Today’s Photo Of The Day is “Warming Up” by Peter Crook. Location: Savuti, Chobe National Park, Botswana.
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.
Our November 2019 issue is dedicated to black-and-white photography. We take a departure from the conventional color approach to wildlife documentary with David Yarrow‘s stunning monochrome images; explore the possibilities of 150-megapixel, achromatic landscape photography with Marc Koegel; and offer tips for converting your RAW captures to black-and-white.
On the cover is one of Yarrow’s piercing animal portraits, a face-to-face encounter with a male gelada in the Simien Mountains of Ethiopia. Here’s the story behind the shot.
“When I traveled to the spectacular Simien Mountain range in Northern Ethiopia, I traveled light as intuitively I knew that I only needed to take my “go-to” 28mm wide-angle lens. I knew that the views are so majestic and biblical from the 12,000-foot peak of the escarpments that any image that didn’t convey this narrative would fail. My research has repeatedly told me that with the right local guide, the gelada baboon would not only be found with ease but also that proximity would not be an issue. This made the 28mm lens an easy choice.
“The gelada is the most decorative ape in the world—its beauty can’t be compromised by harsh light. On the Sunday afternoon, there was a torrential rainstorm, and I had all but given up for the day. But around 4 p.m., the rain and thunder stopped, and the escarpments were slowly brought to life with shafts of low, late light. And so it was that we left the comfort of our dry camp and, in one precious moment, I had the perfect encounter with a male gelada in exactly the kind of spot I would have dreamt of.
“I do my job for moments like this. This photograph hammers home the diversity of our planet. The human was trespassing in the ape’s mountain kingdom. His eyes say everything—the conviction of proprietorial residence for sure, but also dignity and resolve. Meanwhile to me, it will always remind me to never go anywhere without a 28mm wide-angle lens.”
–David Yarrow
The November 2019 issue is available now in a variety of digital formats including Apple News+ and on newsstands beginning Tuesday, October 29.
Outdoor Photographer Plus and VIP members get full access to all of the content on outdoorphotographer.com, plus print and digital editions of the magazine, as well as other great benefits. Learn more about our membership options.
Today’s Photo Of The Day is “That’s the Spot” by Zeralda La Grange.
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.
Today’s Photo Of The Day is “Angel Falls” by Rom Savage. Location: Yellowstone National Park, Wyoming.
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.
Nikon offers two 24-70mm zooms for its Z series full-frame mirrorless cameras, the NIKKOR Z 24-70mm f/4 S that’s available in a kit with the Z 6 and Z 7 bodies, and the newer, faster NIKKOR Z 24-70mm f/2.8 S. There’s a lot to like about both lenses.
I own the Z 6 and NIKKOR Z 24-70mm f/4 S. The ƒ/4 is my go-to lens for landscape photography, so I was interested in trying out the ƒ/2.8 to compare it to the ƒ/4. On a trip this past fall to Jackson, Wyoming, I had the opportunity to shoot with the NIKKOR Z 24-70mm f/2.8 S, and was very impressed with its image quality.
It was a magical morning at Oxbow Bend when I captured this image with the NIKKOR Z 24-70mm f/2.8 S. Exposure: 1/13 sec., ƒ/11, ISO 1000.
Which is the best choice for you? And, if you bought the ƒ/4 as part of a kit with a Z camera as I did, is the ƒ/2.8 worth the upgrade? The answer depends a lot on your style of shooting and the typical end use of your images.
Size Comparison
One of the main physical differences between the two lenses from a portability perspective is that the NIKKOR Z 24-70mm f/4 S is a retractable design, so when it’s fully collapsed in your bag, it measures just 3.5 inches in length. That’s considerably smaller than the NIKKOR Z 24-70mm f/2.8 S which measures about 5 inches. The ƒ/4 also weighs a fair amount less than the ƒ/2.8, as you’d probably expect, at 17.7 ounces versus 24.8 ounces, respectively. If keeping size and weight of your system to an absolute minimum is desirable, the ƒ/4 has the advantage there.
Size comparison (roughly to scale) of the NIKKOR Z 24-70mm f/2.8 S (left) and the NIKKOR Z 24-70mm f/4 S (right, with the lens in its retracted position).
However, note that when the ƒ/4 is in use, the lens extends to about 4.25 inches at the 24mm end of the range and out to nearly 5.5 inches at 70mm. (The ƒ/2.8 model also increases in length when zooming, out to just over 6 inches at 70mm.)
Overall, the smaller size of the ƒ/4 is primarily a plus when packing your gear.
Speed
The most obvious advantage of the NIKKOR Z 24-70mm f/2.8 S over the ƒ/4 is its larger maximum aperture. That will appeal immediately to portrait photographers who want the shallower depth of field for smooth, defocused backgrounds that the extra stop provides.
It’s also potentially an advantage in low light, but for most landscape work, you’re likely to be shooting from a tripod and at a mid-range or smaller aperture for greater depth-of-field, so a one-stop larger maximum aperture isn’t a huge benefit for landscape photography in those circumstances.
