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Saturday, October 31, 2020

Photo By David Gorke

Today’s Photo Of The Day is “South Branch, Israel River” by David Gorke. Location: White Mountain National Forest, New Hampshire.

“The south branch of the Israel River as it travels down from its start in the White Mountains,” describes Gorke.

Nikon D610. Exposure: 2.5 sec., f/16, ISO 100.

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

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Friday, October 30, 2020

Photo By Beth Young

Today’s Photo Of The Day is “Convict Lake Metamorphic Rock and Autumn Foliage” by Beth Young. Location: Eastern Sierra Nevada, California.

“The kaleidoscopic metamorphic rock on the cliffs and mountains surrounding picturesque Convict Lake provide a colorful backdrop to the calm water and colorful autumnal foliage of the eastern Sierra Nevada,” describes Young.

Canon EOS 5D Mark IV. Exposure: 13 sec., f/13, ISO 400.

See more of Beth Young’s photography at www.optimalfocusphotography.com.

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

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Thursday, October 29, 2020

Photo By Valerie Millett

Photo By Valerie Millett

Today’s Photo Of The Day is “Agathla Peak” by Valerie Millett. Location: Arizona.

Canon EOS 5D Mark II. Exposure: 1/320 sec., f/11, ISO 200.

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

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Wednesday, October 28, 2020

Congratulations to Jeff Woodard for winning the recent Sense Of Place Assignment with the image, “The Streak.” See more of Woodard’s photography at www.flickr.com/people/woodardjeff

View the winning image and a selection of submissions in the gallery below. And be sure to check out our current photography assignment here and enter your best shots!

[See image gallery at www.outdoorphotographer.com]

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Photo By Fred McCagg

Photo By Fred McCagg

Today’s Photo Of The Day is “Sunrise in the Adirondacks” by Fred McCagg. Location: New York.

“Sunrise from the peak of Cascade Mountain in the High Peak region of the Adirondacks,” describes McCagg. “Up early and hit the trail in the dark hours before sunrise to be on the summit while the sun rose.”

Nikon D3200. Exposure: 1/125 sec., f/9, ISO 400.

See more of Fred McCagg’s photography at www.fredmccaggphotography.com.

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

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My career has revolved around  adventure sports photography for 30 years. I’ve photographed everything from sea kayaking in the Florida Keys to mountaineering on Denali. I’ve learned some helpful photography techniques while guiding and photographing these adventure sports and gotten a lot of bumps and bruises along the way.

adventure sports, canoeing

Canoeing in Glacier National Park on Lake Josephine. Nikon D300S, AF DX Fisheye-Nikkor 10.5mm f/2.8G ED. Exposure: 1/800 sec., ƒ/11, ISO 200.

America has some of the most diverse landscapes, vast wilderness areas and magnificent national parks on the planet. The range of environments is remarkable. Red rock deserts, high alpine peaks, subtropical islands and millions of acres of wilderness are waiting to be explored. You don’t have to cross an ocean to get there—these gems are only a road trip away. Here are some of the most popular and accessible adventure sports and photography tips for each. I’ve also included some of my favorite destinations for these sports. Many of these adventures are likely right in your backyard or not too far away. All you have to do is load up your car and head out. Let the road trip begin!

Hike To Camp

Go camping and hiking this summer. The simplest way to get into the backcountry and find plenty of adventure is backpacking. While you will need to be able to deal with the elements, cook outdoors, read a map and know some basic first aid to be safe and comfortable, a trip to a nearby campground will transport you from the constant chatter of city life to the serene bird calls of the wilderness.

adventure photography, image of hikers checking a map

Hikers looking at a map while taking in the view of the Alaska Range in the distance. Nikon F5, AF-S NIKKOR 70-200mm f/2.8E FL ED VR, Fujichrome Provia 100F. Exposure: 1/250 sec., ƒ/8.

Less is more when it comes to backpacking since you are carrying everything on your back. Be selective in what you are bringing on your trip. I worked as a NOLS (National Outdoor Leadership School) instructor for years, and its standard trip was a 30-day expedition into remote wilderness areas. Day one of every course was going through students’ gear piece by piece and eliminating superfluous items. Resist the temptation to bring lots of extra food, and carefully plan out your meals for each day of your trip. Of course, if your campground is near parking for your vehicle, you can be less restrictive on what you bring.

