line is to provide a path for the viewer’s eye to scan the entire image in a smooth way. The line should begin close to the edge of either side or the bottom of the frame. Its placement and intention should be obvious to the viewer. The viewer’s eye should be lead on a journey to another key layer within the composition. Curved lines are sexy and tend to be smooth. Zigzag lines also work and are a bit more abrupt. Flowing diagonals infers movement. Regardless of the type of line, it should act as a key foreground element to draw the viewer into the photo. As with any successful foreground, don’t include overly bright parts that become a distraction. Keep the edges dark and if there are light elements in your foreground, create a transition of dark to bright so the brighter areas are within the borders of the image.

Add Pop to The Image: I have a number of key expressions that I share with all my photo tour participants, two of which are It’s All About The Light and The Background is Equally As Important as the Subject. To add pop to a foreground, use light to your advantage and be cognizant of how that light impacts the foreground/background subjects you include. I love to incorporate reflections into my landscapes, and I’m critical of how they harmonize with the rest of the elements in the composition. In the photo I made in Arches National Park at sunrise, note that the light is only falling on the background formations. The entire middle ground is still in shadow. Because I got super low to include the reflection of the sunlit background formations, the foreground pops because it’s reflecting just the lit portion. The fact it’s surrounded by areas in shadow allows the reflected part to jump out of the photo. As you progress through your photography, learn to read the nuances of light. If the entire scene was lit, the foreground reflection wouldn’t have as much snap!

Create A Sense Of Depth: The wider the lens that can be used to create the composition, the easier it is to create the illusion of depth. Wides and super wides are highly recommended to utilize this technique. With very wide-angle lenses, when the photographer gets close to a foreground element, it exaggerates the size of that item and it appears quite large in the frame. I strongly encourage you to attach your widest lens to your camera and move very close to any object. Orient the camera in a vertical format and tilt it so its close to a 45-degree angle. Place the foreground item at the very bottom of the frame. Whatever it is that’s in the foreground will loom large and everything that continues out from there will appear exaggeratedly smaller. Have a look at the sunset image I made in Zion National Park. The foreground rock and manzanita bush when measured are considerably larger than the primary hoodoo in the background in the photo. In reality, it can’t be farther from the truth. So break out your wides and include foreground items you once thought would be too small to include in your compositions. Get close to them and a whole new world of landscape photography will open its doors.

Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.

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Use Older Hasselblad Lenses With X1D

If you're a Hasselblad X1D medium format mirrorless shooter, your lens options now include over 60 legacy lenses in addition to the five XCD lenses designed specifically for the X1D. The Hasselblad XV allows you to mount lenses from the camera maker's C, CB, CF, CFI, CFE, F and FE lens lines (using the X1D's electronic shutter) which include focal lengths ranging from 30mm to 500mm.

The Hasselblad XV mount is available now at a list price of $249. Contact: Hasselblad, hasselblad.com.

Learn more about the Hasselblad X1D mirrorless medium format camera in our hands-on review.

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Olympic National Park

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Caution: Wide Load

Ultra-wide-angle lenses are a unique breed. In order to maximize their potential, there are characteristics they possess that need to be realized. The shorter the focal length, the more the lens optically pushes back the subject and makes it appear smaller in the frame. The closer you get to a near subject, the more distorted it becomes. For good reason, ultra wides aren't used for portraiture. If you’ve ever seen photos that depict intentional elongation of a subject’s nose, it was created with an ultra wide angle. The effect can be humorous, but for serious portraiture, not appealing. If ultra wides aren't held perfectly perpendicular to the subject, it leans backward. The effect is called keystoning. The greater the tilt, the more the keystoning effect is pronounced. This distortion is often found in photographs of architectural subjects because the lens often needs to be pointed upward to include an entire structure.

In the image of the mountain and reflection made in Grand Teton National Park, I used a 12mm lens because I wanted to include the mountain along with the entire reflection in a single frame. This image shows off the aspect that a super wide possesses a very wide angle of view as it “pushes back” all subject matter from the point at which the photographer stands. It’s essential to keep the camera perfectly level to prevent distortion. I didn't use a polarizer because of the vast expanse of sky. A polarizer has its maximum effect when it’s used 90 degrees to the sun. Had I spun a polarizer in this image, one part of the sky would be very dark and transition to a very bright part of the sky. This isn't natural, hence the decision to not use it.