Image Quality
Here is where the NIKKOR Z 24-70mm f/2.8 S really shines. I’ve been totally satisfied with the image quality of the NIKKOR Z 24-70mm f/4 S, but the numbers don’t lie. DXOMARK, which does independent testing of camera and lens quality, states in their analysis of the NIKKOR Z 24-70mm f/2.8 S that the lens is, “the best 24-70mm lens we have tested to date,” meaning not just Nikon lenses, but all 24-70mm lenses including the top models from Canon and Sony, and Nikon’s own 24-70mm f/2.8 for its DSLRs. The ƒ/4 scores relatively well, placing at number 6 on the list, but for ultimate image quality, you currently can’t beat the ƒ/2.8 S. Check out the DXOMARK review for MTF charts and a direct comparison between the ƒ/2.8 and ƒ/4 lenses. Their review concludes by calling the NIKKOR Z 24-70mm f/2.8 S “The new benchmark for 24-70mm lenses.”
Overall Value
Depending on the end use of your images, you may be completely satisfied with the more affordable ƒ/4. Modern camera technology enables the automatic correction of many common lens aberrations, and if your photography is primarily for personal enjoyment rather than professional uses, the travel-friendly, compact design of the NIKKOR Z 24-70mm f/4 S and its lower price tag of $999 is appealing. But for pros and hobbyists who want the absolute best image quality and don’t mind paying roughly double ($1,999), the NIKKOR Z 24-70mm f/2.8 S is the reigning champ. Contact: Nikon, nikonusa.com.
Today’s Photo Of The Day is “Wildebeest Stampede” by Sara Stein. Location: Serengeti, Tanzania.
“Wildebeest crossings are absolute chaos,” says Stein. “In the mess of it all, there’s nothing but movement and patterns.”
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.
Simplicity: The state of being simple, uncomplicated or uncompounded; the quality of being plain and without unnecessary things or decorations.
Images that depict simplicity are reduced to their basic elements. They leave no doubt in the viewer’s eyes as to what the reason was to make the image. To fashion images with simplicity, simplify the composition in regard to the key subjects, the background elements and what appears in the foreground. Look for contrasting and/or like elements or colors. Look to see how highlights and shadows play off each other. Often, a small shift in camera position can make a huge difference in the outcome of the photograph.
Simplicity can be applied to an image if you limit the depth of field. When you do, the only part of the composition that’s sharp is the key element. Choose the focal length wisely, work with subjects that aren’t close to their backgrounds and open the aperture to its widest setting to narrow depth of field. The longer the lens, the better. The farther the subject is from the background, the better. The more open the widest aperture on your lens is, the better. Let’s take a look at a number of images and I’ll discuss what I did to simplify the image and chisel away what was in the environment to reduce the image to its fundamentals.
Lioness With Open Mouth
One of my favorite expressions is, “The background is equally as important as the subject.” When it comes to wildlife photography, it rings true. in regard to the title of this week’s tip, when the background can be thrown out of focus with limited depth of field, it allows the object to pop off the page. In this photo, I used a 600mm lens at ƒ/5. The ISO was 400 and the corresponding shutter speed was 1/1600th. The kopje on which the lioness was perched was also far from the vegetation behind it. Given the distance of the subject to the background, the focal length of the lens and the working aperture, depth of field was limited. The resulting photo cries out “simplicity” as the viewer goes directly to the lioness.
Frosted Sapling
I try to get to Yellowstone every winter. After visiting it numerous times in the spring and fall and then going once in the winter, hands down, it’s my season of choice. We had a fairly slow day of wildlife as our paths didn’t seem to cross even though our guide was an excellent tracker. Carpe diem—we turned to making scenics. We stopped at a small thermal area and walked around the “snow pillows,” or snow-covered boulders, looking for abstracts. I noticed this sapling, but the light was soft given the cloud cover. As if the photo gods were looking down on the group, the sun broke for about five minutes. I had to get down on my knees since the background behind the sapling was very distracting when I stood in front of it. I found a narrow window where everything behind the baby tree faded into the fog of the thermal. My settings were 80-400mm at 240mm and f/7.1. While it sometimes requires finding a perfect angle, which means getting down and dirty, to create simplicity, do it. You’ll thank yourself after viewing the end result.
Cheetah Portrait
The portrait of the cheetah meets the requirements of simplicity as the photo is completely reduced to just the face with an out-of-focus background. It was made with a 600mm lens and an aperture of f/5.6. When a very tight portrait is created, the most important aspect of the face is the eyes. I waited patiently until it stared directly into the barrel of the lens. This way, there’s no question to why the photo was created, reinforcing the concept of simplicity. Depth of field was held even at the f/5.6 setting since there was a bit of distance between the cheetah and myself. The greater the distance, the more inherent depth of field.