Camera gear quickly adds weight. But with today’s mirrorless camera options, equipment is much lighter. My lightweight kit includes a Nikon Z 6, NIKKOR Z 24-70mm f/4 S and an AF-S NIKKOR 70-200mm f/4G ED VR (used with the Nikon FTZ adapter). This system is under 5 pounds. If I can handle another pound, I will add the NIKKOR Z 14-30mm f/4 S. I also often bring my lightweight Really Right Stuff tripod, Singh-Ray polarizer and 10-stop ND filter for landscape photography. Battery usage is critical—I limit LCD image review. For short trips, I bring extra batteries. On longer trips, I carry my Goal Zero Sherpa 100AC solar charging system. The Sherpa has standard 100-watt AC power so I can charge camera batteries, and a lightweight solar panel recharges the power pack in the field.

adventure photography, hiking in the redwoods

Hiking in Redwood National Park in northern California. Nikon D850, AF-S NIKKOR 14-24mm F2.8G ED. Exposure: 1/20 sec., ƒ/5.6, ISO 200.

Camping and hiking offer access to stunning remote landscape photography. But there are some unique adventure images to be made as well. One of my favorite shots is photographing my tent at twilight in a beautiful location. Adding the human element to a landscape may resonate with the viewer; they want to be that person in the tent. If you have a wide-angle lens, try photographing through the tent door. As the sun sets, consider illuminating your tent with a headlamp or flash to produce a warm, friendly glow.

Hiking trails can create graphic lines through your photograph and draw the viewer into the picture. I also like to photograph hikers from ground level. Getting up close to gritty hiking boots offers a fresh perspective.

The beauty of hiking and camping is how accessible it is to everyone. Local, state and national parks are great hiking areas, as are national forests and wilderness areas. Some of my favorite hiking areas are Acadia National Park in Maine, the Wind River Mountains in Wyoming, Redwood National Park in California and the magical slot canyons of southern Utah.

Camping in Alaska at sunset. Tents illuminated by firing speedlights triggered by wireless transmitters. Nikon D300S, AF-S DX Zoom-Nikkor 12-24mm f/4G IF-ED. Exposure: 1/40 sec., ƒ/9, ISO 200.

Grab A Paddle

Canoeing, kayaking and rafting offer one great advantage over backpacking; you don’t have to carry your gear on your back. On the other hand, photography can be more precarious since you are photographing near the water.

Sea kayaking on String Lake in Grand Teton National Park. The kayak was illuminated by three speedlights placed inside the boat and triggered with wireless transmitters. Nikon D300S, AF-S DX Zoom-Nikkor 12-24mm f/4G IF-ED. Exposure: 1/13 sec., ƒ/13, ISO 200.

Paddling can take many forms, from flat water lake canoeing to adrenaline-pumping whitewater kayaking. Make sure you know the risks and paddle with experienced boaters. Always use PFDs (personal floatation devices), and consider the water temperature and how close you are to shore.

Canoeing on a small lake is an easy way to try out paddling. Be comfortable canoeing before bringing your camera with you. Sea kayaking is another great option. Sea kayaks can be very stable and open up ocean paddling trips. I also really enjoy sea kayaking on large lakes. I once had an assignment photographing a sea kayaking trip around Isle Royale on Lake Superior. The “lake” looked more like an ocean, but despite large waves, we were able to paddle most days.

Whitewater paddling is for experienced boaters only. Part of whitewater kayaking is rolling if you flip, so this sport is not for everybody. But capturing teeth-gritting whitewater images is possible from shore.

One consideration for all paddling photography is keeping your gear dry. I use a range of waterproof cases to pack my camera gear. I tie them off in my canoe or on the top deck of my sea kayak. They are totally waterproof, so I can grab my camera for a shot while paddling and then quickly seal up my camera against the elements. Dry bags are another option. These bags are flexible and have a foldable closure to keep things dry. Their advantage is they are easier to pack, but it also takes longer to get your camera in and out of a dry bag.

Paddling offers exciting image-making possibilities. You have two approaches: from the shore or in a boat. Some sports, like whitewater kayaking, photograph great from the river’s edge. We have a wild and scenic river that flows near our house, and kayakers paddle by all summer. I photograph from a few key spots that are only 10 feet from big rapids. This low perspective at water level is fantastic for close-up action.

I like to use a shutter speed of 1/1000 sec. and faster to freeze the flying water droplets. Set your camera to a fast frame rate so you get as many images as possible. Paddle position changes frequently, and you want to capture an image without the paddle blocking the kayaker’s face.

adventure sports photography, image of kayaker descending a waterfall

A kayaker paddles off Lower Mesa Falls on the Henrys Fork of the Snake River in Idaho. Nikon D2H, AF-S NIKKOR 24-70mm F2.8G ED. Exposure: 1/800 sec., ƒ/8, ISO 200.