In the photo made in lower slot canyon in Page, Arizona, I used an 18mm lens as I was working in very tight quarters and needed to include a lot of stone in the image. Because of the subject matter, distortion isn't evident even though the top dark section of stone I used to frame the composition was very close to my lens. If you work with abstracts, distortion can actually be used to your advantage. It’s essential to realize that very small camera movements translate to very different compositions based on the immense angle of view seen through the viewfinder. With this in mind, be cognizant of small shifts to the right, left, up or down when you compose your picture.

In the photo of the two mountain peaks and S curve in the river, I used a 14mm lens to take in the entire scene and create balance in the composition with the two peaks. Landscape photographers often use wides and ultra wides to include a foreground subject. The hint of light on the foliage in the lower left along with the warm sun on the lower right trees beckoned me to include them in the foreground. Because this is a full-frame image, the only way I could include all elements was via the use of an ultra wide.

In the final image made in Glacier National Park at dawn, I used a 15mm lens. I chose this image to include in the week’s tip to show how the distortion of a super wide can be used to your advantage. The actual cascade in the left portion of the photo was quite small. By getting very close to it with my tripod, I was able to make it look quite large. The mountains on the right side of the photo appear much smaller because they were far away. In looking at the photo, the cascade and foreground rocks look bigger than the mountain and trees, obviously not the reality. By getting very close to a small foreground, it can become a primary element in a composition and create a great amount of depth. The illusion of depth is depicted as the viewer’s eye is lead through the foreground, mid-ground and background of the picture. Use this distortion to your advantage.

Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.

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Photo Of The Day By Leah J Smith

Today’s Photo Of The Day is “Dancing Diamonds” by Leah J Smith. Location: Arkansas.

Smith says the image was, “Taken when the trumpeter swans were taking their evening flight. The sun was setting and hitting the water droplets making them dance like diamonds.”

See more of Leah J Smith’s photography at www.leahjsmithphotography.com.

Photo of the Day is chosen from various OP galleries, including Assignments, Galleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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New Tamron 17-35mm F/2.8-4 Di OSD Zoom For Nikon And Canon

Tamron today introduced a new wide-angle zoom for full-frame Nikon and Canon DSLRs, the 17-35mm F/2.8-4 Di OSD (Model A037). Positioned as the “smallest, lightest ultra-wide-angle zoom lens in its class” the new lens is indeed compact at 3.5 inches in length and weighing in at just over 1 pound.

The lens features a minimum focusing distance (Tamron calls this Minimum Object Distance or MOD) of 11 inches, great for landscape photography when including a prominent foreground element to anchor a wide-angle scene. The variable maximum aperture of ƒ/2.8 to ƒ/4 means it will be slightly slower at the long end of the range, but still quite fast.

The Tamron 17-35mm F/2.8-4 Di OSD is also aggressively priced at $599 for the Nikon mount version of the lens, which will be available in September. Pricing and availability of the Canon mount will be announced later, but it’s reasonable to expect the price to be the same or at least very close. Compare that to the Canon EF 16-35mm f/2.8L III USM which sells for about $1,899 and the Nikon AF-S NIKKOR 16-35mm f/4G ED VR at $1,099, and the lens looks to be an excellent value.

For more details, see the complete press release below.

###

Tamron Announces the Smallest, Lightest Ultra-Wide-Angle Zoom Lens in its Class

A sophisticated balance of outstanding optics and matchless mobility

17-35mm F/2.8-4 Di OSD (Model A037)

August 6, 2018, Commack, New York—Tamron announces the launch of a new ultra-wide-angle zoom lens, the 17-35mm F/2.8-4 Di OSD (Model A037), for 35mm full-frame DSLR cameras. The vision behind the Model A037 is that of an ultra-wide-angle zoom lens that has a separate concept from SP 15-30mm F/2.8 Di VC USD (Model A012), with superb image quality and easy portability. At just 3.5 in in length and 16.2 oz. in weight, it is the smallest and lightest in its class. The focal length ranges from an ultra-wide 17mm that is suitable for professional landscape photography to a standard 35mm perfect for snapshot photography. As for F-stops, the wide-angle end is a large aperture F/2.8, and at the telephoto end is a fast F/4. The Moisture-Resistant Construction and Fluorine Coating help to enhance the user’s photographic experience. For those looking to try out an ultra-wide-angle zoom lens for the first time, as well as having a lens that is easily portable, the A037 is the definitive choice. The lens will be available in Nikon mount on September 4, 2018 at a suggested retail price of $599. The launch of the Canon mount model will be announced at a later date.

