PPSOP.net - Sean Arbabi

LESSON 4 Lighting NATURE & LANDSCAPE Flash Filters Macro photography PHOTOGRAPHY Capturing Wildlife

HEAVEN AND EARTH, NEAR SEQUOIA NATIONAL PARK, CA When comparing this scene above to the image at bottom left (only shot an hour or so earlier ) we can see how the sunset light dramatically changed this layered landscape of USING LIGHT IN THE FIELD the Sierra foothills. Shot with a 300mm lens, exposed at f/11 for 1/500 sec., ISO 100 Choosing times of day and direction to take advantage of light

Light is critical to producing impressive landscape imagery. Utilizing light and contrast effectively in the field is just as essential - a key component that should a part of every nature photographer’s arsenal. Under most conditions, light sets the mood in an image, creates focus on the subject, and can add that intangible jaw-dropping wow response. However, when people travel, take tours, or visit locations, the majority of photographers capture images during the most convenient yet some of the worst times of day, usually between 10am to 4pm- not the optimal time for quality image-making. I’ll share a few rules of thumb with lighting, but once again recognize these guidelines are a starting point. In the past I’ve gone against the grain and worked in many different lighting scenarios producing great outdoor images, but only because I was aware of how the light would affect my final scene.

[1] Learning about light If you can recognize what light works best for which subject matter, whether through the direction or exposure you shoot, you can begin to optimize your time in the outdoors utilizing the existing light well. Knowing how light reacts in certain situations affords you to opportunity to benefit from what may seem to be a drawback to another photographer, but this takes time and experience. It is what I call the quiet eye - the ability to notice subtleties and oncoming change, and how to make it work to your advantage.

Once while running a workshop I was asked why I felt waking before dawn, or staying out until dusk, would help produce better images. The student felt she captured her best shots during brighter times of day. Most likely her captures were with faster exposures, which may have lead to sharper images depending on her techniques (or lack there of), fooling her into believing these times of day were better. But different times of day produce different types of lighting, color, and even weather.

Since color is also a big part of the aesthetics of nature, a powerful form a nonverbal communication, picking the right time of day can alter color in a scene, making or breaking your photograph.

Magic Hour, Dawn, Dusk Magic Hour or Golden Hour is the 30 minutes before and after sunset and 30 minutes before and after sunrise. Called magic or golden because of the wonderful qualities of light, purple and pink hues, low light creating warm tones and strong contrast, so I tend to shoot most around these times of day. Yes, it’s tough to get up very early, drag yourself out of a warm bed or sleeping bag, walk or hike in the dark, or shoot later in the day as temperatures get colder and winds pick up- and sometimes you are successful in finding wonderful light, whereas other occasions weather conditions or certain topography prevent great light, but this is all part of creating superb outdoor images, and the hues captured are usually like no other time of day.

We had a two week spell of rain while on assignment in Glacier National Park, yet I rose most mornings and headed out hoping for a break in the weather. One day I left my lodge around 4:30am and captured extraordinary light (and a slight double rainbow) over Saint Mary Lake. The light only lasted for a few minutes as the Sun peaked through storm clouds. Using a wide-angle medium format lens, I shot the scene at 1/4 second @ f/32, ISO 100.

[2] LIGHTING CONTINUED.... Sunrise and Sunset Sunsets and sunrises provide some of the best light for scenes of the natural world. Long shadows created but early or late times of day usually equate to quality light, warmer and more appealing, frequently intensifies colors, and providing pleasing contrast in landscape imagery. Colors appear that typically do not any other time of the day; tones that emotionally connect with people. They can be subtle hues in soft light or strong deep shades in direct specular light, most often in yellow, orange, pink, or purple. Slower exposures also occur in these low light conditions, great for movement in water, clouds, and

grasses, but also a concern with To capture this high sierra scene I had to leave the sanctuary of my ultra-warm sleeping bag, but camera shake or subject movement the storm light made it all worth it. Shot using an 80-200mm f/2.8 lens, f/22 @ 1/15 sec. ISO 100. (so tripods become essential).

Sunrises are tough because light changes fast, and unless you are in position to get your shot, the light gets worse as the sun gets higher in the sky. When the first light strikes a landscape, at that moment the light is beautiful and warm, but as it increases in intensity, getting harsher as time passes. Exposures also change dramatically every minute during these times – sunrises as well as sunsets – so close attention to your meter readings is crucial. Skies tend to be clear at sunrise due to low night temperatures, but in most cases there is no way to tell sunrise from sunset in photographs (unless you are familiar with the area and know the direction Shooting atop Pothole Dome in Yosemite, the last light of day turned a deep red on Fairview dome, and with my 24mm f/2.8 lens set to f/22, I exposed the scene at 1/4 second using ISO 50. an image was captured). As temperatures rise, fog burns off, cloud formations change, and light hits new areas of a landscape. Sometimes this benefits your image, other times it was the photo that got away.