Bristlecone Pine In Fog
The tree that appears in this image is my favorite bristlecone on Mount Evans. When I run my photo tour there each August, we always stop by it to make sunrise and sunset images. Based on its orientation, it works during both times of the day. Late one afternoon, we came upon it just as a fog bank rolled in. Color from the sunset filtered through and provided a bit of warmth to the photo. The fog obscured the background, reducing the composition to just the iconic bristlecone and its low-growing cousin just behind it. Simplicity was created thanks to the fog. I love to make images when a fog bank rolls in as it allows me to minimize what appears in the composition. When its density aligns with the subject, I press the shutter. In this case, I waited until just the key elements were revealed. The settings were ƒ/13, 1.5 seconds, ISO 200 and +1 stop of exposure compensation.
Lilac-Breasted Roller
One of the most uncomplicated ways to incorporate simplicity into your image-making is to photograph your main subject against a blue sky. This could be a fox as it walks a ridge line of a hill, a leopard that rests on an acacia branch or a bird in flight. The clearer the sky, the better. If clouds appear and the path of the animal finds itself in front of one, the contrast of the deep, rich blue and the subject is lost. Moisture and time of day impact the intensity of the blue. The deeper and more saturated the sky, the more the subject is offset. Since there’s nothing in the background except a wash of blue, it eliminates any distractions. Without distractions, simplicity lives!
Today’s Photo Of The Day is “Twister” by Jodi Frediani. Location: Etosha National Park, Namibia.
“Elephants, zebra and impala gather on the great salt pan, Etosha National Park,” says Frediani. “Twisters lift and twirl the desiccated, chalky white salt heaven-ward.”
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.
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.
In this episode, we’re going to position the major different camera systems out there, from Micro Four Thirds to APS-C to full frame to medium format. This really comes down to sensor size—hence the title of this episode!
Today’s Photo Of The Day is “African Guard Tower” by Heather Lang. Location: Kruger National Park, South Africa.
“You can’t sneak past these guys, they have all the bases covered!” says Lang. “This was taken at the end of the day while we were exiting Kruger National Park. I thought this perspective looked interesting with all the sprouting heads.”
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.
Along with limited details about the forthcoming Canon EOS-1D X Mark III, Canon has also introduced two new lenses for its EOS R full-frame mirrorless system.
Canon RF 70-200mm F2.8L IS USM
The RF 70-200mm F2.8L IS USM completes the “trinity” of lenses which includes RF 15-35mm F2.8 L IS USM and RF 24-70mm F2.8 L IS USM—so called because together, these zoom ranges cover the most popular focal lengths from wide to telephoto. Canon notes that the RF 70-200mm lens is “27 percent shorter and 28 percent lighter” than Canon’s equivalent lens for DSLRs, the EF 70-200mm f/2.8L IS II USM. The lens is also the first to incorporate two Nano USM autofocus motors. The AF system design promises to be faster and smoother, and to nearly eliminate focus breathing, an important factor when shooting video in particular. The lens’s built-in image stabilization provides up to 5 stops of correction.
The RF 70-200mm F2.8L IS USM will be available in “late” November with a list price of $2,699.
The other new lens announced today is a prime that’s ideal for portraiture, the Canon RF 85mm F1.2L USM DS. “DS” stands for “Defocus Smoothing,” a new lens coating that helps achieve extremely smooth bokeh effects with defocused background and foreground elements without compromising the sharpness of the subject. This lens will be available in December with a list price of $2,999.
Canon RF 85mm F1.2L USM DS
For additional details, see the press release below.
###
THE RF FAMILY GROWS BY TWO: CANON RF 70-200MM F2.8L IS USM LENS IS THE WORLD’S SHORTEST AND LIGHTEST LENS IN ITS CLASS[i]AND RF 85MM F1.2L USM DS IS THE FIRST LENS TO FEATURE DEFOCUS SMOOTHING
New RF L-Series Lenses Aim to Provide Impeccable Performance, Handling and Unique Features to Photographers Shooting with EOS R and EOS RP Cameras
MELVILLE, N.Y., October 24, 2019 – Completing the “trinity” of RF lenses for the EOS R Full-Frame mirrorless camera system, Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the RF 70-200mm F2.8L IS USM telephoto lens. Additionally, the company also announced its first lens to feature Defocus Smoothing lens coating, the Canon RF 85 F1.2L DS. The ninth and tenth lenses in the RF family are both powerful tools for photographers using the EOS R or EOS RP cameras, in particular, those shooting sports or wildlife photography with the RF 70-200mm F2.8L or portrait photography with the RF 85mm F1.2L USM DS.
Short and Light With All The Might: Canon RF 70-200mm F2.8L IS USM
The new lens features a large and bright f/2.8 aperture, which, along with the 70-200mm focal zoom ranges, presents an ideal workhorse lens for professional and amateur photographers shooting sports, wildlife, wedding and event action. The new RF lens is 27 percent shorter and 28 percent lighter than its EF counterpart[ii]with a large portion of the lens element arrangement closer to the camera body. This arrangement is designed to provide photographers with a more balanced feel and experience even at telephoto end of the zoom range. Additionally, the shorter and lighter design allows the lens to be more easily stowed away in a camera bag when not in-use.