PRODUCT HIGHLIGHTS

1. High-performance imaging for shooting vast landscapes in sharp detail
The optical construction (15 elements in 10 groups) uses four LD (Low Dispersion) lens elementsto minimize axial chromatic aberrations that can occur with ultra-wide-angle zoom lenses. With two properly positioned GM (Glass Molded Aspherical) lenses, distortion and other aberration can be satisfactorily corrected as well. Being the smallest and lightest in its classand dedicated to high quality imaging, the engineers have paid particular attention to size. The lens has also been carefully designed to allow peripheral point image reproducibility and thereby facilitate a high degree of sharpness and contrast. The Minimum Object Distance (MOD) for the entire zoom range is a short 11 in., so background blurring is still possible when opening the aperture and approaching the subject close-up with this ultra-wide-angle zoom.

2. Advanced coating technology along with proprietary ghosting analysis simulation technology enabled the high level of backlighting control

Resistance to backlighting is extremely important for wide-angle lenses as they are often subjected to strong light sources. The Model A037 has a high level optical construction that repeatedly employs comprehensive ghosting analysis simulation. The BBAR (Broad-Band Anti-Reflection) Coating is highly effective in reducing reflection, allowing ghosting and flare throughout the entire zoom range to be controlled.

3. OSD (Optimized Silent Drive) enables both excellent AF speed and drive noise reduction

The AF drive system employs an OSD (Optimized Silent Drive) to ensure quiet operation. Through the innovative optimization of the system that includes AF system speed reduction gear, Tamron could greatly reduce the drive noise in comparison to conventional AF types with built-in DC motors. AF performance and speed have also been vastly improved. Thus, even if silence is required, AF can be employed without having to worry at all about noise creation. The Model A037 can provide superlativeAF precision for exact focus even when shooting moving objects, as well as outstanding trackability.

4. Circular aperture to produce a smooth-edged bokeh

A 7-blade diaphragm is configured to retain a smooth, circular-shaped aperture opening even when stopped down by two stops from the wide-open aperture. This produces a smooth-edged bokeh in background light spots and avoids rugged aperture geometry.

5. Moisture-Resistant Construction

Seals are located at the lens mount area and other critical locations to prevent infiltration of moisture and/or rain drops to provide Moisture-Resistant Construction. This feature affords an additional layer of protection when shooting outdoors under adverse weather conditions.

6. Fluorine Coating

The surface of the front element is coated with a protective fluorine compound that has excellent water- and oil-repellant qualities. The front surface is easier to wipe clean and is less vulnerable to the damaging effects of dirt, dust, moisture or oily fingerprints, allowing for much easier maintenance. The coating also provides an enhanced level of durability, and will sustain its effectiveness for years.

7. Compatible with TAMRON TAP-in Console^TM, an optional accessory

The new A037 is compatible with the optional TAMRON TAP-in Console, an optional accessory product that provides a USB connection to a personal computer, enabling users to easily update a lens’s firmware as well as customize features including fine adjustments to the AF.

SPECIFICATIONS

Model	: A037
Focal Length	: 17‐35mm
Maximum Aperture	: F/2.8-4
Angle of View (diagonal)	: 103°41' - 63°26'　(for full-frame format)
	: 78°46' - 43°29'　 (for APS-C format)
Optical Construction	: 15 elements in 10 groups
Minimum Object Distance	: 11.0 in.
Maximum Magnification Ratio	: 1:4.9
Filter Size	: Ø77mm
Maximum Diameter	: Ø3.3 in.
Length*	: for Canon 3.6 in.
	: for Nikon 3.5 in.
Weight	: for Canon 16.2 oz.
	: for Nikon 16.2 oz.
Aperture Blades	: 7 (circular diaphragm)**
Minimum Aperture	: F/16-F/22
Standard Accessories	: Lens hood, Lens caps
Compatible Mounts	: Canon, Nikon

Specifications, appearance, functionality, etc. are subject to change without prior notice.

* Length is the distance from the front tip of the lens to the lens mount face.