If you are photographing canoeing and sea kayaking, consider photographing from the boat. I love creating POV (point of view) images while paddling. I use a fisheye lens and attach my camera to a helmet or high on the front of my PFD (try twisting your camera strap to shorten it so it rests high on your chest). Use a cable release or self-timer to trigger the shutter.

I once attached a Nikon DSLR to a helmet and kayaked through a rapid to create a POV whitewater kayaking image. The photo looked fantastic, but it was a little nerve racking knowing if I flipped I would trash thousands of dollars of camera gear. These days, a waterproof action cam like a GoPro would be a good choice—and your neck won’t be as sore after paddling with a full-sized DSLR on your head.

There are incredible paddling locations all across the U.S. Rivers like the Nantahala in North Carolina, the Niobrara in Nebraska, or the Colorado River in Arizona are well known and offer a range of whitewater options. If you want to try out some subtropical island hopping, consider doing some sea kayaking in the Florida Keys. If you are more interested in canoeing, drive north and explore the countless lakes in Maine or the Boundary Waters in Minnesota. Canoe rentals are available at popular destinations. If you want one destination that is great for all paddling options, consider the ultimate road trip to Alaska!

Climb A Rock

adventure sports photography image of rock climber ascending a steep roof

A rock climber climbing a steep roof in Red Rock, Nevada. Nikon D800, AF-S NIKKOR 24-70mm F2.8G ED. Exposure: 1/1250 sec., ƒ/5.6, ISO 200.

Rock climbing has become very popular and offers some of the most dramatic adventure sports photography you can imagine. Similar to whitewater kayaking, you don’t have to be on a cliff face to photograph rock climbing, but finding a good location to photograph a climber is very important.

Sometimes you can photograph from a safe perch at the same level or above the climber, which gives you the classic top-down perspective. Your other option is ascending a rope to get above the climber. This requires a solid climbing background. Hanging a few feet above a climber while they attempt a difficult move is a bucket list experience for many adventure sports photographers. I’m always struck at the emotional contrast of the moment. I’m safely attached to a rope with minimal danger and stress. Five feet away, the climber is making a hard move with big fall potential—their stress, focus and tension are palpable.

Most climbing photographers avoid shooting directly below a climber; try moving away from the cliff so you get more scale and a different perspective. Figures in a landscape create dramatic adventure sports images. The scale produces a sense of awe and wonder at the enormity of the situation.

adventure sports photography, image of rock climbers

Rock climbing in Sinks Canyon, Wyoming. Nikon D810, AF-S NIKKOR 24-70mm F2.8G ED. Exposure: 1/250 sec., ƒ/5.6, ISO 100.

Try photographing right up the rope leading to the climber from the belayer, as this creates a nice visual handrail for the eye to travel through the image. Cliff faces and spires provide diverse lighting options. Find a sunlit climber on a ridge against a shadowed background—the contrast will make the image pop. Or try the opposite scenario, photographing a climber in shade against a sunlit face for dramatic silhouettes. Take it a step further and use strobe to light the climber for more creative options.

Great rock climbing locations are scattered throughout the U.S. Stunning locations in the east include Red River Gorge in Kentucky, the Gunks in New York, and Cathedral Ledge in New Hampshire. Out west, famous locations like Yosemite in California, Red Rocks in Nevada, and Eldorado Canyon in Colorado beckon adventure sports photographers. I live in northern Colorado and really enjoy climbing and photographing at less-crowded limestone crags in neighboring Wyoming.

Ride The Trails

Mountain biking is an adventure sports activity that almost anyone can photograph. Virtually every state has mountain biking locations, and connecting with good riders is as simple as checking in at the local bike shop. I had an assignment to photograph mountain biking on the Slickrock Trail in Moab, Utah, and needed some really good mountain bikers. Ten minutes after walking into a bike shop, I had three mountain bike guides excited and ready to ride for some images.

adventure sports photography, image of a mountain biker

Mountain biking on the Slickrock Trail in Moab, Utah. Nikon D3S, AF-S NIKKOR 14-24mm F2.8G ED. Exposure: 1/250 sec., ƒ/20, ISO 200.

I learned early on that while most everyone can ride a bike, more extreme mountain biking is best left to advanced riders. During my assignment in Moab, I went over the handlebars twice—not good for the camera gear and your health.

Of all the sports I’ve mentioned, mountain biking is the fastest. Speeding riders offer great pan-and-blur photography opportunities. I like to start with my shutter speed around 1/30 sec. for these shots. The goal is to have some sharp focus on the riders and a blurry background. Remember, backgrounds are as important as subjects with pan-and-blur. Find a nice clean background with strong color to create striking images.