A first for Canon lenses, the new RF 70-200mm F2.8L IS USM features two Nano USM motors providing an even greater level of high-speed autofocus for still image shooting and quiet and smooth autofocus for video shooting. The lens also incorporates a floating focus control, another Canon first, that drives the two lens groups individually while using the two aforementioned Nano USM motors. The floating focus lens element shortens focusing distance and help reduce breathing, providing users with fast, consistent and reliable performance.
Additional Features of The Canon RF 70-200mm F2.8 L IS USM Include:
Customizable control ring that allows photographers to adjust exposure compensation, shutter speed, aperture or ISO
17 lens elements in 13 groups including two aspherical lenses, one super UD lens and four UD lenses, that help to reduce chromatic aberration
CIPA standard five stops of image stabilization (IS) including three IS modes with dual-sensing and combination IS
12-pin communication system
L-Series dust and weather resistant build with fluorine coating
Subwavelength Structure Coating (SWC) helps minimize lens flare and ghosting
Teaching an Old Dog a New Trick: Canon 85mm F1.2L USM DS
Canon has a rich history spanning over 40 years of producing 85mm lenses with f/1.2 apertures, and the new Canon RF 85mm F1.2L USM DS is no different, or is it? The lens ushers in a new lens coating from Canon, Defocus Smoothing[iii], designed to enhance the appearance of bokeh in the images captured with the lens. DS coating is a vapor-deposited coating technology that is applied to the front and rear surfaces of a specific lens element inside the lens. The coating allows off-axis flux to pass through the periphery of the lens that gradually decreases the transmittance of light, which results in images with beautifully blurred backgrounds.
In addition, the new lens features a bright f/1.2 aperture which, along with the 85mm focal length, encompasses an ideal lens for portrait photographers. 85mm is often the preferred focal length selected by photographers when shooting portraits because it provides an appropriate depth and perspective of the subject relative to the background, helping to capture high-quality imagery with beautiful and desirable bokeh. The focal length also allows for the photographer and subject to maintain optimum distance apart to support strong communication, while not being too close.
Additional Features of The Canon RF 85mm F1.2L USM DS Include:
Minimum focusing distance of 2.79 feet/0.85 meters
Customizable control ring that allows photographers to adjust exposure compensation, shutter speed, aperture or ISO
One Aspheric lens and one UD Lens, along with BR optics that help to reduce chromatic aberration
12-pin communication system
L-Series dust and weather resistant build with fluorine coating
Air Sphere Coating (ASC) that helps minimize lens flare and ghosting
Pricing and Availability
The Canon RF 70-200mm F2.8L IS USM and RF 85mm F1.2L USM DS lenses are scheduled to be available late November 2019 and December 2019, respectively for an estimated retail price of $2,699.00 and $2,999.00 respectively[iv]. For additional information, please visit, usa.canon.com.
[i] Among 70-200mm lenses, as of October 24th, 2019, based on Canon’s research.
[ii] When compared to Canon EF 70-200mm f/2.8L IS USM III
[iii] Due to Defocus Smoothing, transmittance of the lens periphery decreases due to the DS coating. Brightness of the lens at maximum aperture is about 1 1/3 stops darker than f/1.2
[iv] Specifications, availability and prices are subject to change without notice. Actual prices are set by individual dealers and may vary.
Canon today announced the development of a new flagship DSLR, the EOS-1D X Mark III, an update to its EOS-1D X Mark II introduced in 2016. Details about the new camera are very limited for now, but here’s what we do know.
Canon EOS-1D X Mark III
It will be faster than its predecessor, which is good news for the profession wildlife and sports photographers for whom this is a popular camera choice. When using the optical viewfinder, the camera can shoot continuously with AF and AE at up to 16 fps with the camera’s mechanical shutter. In Live View mode (mirror up), the continuous shooting speed increases to 20 fps. That’s 2 fps faster when using the viewfinder, and 4 fps faster in Live View than the Mark II. Canon also states that the buffer in this camera will provide up to 5x the performance of the Mark II, which we’re translating to mean you’ll be able to shoot continuously at 16 fps for over 50 seconds, or 20 fps for about 40 seconds.
We don’t know the resolution of the camera’s sensor, but Canon says we can expect “dramatically improved still and video image quality.” The camera will also include an upgraded AF system that’s capable of performing in lower-light conditions than the system in the Mark II.
Pricing and availability are unannounced at this time. For additional details, see the press release below.
###
POWERFUL, FASTER AND RUGGED: CANON ANNOUNCES THE DEVELOPMENT OF THE EOS-1D X MARK III CAMERA
MELVILLE, N.Y., October 24, 2019 –Canon U.S.A. Inc., a leader in digital imaging solutions, today announced that its parent company, Canon Inc. is developing the highly anticipated Canon EOS-1D X Mark III Camera – the successor to the world-renowned and award-winning EOS-1D X Mark II. Ideal for sports and wildlife, the flagship DSLR is being engineered and designed using feedback from the worldwide community of EOS-1D X and EOS-1D X Mark II photographers. Continuing Canon’s rich heritage of creating first-rate optical products, the EOS-1D X Mark III offers an enhanced autofocus system, with dramatically improved still and video image quality and communication. When using this camera, professionals will have the confidence they will get ‘the shot’ and can deliver it at a competitive speed – faster than ever before – ideal for the increasingly fast-paced industry.