**The circular diaphragm stays almost perfectly circular up to two stops down from maximum aperture.

 

 

 

 

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Photo Of The Day By Mickey Rebecchi

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reCOMPOSE Podcast 038: Welcome Nikon & Canon To The Mirrorless Party

Finally Nikon and Canon are seeing the light when it comes to mirrorless systems. Nikon has announced the are about to release a new full frame mirrorless camera system and rumors are that Canon is most certainly working on one. In this episode of the reCOMPOSE podcast Andy and Juan discuss mirrorless systems in general and their advantages over DSLRs.

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Photo Of The Day By Siu Lau

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Conditions Rule

Whether it’s a fleeting moment of time or the complete change of a season, conditions dictate the difference between a photo you're proud to hang or one that may not make the second round of editing. I have many taglines I use when I run a domestic tour or Tanzanian safari, but the one that reigns paramount is, “It’s All About The Light.” Light is the single most important determiner that makes or breaks a photo. There are numerous others, some that I address below, but in some way, they cycle back to something to do with light. Let’s take a look at some that should be contemplated before pressing your shutter to see how conditions rule.

Seasons: Seasons create obvious changes in vegetation, so I won’t dwell on this fact. There are other not so obvious differences that photographers should realize. The farther north and south of the equator you are, the angle of the sun shifts as summer to winter solstices transition. What may make a great side-lit sunrise subject in summer could be in shadow in the winter. Not only do sunrise and sunset angles vary, so does the height of the sun. Lower sun produces longer shadows that may add to the impact of the photograph. Typically, winter light is more conducive to getting better photos during off hours of late morning or early afternoon because of the longer shadows. While weather is also obvious, I address it as it references the accompanying photo. What may make a very mundane summer subject pops in winter. I encourage you to head into the field to make great snow pics: Conditions Rule.

Fog / Mist / Steam: Some conditions are much more fleeting than seasons. Fog, mist and steam constantly change the landscape as each rolls in or recedes. Additionally, the density of each adds a variable that impacts when the shutter should be released. The principle weather aspect that governs the placement of each is wind. Calm winds are photographer friendly as they slowly move the vapors revealing or concealing various parts of the terrain. The slower the fog moves, the easier it is to study the composition. Wait until key components of the scene are visible. Watch for times when mood is enhanced as the fog is intertwined amongst the landscape. Zoom the lens as conditions are constantly in flux. What may not be great at 35mm one moment may be great if zoomed to 70mm based on how the mist swirls and what is revealed in the background: Conditions Rule.

Time of Day: The best landscape light occurs at sunrise and sunset. The angle is low, the color is warm and shadows and highlights are more defined. It’s no wonder the best scenics are made during these times of day. The low angle and warm color of the light provide three shooting options. My favorite is shooting 90 degrees to the sun. The main subjects in your composition are side lit and the sky can be polarized to its maximum as a polarizer has the greatest effect at 90 degrees to the sun. Although I’m not a huge proponent of front-lit landscapes, during the first 10 minutes of sunrise or the last 10 minutes of sunset, the light is golden and it bathes the composition in warmth. Backlit landscapes also work at sunrise and sunset. Silhouettes dominate, so look for subjects that have dramatic and dynamic shape: Conditions Rule.

Clouds: When skies are cloudless, I refer to the condition as “Severe Clear.” Severe clear certainly has its advantages, especially if you make wildlife images, but for scenics, I prefer clouds to add texture, dimension and interest to the photo. An often overlooked aspect of why clouds are great is they create spotlight effects or what I call, “The Edge Of Light.” Clouds obscure the sun, which is an obvious disadvantage, but when they part and spotlight specific parts of a composition, it can be most advantageous. The viewer’s eye is always drawn to the brightest part of an image. If the clouds provide a spotlight to the most important sections of the composition, wait for the clouds to open to illuminate the key component. While serendipity doesn’t always occur, when it does, it’s special: Conditions Rule.

Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.

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Franklin & Nantahala

Nestled in the southern Appalachian Mountains, in the foothills of the Great Smoky Mountains, lie two communities with a common thread running right through the center of them. Franklin & Nantahala, North Carolina, are on opposite sides of the Nantahala Mountains, some of the oldest mountains in world. They also share the world famous Appalachian Trail, which begins in north Georgia, just 110 miles south of the Appalachian Trail Community town of Franklin.

The two areas, Franklin & Nantahala, NC, are located in Western North Carolina. They are towns born from gem mining and agriculture, which have over the decades transformed from the tiny rural areas, to thriving towns, welcoming adventurers of all ages to venture out into the hills and valleys of what was once known as the “Gem Capitol of the World." The area is known world wide for our beautiful waterfalls, scenic views, and hundreds of miles of rivers, streams and lakes. Whether you’re an adventure photographer or a photographer who loves adventure, we invite you to explore a region of the country that is vastly diverse both in landscapes and activities.