Capturing riders in midair going off jumps is also a great image. The biker doesn’t have to be 10 feet in the air. Try shooting from ground level using a fisheye lens to exaggerate the perspective and scale. For creative POV images, I like to attach a Manfrotto Magic Arm to my bike frame to hold my camera. I can then photograph interesting perspectives, including part of my own bike in the final image.

adventure photography, biker at sunset

A mountain biker takes a break at sunset along Turnagain Arm, Alaska. Nikon F5, AF-S 70-200mm f/2.8E FL ED VR, Fujichrome Velvia 50. Exposure: 1/30 sec., ƒ/8.

Check in with your local bike shop to see where the best trails are in your area. Or load up the bikes and drive to one of America’s mountain biking meccas like Moab, Utah; Crested Butte, Colorado; or Marin County, California, to name a few.

Get out your atlas, start planning your summer road trip, and include some adventure sports photography on your itinerary. I can’t wait to put on my climbing harness or dip my paddle into the water. Time to hit the road. 


See more of Tom Bol’s work at tombolphoto.com.

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Tuesday, October 27, 2020

Photo By Morris Swartz

Photo By Morris Swartz

Today’s Photo Of The Day is “Fall Color Parade” by Morris Swartz. Location: Bishop, California.

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

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Monday, October 26, 2020

Photo By Kristen Ryan

Photo By Kristen Ryan

Today’s Photo Of The Day is “Autumn at Oxbow Bend” by Kristen Ryan. Location: Grand Teton National Park, Wyoming.

Nikon D810. Exposure: 1/1250 sec., f/11, ISO 800.

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

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In part one of this series, I addressed front light and in part two, I wrote about backlight. In part three, I addressed both sidelight and soft light. Part four ends the series with dramatic light.

Dramatic Light: The Cutting Edge

Front, back, side and soft light all have their pluses and minuses. Learning how to exploit them takes patience and practice. Practice using each of them as they’re all easily repeatable depending on the weather of any given day. But there are some special qualities of light that don’t occur as the norm. These qualities produce the most spectacular and dramatic conditions available. I refer to it as light on the cutting edge.

Sunrises or sunsets that envelope the sky in a blood-red canopy, an iridescent rainbow that emerges from storm clouds, a spot-lit subject with a backdrop of dark skies all produce non-repeatable qualities of light that beckon to be photographed. A technicolor world appears as if by magic. Shadows and light intertwine in a dance of short-lived beauty. This amazing light is fleeting, so work quickly and efficiently.

The same way a beautiful subject makes it easier to produce a good image, great light makes it simpler. Encountering cutting edge light without capturing an image would be a tragedy. When cutting edge light occurs, it’s essential a photographer works efficiently. It’s very easy to get caught up in the excitement and overlook the fundamentals. The body gets pumped up and tends to not work the way it should when relaxed. Whenever I’m blessed with cutting edge light, I treat it as a gift, take a second to relax and thank the weather gods when it’s over.

Rainbows appear when the sun is near the horizon and the sky opposite it is filled with moisture. The moist air acts like a prism. The water drops diffract the light and create the colors. A rainbow’s colors can be enhanced using a polarizer, but it can also obliterate it if rotated to the wrong position.

Rainbows are short-lived. Quickly find an interesting subject to use as a foreground. Of special importance is positioning the bottom of the rainbow in a key area of the frame. Proper exposure is straight forward, but I recommend bracketing to be safe. You don’t want to blow out the delicate warm tones of color in it. By all means, base the exposure on the Red channel of your histogram.

When cutting edge light presents itself, sometimes a wide exposure variation occurs between the sky and landscape. Narrow this extreme with the use of a graduated neutral-density filter. These allow me to selectively darken certain portions of the sky or foreground so no one area is recorded too light or too dark. Preview the scene using the depth of field preview button to see where the transition line of the filter falls. An alternative is to make a bracketed series of one-stop increments and merge the images to HDR using software.

In conclusion, exploit all the types of light you’re bestowed. Dawn and dusk occasionally create an alpenglow that can take your breath away. Night photography under a full moon produces a unique quality unobtainable by any other source. The light that occurs on rainy or snowy days produces mood and uniqueness. Light is at the essence of any photograph, so here’s a final tip. Illuminate yourself as to what type of light is quite right; “be it bright or night, get it right.”

Visit www.russburdenphotography.com for information about his nature photo safaris to Tanzania.