“The innovations put forth by the new EOS-1D X Mark III will set the new standard for professional DSLR cameras and further cement Canon’s commitment to its professional photographers,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “In developing the new camera, Canon listened to extensive user-feedback from professionals out in the field. The result is a camera that has evolved from its predecessor and maintained the overall quality that professional photographers have come to expect from the Canon EOS-1D series.”
Need for Speed
The Canon EOS-1D X Mark III will be blisteringly fast – offering exceptional precision, reliability, high-performance autofocus and subject tracking – providing photographers with a tool that will help to capture the shot they are chasing. The camera’s new autofocus algorithm will improve stability and tracking when using both the Optical Viewfinder and in Live View shooting mode, using Deep Learning Technology and adapting to help facilitate accurate focus tracking for every shot. When using the optical viewfinder the camera will use a new autofocus sensor, with approximately 28 times the resolution in the center of the EOS-1D X Mark II. Offering the ability to autofocus in even brighter and darker situations than before and with greater precision, the camera will have a range of autofocus capabilities, which will enable the photographer to get their shot. In Live View mode, users will be able to make use of 525 AF areas using the Dual Pixel CMOS AF system will cover approximately 90×100 percent of the image sensor. The camera will support significantly faster frame rates with full AF and AE, using either the optical viewfinder (up to approximately 16fps mechanical shutter) or Live View (up to approximately 20fps mechanical or electronic shutter). Additionally, the camera’s dual CFexpress card slots will enable more than five times the RAW burst depth of its predecessor.
Powered to Dominate
The development of EOS-1D X Mark III is a clear example of Canon’s commitment to pushing the boundaries of innovative imaging products featuring optically excellent technology. The camera will support an all new, Canon-developed, CMOS sensor and DIGIC processor, that will deliver greater image quality, at even higher ISOs, with the ability to capture stills in 10-bit using the HEIF (High Efficiency Image File) file format. HEIF produces wider dynamic range and greater color representation compared to JPEG. The power of 4K resolution brings stories to life – shoot 4K videos including 4K60p with 10-bit 4:2:2 Canon Log internal recording.
Conveniently Connected
For professionals, content delivery is just as important as image capture – the EOS-1D X Mark III will make it easy, featuring built-in Wi-Fi® and Bluetooth® low-energy connectivity in addition to GPS technology. To keep pace with ever-shortening deadlines, the camera will transfer data at more than twice[i] the speed of the EOS-1D X Mark II when using the built-in Ethernet connection, or the new optional wireless file transmitter – the WFT-E9, which is also compatible with Canon’s recently launched Cinema EOS C500 Mark II camera. Coupled with simpler network set-up the camera will greatly enhance the professional workflow.
A Familiar Feel with Improved Attributes
Existing EOS-1D series users will be familiar and comfortable handling the EOS-1D X Mark III allowing seamless navigation with trusted ergonomics – whilst the magnesium alloy body will offer the durability expected from Canon’s EOS-1D cameras. Professional photographers can trust the same impressive build-quality as the EOS-1D X Mark II – with phenomenal weather-sealing, standing up to harsh conditions, including wind, rain and humidity. With incredible low-light shooting capabilities, the camera will now feature select illuminated buttons that allow for precision operation in challenging, dark and dimly lit conditions. The camera will also offer a new additional control for selecting AF points, built into the AF-ON button, allowing photographers to change AF points on-the-fly for the best composition – further helping to simplify their work. In addition, dramatically improved battery life – with the same LP-E19 – will allow professionals to shoot for longer periods of time, without having to change batteries, helping reduce the chance of missing a shot.
[i] Transfer speeds may be adversely affected depending on the usage environment.
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.
For the centennial anniversary of the National Park Service, I had a dream assignment photographing the national parks. I traveled to and photographed all 59 (at the time) of the U.S. national parks in one year for National Geographic. While other Nat Geo photographers were spending up to a year on assignment in a single national park, I was racing through them at breakneck speed. It was a whirlwind year filled with more beauty and nature than any one person should ever get to experience in such a short timeframe.
The book, A Year in the National Parks: The Greatest American Road Trip, chronicles Irish’s adventure.
If you’re doing the math, you’ve probably realized that photographing 59 national parks in 52 weeks is close to impossible, and you’d be right. But I was crazy enough to pitch it, and they were crazy enough to let me try to do it. Looking back, it was without a doubt one of the most challenging years of my life. I was out photographing every sunrise and sunset, I hiked all day, edited late into the night (when I wasn’t shooting astrophotography), and got very little sleep for the entire year.
I had so many blissful, “pinch-me-I’m-dreaming” moments as well. In a country as diverse and picturesque as the United States, the national parks represent the best of us. They are the places we hold most sacred, for their purity and jaw-dropping beauty.