Fall is one of the most popular seasons in Franklin & Nantahala, where the multitude of colors find their way up and down the diverse elevations of the mountains. Leaf season here takes it’s time, usually peaking across the elevations over a period of weeks. With that diversity in elevation, it isn’t uncommon to experience late summer weather in the lower elevations and early winter conditions in the higher elevations on the same day. As the color changes in the leaves make their way down the mountains, the Red Maples, Sugar Maples, and White Oaks start by dotting the peaks and mountainsides earlier, saving their brilliant tones for the lower elevations until later in the season.

So where are some of the places you will want to go to get some amazing views and photography?  Many of the best locations in the Franklin & Nantahala area to set out and photograph sunrise, sunset, and fall color landscapes lie within the Nantahala Mountains.

You can choose to hike to a more secluded location such as Siler Bald (Appalachian Trail), where you’ll enjoy 360-degree views allowing you a multitude of shooting options. For those wanting less hike and easier access, a drive to the Wayah Bald Lookout Tower with a wide open eastern view is the perfect location for those epic sunrise photos.

A paved path from the parking area leads you to the Look Out Tower that was originally constructed in 1933 by the Civilian Conservation Corps to act as a fire observation tower for the Nantahala National Forest. Both Siler Bald and Wayah Bald lie on the Appalachian Trail, which runs northwest to Wesser Bald and on into the Great Smoky Mountains from there.

Franklin & Nantahala are home to some of the tallest, most unique waterfalls in Western North Carolina, from the 200’ steep drop of Cullasaja Falls on the Waterfall Highway in the eastern side of Macon County, to the Upper Cascades of the Nantahala River, White Oak Creek Falls, and many more.

The Cullasaja River Gorge follows US 64 from Franklin east into Highlands, putting you in the heart of the most popular waterfalls and waterway in the region. With countless pull offs along the river, you’ll have plenty of opportunities to find a secluded spot to enjoy the sounds of nature while capturing its essence.

Dry Falls is a must see stop on this road. The 60-foot waterfall has an observation deck from the parking area that allows an overhead view down to the falls for some beautiful images, but the real experience is down the steps and paved path where you get to walk underneath the falls, one of the only waterfalls in the area you can do this, providing numerous angles and compositions.

You’ll quickly see why Dry Falls is the most popular waterfall in the area, but be warned, once you experience Dry Falls, you will want to come back again and again. The area also offers opportunities for the latest medium of photography, aerial photography and video capture. Drones arepermitted in most of the areas, keeping in mind that all local, state, and federal guidelines are adhered to.

Taking a drive from Franklin over the Mountain Waters Scenic Byway will bring you over into the Nantahala Community, where Nantahala Lake and the Nantahala River will open up even more opportunities to capture the colors of fall.

Bring a kayak, canoe, or other watercraft and put in on the pristine water of Nantahala Lake or rent the watercraft of your choosing from the local marina. Over 80 percent of the shoreline is owned by the National Forest, keeping the majority of the lakeshore free from development and the waters clean and pristine. Because of the mineral content in the soil, the lake takes on an emerald glow in shade and rich blue hues in sunlight.

Nantahala, NC is best known for the world class rapids and superior fly fishing opportunities, which makes the Nantahala River an ideal location for adventure photography. Capture the skill of kayakers as they navigate the rapids with precision.

Lock in on the struggle and the exertion and the water all around. Take in the essence of the fly fisherman casting their line in the calmer waters up stream, as you make your way back to the cascades of the Nantahala River.

Nantahala is a small, secluded community that allows you to truly disconnect from the noise of everyday life, allowing you to immerse yourself in the moment. Many fall mornings are greeted with a low-lying fog that brings mystery and intrigue to the scenery around you.

Whether you come for a weekend or a week, once you’ve gotten a taste of the Franklin & Nantahala areas of Western North Carolina, you’re going to keep coming back again and again. The diversity of the landscape along with the proximity to the Great Smoky Mountains and The Blue Ridge Parkway make Franklin & Nantahala a perfect launching point for shooting the more popular spots of the southeast.

For information about visiting the Franklin & Nantahala areas, visit exploringwnc.com.

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