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Sunday, October 25, 2020

Photo By Harry Lichtman

Photo By Harry Lichtman

Today’s Photo Of The Day is “Skookumchuck Brook” by Harry Lichtman. Location: White Mountain National Forest, New Hampshire.

“This beautiful brook has many cascades, but this was the year when my visit coincided with great foliage, lighting and water flow,” explains Lichtman. “An idyllic forest setting.”

See more of Harry Lichtman’s photography at www.HarryLichtman.com.

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

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Saturday, October 24, 2020

Photo By Ross Stone

Photo By Ross Stone

Today’s Photo Of The Day is “Autumn & Winter” by Ross Stone. Location: Lone Pine, California.

“Late fall and an early winter converge in the Alabama Hills near Lone Pine, California,” describes Stone.

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

The post Photo Of The Day By Ross Stone appeared first on Outdoor Photographer.



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Photo By Barb D’Arpino

Photo By Barb D’Arpino

“One of my favorite subjects to photograph are burrowing owlets,” says Barb D’Arpino. “They’re one of the easier owls to photograph because they’re diurnal, which means they hunt during the day and night, which allows for more opportunities than nocturnal owls. 

“I arrived at the site before sunrise, and the owls were beginning to stir. I sat on the ground to be at their eye level and stayed a respectful distance away so as not to disturb them. I was focused on this owlet when I noticed that mom was kicking sand and debris out of their burrow. I was surprised the owlet didn’t move out of the way, but I was happy to photograph the scene.”

Canon EOS-1D X, Canon EF 500mm f/4L IS II USM, Manfrotto tripod, Jobu Jr. ballhead. Exposure: 1/800 sec., ƒ/4, ISO 1250.

See more of Barb D’Arpino’s work on Instagram @barb_darpino.

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Friday, October 23, 2020

Photo By Laura Schoenbauer

Photo By Laura Schoenbauer

Today’s Photo Of The Day is “Frozen Fall Color” by Laura Schoenbauer. Location: Sturgeon Bay, Wisconsin.

“One of the last bits of fall preserved in Lake Michigan,” describes Schoenbauer.

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

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Thursday, October 22, 2020

Photo By Amy Ames

Photo By Amy Ames

Today’s Photo Of The Day is “Above the Clouds” by Amy Ames. Location: Mount Rainier National Park, Washington.

“On a recent Mount Rainier trip, we hiked up 4 miles to the mountain beside Mount Rainer to view the Milky Way,” explains Ames. “As the sun set and the temperature dropped, we watched the Milky Way slowly shift until it was just over the largest volcano in the United States. Definitely a once-in-a-lifetime opportunity!”

Nikon Z 6. Exposure: 20 sec., f/2.8, ISO 3200.

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

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Congratulations to Gary Fua for winning the recent Layers Assignment with the image, “Heavenly.” See more of Fua’s photography at www.flickr.com/photos/east-wind/.

View the winning image and a selection of submissions in the gallery below. And be sure to check out our current photography assignment here and enter your best shots!

[See image gallery at www.outdoorphotographer.com]

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Photo By George Bruce Wilson

The howling wind burned my skin. How could it be this cold this time of year in California? My team and I had just finished hauling our film equipment up a steep talus field to get a better angle of the climb we’d be shooting. The clouds passed overhead quickly, painting the canyon with shadows and highlights. We were on assignment shooting for a client of mine, Mad Rock. One of its athletes, Ethan Pringle, a California climber who has a proven track record of some of the world’s most difficult climbs, was attempting to be the first to do what would be one of the hardest granite sport climbs in the country, and it was my job to tell that story via motion and stills.

The Eastern Sierra is known amongst rock climbers as being one of the most iconic areas to climb. The history of rock climbing has deep roots here, and to be able to add your name to that in any way is an honor. We were in Pine Creek Canyon near the town of Bishop, California. Ethan would be trying a line his friend Patrick O’Donnell had bolted, but the route was too difficult for Pat, so the line remained unclimbed. Ethan had tried the route a year or so previous to this trip and was close to being able to “send the route” and thought that this could be the time. Going into this scenario has some pressure to it, for both Ethan and my team. All you can do is prepare.

I had been shooting climbing for some years at this point and had an idea of how I wanted to shoot the climb, but a lot of that would depend upon being there in person. You can only prepare so much beforehand, and we didn’t have the chance to scout the location. From outside the canyon, it’s hard to tell how epic the landscapes and features are going to be, but as you drive up the steep road, it feels like you’re transported to a different part of the world. The rugged peaks and couloirs make you feel like you’re high up in the alpine somewhere in Pakistan or the Himalaya.