Prior to this assignment, I had already visited about half of the U.S. national parks, either on my own or on assignment for various publications. The national parks are very special to me; they are where I fell in love with exploring the outdoors, and they played a big role in me becoming a photographer. For the centennial of the Park Service, I wanted to challenge myself and to give back to those places that had given me so much over my lifetime.
It’s very hard to distill an entire year of amazing national park scenery into a short list, but I’ve tried to share some of my favorite images and moments here. If you were to ask me tomorrow or next week to do the same exercise, I’d likely have a completely different list.
Great Sand Dunes National Park & Preserve
Great Sand Dunes National Park & Preserve, Colorado.
I love photographing sand dunes, and there is perhaps no better place to do so than Great Sand Dunes National Park & Preserve in Colorado. These are the tallest dunes in North America, tucked up against the Sangre de Cristo Mountains, and offer endless opportunities for creative photography. My favorite moment from visiting this park came not from capturing the light and shadow at play on the dunes during sunrise and sunset, but from backpacking far into the dunes and spending the night under the stars. The lack of light pollution, coupled with the fantastic tent location and the brilliant star display overhead, was a night to remember. In fact, this image ended up becoming the cover of the book about the project, A Year in the National Parks: The Greatest American Road Trip.
Death Valley National Park
Death Valley National Park, California.
If you visit Zabriskie Point in Death Valley National Park, California, you will no doubt end up setting your tripod next to a line of other photographers. Many photographers I know hate this aspect of national park photography, and I can understand why. I, too, try to look for different and unique views in my photography. However, there’s nothing wrong with capturing famous vistas. Personally, I enjoy standing shoulder to shoulder with other passionate photographers, sharing tips and a fun conversation. I’ve learned a lot from others, taught many younger photographers my own tricks, and have genuinely enjoyed the comradery of such a scene.
This photo reminds of not only of what an amazing scene Zabriskie Point can be to photograph but also of the friends I’ve made standing at such popular vistas who share my passion for photography. My recommendation is to spend some time shooting at these busy spots, and then forge out on your own to create unique imagery. Both avenues are worthy of your time as a photographer.
Redwood National Park
Redwood National Park, California.
There are certain memories that, when I think back upon them, still feel incredibly real. This glorious early-summer morning in Redwood National and State Parks in California is one of them. I went hiking by myself along the coastal trail. The air was cool and crisp, I remember a gentle breeze blowing, the songbirds were singing and jumping from branch to branch…it was simply a perfect morning in nature. If I shut my eyes, I can travel back to this moment without delay and still feel the gentle breeze and hear the birds chirping. I live for these moments in nature, as they have dramatic ways of refilling my spiritual cup. I’m not a very religious person, but if I did worship, it would be right here in this cathedral made of trees.
Crater Lake National Park
Crater Lake National Park, Oregon.
One of my photographic goals for the project was to capture each park in as many ways as I could, which would inevitably find me staying up way into the night to capture a glimpse of the Milky Way. There are a lot of great “dark sky” national parks, and I consider Crater Lake in Oregon to be one of the best for stargazing and astrophotography. This particular night was one of the most memorable photographing the night sky, as the reflections on the lake blew me away. I was lucky enough to find an old weathered tree for a foreground, which completed the image.
Theodore Roosevelt National Park
Theodore Roosevelt National Park, North Dakota.
If you were to ask your friends which of the national parks are their favorites, I doubt you would hear them mention Theodore Roosevelt National Park in North Dakota. It’s certainly one of the lesser-known among the likes of Yellowstone, Yosemite and Grand Canyon. Don’t count out those quieter parks though—Theodore Roosevelt is one of the great hidden gems in the park system. There, you can find badlands as impressive as those at namesake park Badlands National Park in neighboring South Dakota, as well as beautiful rivers, incredible wildlife such as coyotes, wild (feral) horses and massive herds of bison. I loved finding the off-the-beaten-path gems within the park system, and this park—named after the “Conservation President”—was one that blew me away.
Grand Canyon National Park
Grand Canyon National Park, Arizona.
One of the great sights in all of the national parks is watching weather systems roll in over the Grand Canyon in Arizona. The thunderstorms during the late spring and summer months can be immense and awe-inspiring. Standing at Hopi Point on the South Rim of the Grand Canyon, I watched as this fierce thunderstorm slowly overwhelmed the North Rim with menacing clouds and torrential rain. I felt as if I was witnessing something truly special, and I was so fortunate to capture it on camera.
Katmai National Park & Preserve
Katmai National Park & Preserve, Alaska.
Katmai National Park & Preserve in Alaska is known for its large population of grizzly bears. Most photographers in Katmai will spend a lot of time at Brooks Falls hoping to recreate the famous photo (Thomas Mangelsen’s “Catch of the Day”) of the spawning salmon precariously perched in mid-air right before a hungry grizzly closes its jaws on it.
However, I fell in love with Kukak Bay on the east side of the national park, where few visitors reach and wild grizzlies roam free. Exploring by boat, we were able to get close to and spend time with locally known grizzlies like “One-Ear,” who showed off her two young cubs. National parks are special places where wildlife can wander protected as they have for millennia, and getting to see these famous grizzlies is one of the great wildlife experiences one can have not only in the park system but anywhere.
Acadia National Park
Acadia National Park, Maine.
Surprisingly, the northeast U.S. does not have many national parks, but the few there are really fantastic. I first photographed the Bass Harbor Lighthouse as soon as I got to Acadia National Park in Maine, simply because I knew it was an iconic shot, and I was anxious to capture it. But I kept returning to this scene over and over again, mesmerized by the rock, trees, lighthouse and the changing colors of the sky. It is such a “zen” scene along a rocky coast in the great state of Maine, and over time it became one of my favorite views in all of the parks.
Rocky Mountain National Park
Rocky Mountain National Park, Colorado.
On a yearlong quest to visit all of the national parks, it is impossible to visit each at the best season for photography. Seasonality was a constant challenge on this project. I visited Rocky Mountain National Park in Colorado toward the end of autumn and missed the fall foliage that makes this park so famous. One gorgeous morning at Dream Lake made up for the lack of autumn color. I don’t remember ever seeing such a fiery sunrise, and the aptly named Dream Lake reflected the brilliant colors. The snowy logs leading up to the deep reds of sunrise on the mountains make this image—and moment—one of my favorite from the entire road trip.
Grand Teton National Park
Grand Teton National Park, Wyoming.
If you were to ask me what was one of the most beautiful scenes I experienced in all of the national parks, I would say it was this morning at Oxbow Bend in Grand Teton National Park in Wyoming. Sure, it’s a famous vista, and there are likely to be numerous photographers there every morning. I happened to visit Grand Teton during the height of fall foliage, when all leaves were exploding with autumn colors. Add to that the surreal pink sky from a beautiful morning sunrise, and you get one of the most iconic and incredibly stunning scenes in all of the park system. It was a view almost too perfect to believe.
Sometimes during this project, I felt like it was completely unfair to take credit for any photos because it was truly nature that was doing all the heavy lifting.
For the centennial anniversary of the National Park Service, I had a dream assignment photographing the national parks. I traveled to and photographed all 59 (at the time) of the U.S. national parks in one year for National Geographic. While other Nat Geo photographers were spending up to a year on assignment in a single national park, I was racing through them at breakneck speed. It was a whirlwind year filled with more beauty and nature than any one person should ever get to experience in such a short timeframe.
The book, A Year in the National Parks: The Greatest American Road Trip, chronicles Irish’s adventure.
If you’re doing the math, you’ve probably realized that photographing 59 national parks in 52 weeks is close to impossible, and you’d be right. But I was crazy enough to pitch it, and they were crazy enough to let me try to do it. Looking back, it was without a doubt one of the most challenging years of my life. I was out photographing every sunrise and sunset, I hiked all day, edited late into the night (when I wasn’t shooting astrophotography), and got very little sleep for the entire year.
I had so many blissful, “pinch-me-I’m-dreaming” moments as well. In a country as diverse and picturesque as the United States, the national parks represent the best of us. They are the places we hold most sacred, for their purity and jaw-dropping beauty.
Prior to this assignment, I had already visited about half of the U.S. national parks, either on my own or on assignment for various publications. The national parks are very special to me; they are where I fell in love with exploring the outdoors, and they played a big role in me becoming a photographer. For the centennial of the Park Service, I wanted to challenge myself and to give back to those places that had given me so much over my lifetime.
It’s very hard to distill an entire year of amazing national park scenery into a short list, but I’ve tried to share some of my favorite images and moments here. If you were to ask me tomorrow or next week to do the same exercise, I’d likely have a completely different list.
Great Sand Dunes National Park & Preserve
Great Sand Dunes National Park & Preserve, Colorado.
I love photographing sand dunes, and there is perhaps no better place to do so than Great Sand Dunes National Park & Preserve in Colorado. These are the tallest dunes in North America, tucked up against the Sangre de Cristo Mountains, and offer endless opportunities for creative photography. My favorite moment from visiting this park came not from capturing the light and shadow at play on the dunes during sunrise and sunset, but from backpacking far into the dunes and spending the night under the stars. The lack of light pollution, coupled with the fantastic tent location and the brilliant star display overhead, was a night to remember. In fact, this image ended up becoming the cover of the book about the project, A Year in the National Parks: The Greatest American Road Trip.
Death Valley National Park
Death Valley National Park, California.
If you visit Zabriskie Point in Death Valley National Park, California, you will no doubt end up setting your tripod next to a line of other photographers. Many photographers I know hate this aspect of national park photography, and I can understand why. I, too, try to look for different and unique views in my photography. However, there’s nothing wrong with capturing famous vistas. Personally, I enjoy standing shoulder to shoulder with other passionate photographers, sharing tips and a fun conversation. I’ve learned a lot from others, taught many younger photographers my own tricks, and have genuinely enjoyed the comradery of such a scene.
This photo reminds of not only of what an amazing scene Zabriskie Point can be to photograph but also of the friends I’ve made standing at such popular vistas who share my passion for photography. My recommendation is to spend some time shooting at these busy spots, and then forge out on your own to create unique imagery. Both avenues are worthy of your time as a photographer.