This year, the snowfall had been high, and the temperatures and climate reflected that. It was windy and cold. We’d go through random isolated rain and snowstorms; the elements were there to create a good image. I like to say 70 percent of success is putting yourself in the right spot to make the right content. We were there, and everything was coming together.

Directing video and creating stills at the same time is a challenge but quite necessary these days. Once the crew was in position, Ethan began to climb and relearn the route’s moves. I found what I thought the best position would be to capture the elements I wanted in the image, to show the feeling of how epic this place was. I wanted the weather, the light and the effort Ethan was putting in all to be represented in the image. OP

See more of George Bruce Wilson’s work at threepeakfilms.com. 

Sony a7S II, Rokinon 14mm F2.8 ED AS IF UMC. Exposure: 1/250 sec., ƒ/4, ISO 200.

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Wednesday, October 21, 2020

Photo By Dave Stoker

Today’s Photo Of The Day is “Fall Twilight” by Dave Stoker. Wasatch National Forest, Utah. Nikon D800. Exposure: 1/160 sec.,...

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Tuesday, October 20, 2020

Photo By Gary Fua

Today’s Photo Of The Day is “Moonstar” by Gary Fua. Location: Valley View, Yosemite National Park, California. See more of...

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Monday, October 19, 2020

Photo By Kim Jane Peterson

Photo By Kim Jane Peterson

Today’s Photo Of The Day is “Elk in the Mist” by Kim Jane Peterson. Location: Grand Teton National Park, Wyoming.

“My husband and I headed out to String Lake in Grand Teton National Park for the sunrise,” explains Peterson. “As we were hiking in to the lake, we heard the elk bugling all around us in the dark. I set up to shoot the sunrise, which was beautiful, and then lo and behold, this magical moment happened. The elk emerged from the woods to our left and then waded through the lake to the other side. This moment is forever etched in our memories!”

Canon EOS 5D Mark III. Exposure: 1/2 sec., f/11, ISO 100.

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

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In part one of this series, I addressed front light, and in part two, I wrote about backlight. Now, in part 3, I tackle sidelight and soft light.

To create a quality image, there are three key ingredients; the appeal of the subject, good composition and the quality of light. For nature subjects, look for the subject with the best coast, feather structure or most appeal. Photograph the best-looking bison as opposed to one that’s tattered and worn. Compositionally, move your tripod so there’s balance. If it’s weighted too heavily at the top or side, move yourself or the tripod. Just because you plopped it down in location A, a better composition may only be 6 inches away. As photographers, we “claim” a piece of territory and sometimes force the image rather than admit we placed the camera in the wrong spot. To that I respond, “No medals for obstinance—move the tripod and admit guilt.”

If you arrange a quintessential composition, include an iconic subject. Place it in a location that contains the most inspirational light. Without good light, the image suffers. Think about the word photography: Photo = LIGHT and Graphy = TO WRITE. The very word means to “write with light.” Better “penmanship” combined with a “great choice of words” nets desired light!

Sidelight

Sidelight brings out the three-dimensional aspects of a subject. Textures, patterns, shapes and form are well defined. As light rakes across the subject, peaks and valleys of light and shadow are revealed. These areas of contrast net more depth. In a two-dimensional medium, a three-dimensional effect is created.

Sidelight comes from a 90-degree angle to the camera. Shifting the source of illumination 10 to 15 degrees in one direction or the other still maintains a strong effect. This dictates making images at sunrise or sunset. These times produce the greatest amount of sidelight because the sun is close to the horizon.

Although wildlife is my primary subject matter, I still make plenty of landscapes. Landscapes that are front-lit are flat in appearance and lack dimensionality. To bring life to a landscape, photograph them when they’re side-lit. Over the course of a year, the sun rises and sets farther north or south. This may dictate returning to an area at a different time of year so the sun provides even sidelight.

Sidelight can be used to separate a subject from its background. With midday front light, both the subject and background receive light. The background becomes just as bright as the subject. If it creates distractions, regardless of how beautiful the scene is, it falls short. If you return to the same location at sunrise or sunset, the light strikes the subject from the side. The result is a background that doesn’t compete and nets a more pleasing image.

Soft Light

Soft light is nondirectional and produces an even wraparound effect. Detail isn’t lost in bright highlights or deep shadows. Outdoors it’s created on bright overcast days or in the shade. Certain subjects are better shot when soft, ambient light exists. Flowers and people are two that immediately come to mind. People work well because the light is even and wraps around the face. Shadows under the nose and chin are nonexistent and the eye sockets don’t become dark areas void of detail. Flowers work well because of their delicate qualities. Delicate subjects deserve delicate light.

The petals of a flower often vary in color from very light to very dark. Many species of water lilies have a bottom layer of white opening to another of saturated red and transitions to a center of combined light and dark tones. When shot in bright sunlight, the extreme contrast range causes problems. The use of flash or a reflector can help tame it, but the quality of light is still harsh. There’s nothing like bright overcast conditions to bathe a flower in soft light revealing detail in every section.

Animals can be photographed all day when the light is soft. My fantasy photo day starts with warm direct front light on all wildlife subjects I encounter. This lasts 1 1/2 hours. Then thin overhead clouds roll in to soften the light. This goes on until 1 1/2 hours before sunset. At that time, the clouds part and I’m bestowed more warm sunset light. If the thin clouds fail to come in, midday light is too harsh to make great wildlife images. The soft wraparound effect created by diffusing the sun allows me to continue making photos of any animal.

Scenic photography most definitely works better with gorgeous sunrises and sunsets. The sweet light of early morning and late afternoon produces dramatic results. But should the clouds become obstinate, I shift gears. It’s not time to quit for the day. It’s time to look at other subject matter. I move in close and search for details. Excellent pictures can still be made. Lichen-covered rock, wildflowers, rock patterns, waterfalls, decaying wood and weathered barns all make great subjects. Don’t despair and always remember, “It’s All About The Light.”

I’ll end this series by addressing dramatic light next week in part four.

Visit www.russburdenphotography.com for information about his nature photo safaris to Tanzania.

The post The Guiding Light, Part 3: Sidelight And Soft Light appeared first on Outdoor Photographer.



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Sunday, October 18, 2020

Today’s Photo Of The Day is “Reflections of Fall” by msimpson72. Location: George L. Smith State Park, Twin City, Georgia.

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

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Saturday, October 17, 2020

Photo By Paul Kolenda

Photo By Paul Kolenda

Today’s Photo Of The Day is “Drifting Through Golden Hour” by Paul Kolenda. Location: Denali National Park, Alaska.

“A beautiful mountain range just outside of Denali National Park,” describes Kolenda. “I was so busy photographing a group of beavers working that I almost missed the surrounding color show.”

Nikon D750, Tamron SP 24-70 2.8 Di VC. Exposure: 1/125 sec., f/9, ISO 1000.

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

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Friday, October 16, 2020

Photo By Brynn Schmidt

Photo By Brynn Schmidt

Today’s Photo Of The Day is “After Sunset Peak Color” by Brynn Schmidt. Location: Grand Teton National Park, Wyoming.

“I had been photographing grizzly bears behind this hill where the Tetons weren’t visible,” explains Schmidt. “I thought I had missed the sunset, but I came around the bend and saw this color exploding. I pulled over and grabbed my tripod and took photos for the next 10 minutes. It was one of those nights where the color lasts into the darkness.”

Canon EOS 5D Mark III. Exposure: 1 sec., f/11, ISO 125.

See more of Brynn Schmidt’s photography at flatironsphotography.com.

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

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Congratulations to Harry Lichtman for winning the recent Summer Adventures Assignment with the image, “Sculptured Coast.” See more of Lichtman’s photography at www.HarryLichtman.com.  

View the winning image and a selection of submissions in the gallery below. And be sure to check out our current photography assignment here and enter your best shots!

[See image gallery at www.outdoorphotographer.com]

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Thursday, October 15, 2020

Photo By Kim Hang Dessoliers

Photo By Kim Hang Dessoliers

Today’s Photo Of The Day is “Autumn Sunset” by Kim Hang Dessoliers. Location: Zion National Park, Utah.

Nikon D810. Exposure: 2 sec., f/9, ISO 200.

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

The post Photo Of The Day By Kim Hang Dessoliers appeared first on Outdoor Photographer.



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Tuesday, October 13, 2020

Image of the Sony a9

Amazon Prime Day deals aren’t the only way to save this week.

If you’re looking to pick up some Sony gear, check out the big discounts available now, like $1,000 off the Sony a9 and $500 off the Sony a7R IV

In addition to savings on several camera models, there are also discounts on select lenses and camera bundles. These deals are available at all Sony retailers including B&H, Adorama, Samy’s and Best Buy.

A complete list of the available discounts is available at Sony Alpha Universe. These deals are available this week only, so act fast.

 

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Photo By David Nilsen

Photo By David Nilsen

Today’s Photo Of The Day is “Fall from Four Mile” by David Nilsen. Location: Yosemite National Park, California.