Redwood National Park
Redwood National Park, California.
There are certain memories that, when I think back upon them, still feel incredibly real. This glorious early-summer morning in Redwood National and State Parks in California is one of them. I went hiking by myself along the coastal trail. The air was cool and crisp, I remember a gentle breeze blowing, the songbirds were singing and jumping from branch to branch…it was simply a perfect morning in nature. If I shut my eyes, I can travel back to this moment without delay and still feel the gentle breeze and hear the birds chirping. I live for these moments in nature, as they have dramatic ways of refilling my spiritual cup. I’m not a very religious person, but if I did worship, it would be right here in this cathedral made of trees.
Crater Lake National Park
Crater Lake National Park, Oregon.
One of my photographic goals for the project was to capture each park in as many ways as I could, which would inevitably find me staying up way into the night to capture a glimpse of the Milky Way. There are a lot of great “dark sky” national parks, and I consider Crater Lake in Oregon to be one of the best for stargazing and astrophotography. This particular night was one of the most memorable photographing the night sky, as the reflections on the lake blew me away. I was lucky enough to find an old weathered tree for a foreground, which completed the image.
Theodore Roosevelt National Park
Theodore Roosevelt National Park, North Dakota.
If you were to ask your friends which of the national parks are their favorites, I doubt you would hear them mention Theodore Roosevelt National Park in North Dakota. It’s certainly one of the lesser-known among the likes of Yellowstone, Yosemite and Grand Canyon. Don’t count out those quieter parks though—Theodore Roosevelt is one of the great hidden gems in the park system. There, you can find badlands as impressive as those at namesake park Badlands National Park in neighboring South Dakota, as well as beautiful rivers, incredible wildlife such as coyotes, wild (feral) horses and massive herds of bison. I loved finding the off-the-beaten-path gems within the park system, and this park—named after the “Conservation President”—was one that blew me away.
Grand Canyon National Park
Grand Canyon National Park, Arizona.
One of the great sights in all of the national parks is watching weather systems roll in over the Grand Canyon in Arizona. The thunderstorms during the late spring and summer months can be immense and awe-inspiring. Standing at Hopi Point on the South Rim of the Grand Canyon, I watched as this fierce thunderstorm slowly overwhelmed the North Rim with menacing clouds and torrential rain. I felt as if I was witnessing something truly special, and I was so fortunate to capture it on camera.
Katmai National Park & Preserve
Katmai National Park & Preserve, Alaska.
Katmai National Park & Preserve in Alaska is known for its large population of grizzly bears. Most photographers in Katmai will spend a lot of time at Brooks Falls hoping to recreate the famous photo (Thomas Mangelsen’s “Catch of the Day”) of the spawning salmon precariously perched in mid-air right before a hungry grizzly closes its jaws on it.
However, I fell in love with Kukak Bay on the east side of the national park, where few visitors reach and wild grizzlies roam free. Exploring by boat, we were able to get close to and spend time with locally known grizzlies like “One-Ear,” who showed off her two young cubs. National parks are special places where wildlife can wander protected as they have for millennia, and getting to see these famous grizzlies is one of the great wildlife experiences one can have not only in the park system but anywhere.
Acadia National Park
Acadia National Park, Maine.
Surprisingly, the northeast U.S. does not have many national parks, but the few there are really fantastic. I first photographed the Bass Harbor Lighthouse as soon as I got to Acadia National Park in Maine, simply because I knew it was an iconic shot, and I was anxious to capture it. But I kept returning to this scene over and over again, mesmerized by the rock, trees, lighthouse and the changing colors of the sky. It is such a “zen” scene along a rocky coast in the great state of Maine, and over time it became one of my favorite views in all of the parks.
Rocky Mountain National Park
Rocky Mountain National Park, Colorado.
On a yearlong quest to visit all of the national parks, it is impossible to visit each at the best season for photography. Seasonality was a constant challenge on this project. I visited Rocky Mountain National Park in Colorado toward the end of autumn and missed the fall foliage that makes this park so famous. One gorgeous morning at Dream Lake made up for the lack of autumn color. I don’t remember ever seeing such a fiery sunrise, and the aptly named Dream Lake reflected the brilliant colors. The snowy logs leading up to the deep reds of sunrise on the mountains make this image—and moment—one of my favorite from the entire road trip.
Grand Teton National Park
Grand Teton National Park, Wyoming.
If you were to ask me what was one of the most beautiful scenes I experienced in all of the national parks, I would say it was this morning at Oxbow Bend in Grand Teton National Park in Wyoming. Sure, it’s a famous vista, and there are likely to be numerous photographers there every morning. I happened to visit Grand Teton during the height of fall foliage, when all leaves were exploding with autumn colors. Add to that the surreal pink sky from a beautiful morning sunrise, and you get one of the most iconic and incredibly stunning scenes in all of the park system. It was a view almost too perfect to believe.
Sometimes during this project, I felt like it was completely unfair to take credit for any photos because it was truly nature that was doing all the heavy lifting.