“Coming down the Four Mile Trail after the first snow of the season in Yosemite,” explains Nilsen. “Glacier Point had about a foot of snow while closer to the valley floor fall colors were still in full swing.”

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

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Monday, October 12, 2020

Photo By Zeralda La Grange

Photo By Zeralda La Grange

Today’s Photo Of The Day is “Foggy Fall Sunrise” by Zeralda La Grange. Location: Algonquin Provincial Park, Ontario.

“My first trip to Algonquin Provincial Park in Ontario, Canada,” says La Grange. “The sunrise yielded a foggy morning over the lake. It was a challenge to capture the fall colors while catching the fog without the fog obscuring the colors as well as some reflections in the lake.”

Canon EOS 6D Mark II. Exposure: 1/8 sec., f/10, ISO 125.

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

The post Photo Of The Day By Zeralda La Grange appeared first on Outdoor Photographer.



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Backlight

As I stated last week, there are three key ingredients to create a quality image: the quality of the subject, the quality of the composition and the quality of light. In part one of this series, I addressed front light. In part 2, I now touch upon backlight.

Backlight

Alluring results can be obtained when backlight is the primary source. Depending upon the subject and intensity of the light, images with mystery and radiance can be created. Subjects can be portrayed as silhouettes or bathed in a rim-lit glow revealing shape, rim lit texture and form.

Backlight

Backlight provides dramatic illumination. Because it isn’t the norm, when it’s incorporated into a photograph, the image is more unique. The caveat is it’s hard to master. Exposure and lens flare problems must be dealt with to create successful photographs.

Exposure

Exposure can be tricky if the goal is to reveal detail. The best way to obtain proper exposure is to use spot metering. If your camera doesn’t have it, go up to the subject and take a reading off the most critical area if possible. Lock in the reading and return to the point where the photo is to be made and fire away.

Backlight

Sounds simple, but here’s the rub. Now that proper exposure on the subject has been achieved, it comes at the expense of having the background overpower it. The subject looks great, but the highlights in the background are washed out and hold no detail. Don’t despair. Before I hear the simultaneous clunk of thousands of cameras being discarded, there are solutions. The first and easiest is to move closer to the subject. By doing so, less background is presented. If the subject can be moved, place it in a location with fewer background distractions. Backgrounds that are darker or those that can be thrown out of focus work well.

Reflectors

Add detail by using a reflector if the subject is small. They come in white, silver or gold. White kicks back soft light, silver is used to make it harder and gold warms the light. In backlit situations, a reflector is very easy to use. In that the sun is aimed directly at it, all the photographer needs to do is redirect the bounced light toward the subject. With more light on the subject, the balance of light between the subject and the background is more evenly distributed and the beauty of the backlight is maintained.

Backlight

Fill Flash

To remedy the balance of light, I most often use flash. Fill flash portrays a professional touch. Balance just the right amount of flash with the ambient light reading and great results can be achieved. With today’s technology, fill flash has become simple to use. The higher-end units have a compensation button so the output of the light emitted from the flash can be adjusted—this is powerful. The more light output, the more detail is revealed on the shadow side of the subject. The color and quality of the light can also be modified. Straight flash mimics light from a silver reflector. It’s a hard source. To mimic the light of a white reflector, diffuse the flash with a pop-on plastic diffuser. To add warmth to a scene, tape a small gold or yellowish gel to the head. With TTL compatibility, regardless of the modification, proper exposure will be maintained.

Lens Flare

Lens flare is a problem with backlight. If the light source is pointed into the lens, flare is the result. The overall contrast of the image is reduced and circles or hexagons appear depending upon the aperture at which the photo was made. To eliminate flare, the sun or other light source must be blocked from the lens. Use a lens shade, hat, your hand or another device to block direct light from hitting the front element.

Backlight

Creating A Silhouette

My favorite reason to incorporate backlight is to create a silhouette. The end result can be very dramatic. I use no compensation or modification because I want my subject to become an outline. I take a meter reading off the background. The wider the range of light falling on the subject and background, the blacker the silhouette. Subjects rimmed with tiny hairs or fuzzy coats produce a glow when backlit. Exploit backlight when you make images of subjects that fit this description. Shoot when the sun is low on the horizon as the quality of light is superior and easier to get the sun to create a glow around your subject.

Part 3’s primary topic will be side light and soft light, so check back next week!

Visit www.russburdenphotography.com for information about his nature photo safaris to Tanzania.

The post The Guiding Light, Part 2: Backlight appeared first on Outdoor Photographer.



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