Sunsets provide similar quality light- warm, rich in hues, and more appealing than the high mid-day Sun; not necessarily less contrasty, but definitely less harsh. The beauty of sunset is that you can watch the light improve the closer it gets to last rays of the day, giving you the chance to get into position for your shot. Exposures drop as the fall-off of light intensifies colors in a landscape, so be prepared again to use your tripod with slower shutter speeds.

[3] Leaving a flight later that day, I was unable to photograph at sunset, but luckily a light storm was rolling through with large cumulus clouds. So I waited until the trees along the banks of the Snake River were cast in shade while the Tetons caught sunlight between clouds. I used a two-stop graduated neutral density filter to assist the exposure and a wide angle lens for the landscape scene.

Mid-day light Another method of controlling light is attempting to predict what it might do, where the Sun may go as far as direction and location, and how that Usually mid-day is the worst type of light you can photograph outdoor might change your shot. I use these methods when I scout or plan for a scenes in. The overhead light is colorless, harsh, and uninviting. Finding a moment, such as arriving at a lake in the afternoon and determining where scene that is strong, where shadows do not create issues with contrast the Sun (and Moon) may be at sunset or sunrise. and loss of detail, and where clouds, blue sky or other elements help to improve the scene is key during this time of day. This is to distract from A common blunder that occurs when photographers position themselves the less-than-pleasing quality of light. What do I do during harsh mid-day between the Sun and their subject, with the Sun at their back, providing light hours? I may scout for shots to capture later in the day, I may take a the most light on their scene. The light now cast on the surroundings is nap (since getting up before sunrise and shooting after sunset can make harsh and boring; this is known as front lighting. Front lighting is often for a long day, especially during summer daylight hours), or I may spend it flat, giving your subjects little shape or dimension, but somewhat easier to hiking or driving to my next location; all good ways to pass the time during expose due to diminished contrast. However, I would only choose the hours that are not the best to photograph in. type of light if my scene was truly stunning, and the light was spectacular and colorful. Direction of light There are various forms of lighting- front, back, and side light- all Creating depth and dimension available to you, only requiring a spin of your body to choose the Creating shape and dimension in a photo is often done with highlights and direction, and type of light, to place your subject in. shadows, often achieved through side lighting. Side lighting is when your subject is half lit by a light source and half in shade. Another way to think Contrast and lighting ratios in a scene are typically determined by the about it is when the light source is 90° off axis from your camera. It helps direction of light on the landscape. This is key because you can alter and give shape, texture, or the perception of distance, nicely converting a control contrast by choosing one direction over another. The angle you three-dimensional subject into a two-dimension medium. chose may result in creating a much better image, or less desirable one.

[4] Creating depth and dimension continued.... Knowing how to expose in this contrasty light is not easy. Sometimes you may pick a happen medium between both highlights and shadows. On occasion, you may decide to meter for the bright side and let the dark side go almost black. Conversely, you will expose for the shadow side allowing the highlight areas to be overexposed. It all depends on your subject and what you are trying to accomplish.

Shooting into the Sun Photographing toward the sun is routinely thought of as too contrasty or difficult to deal with as far as exposure, yet it is my favorite type of light, and the kind I regularly search for. Backlighting, when the light source is behind your subject and you are shooting toward the light, accentuates form, adds a dramatic element to your images, helps to create beautiful moods, and emphasizes light; that is the viewer notices the light more. It is tough to expose due to the extreme contrast ratio from highlight to shadow, but the challenge is worth it if you get the desired result.

When I attempt to backlight a scene, I usually meter for everything else but my silhouetted subject – the tone of the sky or water for example. Frequently, I search for some type of gobo (derived from "go between"); any natural object used to block the light source from the camera's lens. It can be a tree, a branch, a flower, an animal, a person, clouds, a cliff or rocky outcropping, or even a bird flying in the sky, just as long as it blocks the sun from my lens. In essence I am making the Sun my friend, using it to my advantage by using the light while avoiding the glare of the extremely bright star. I lose any flare I may get by pointing my lens toward the Sun, as well as control how much or little of the Sun I want to appear around the object. One way to find where to place your camera is to look for your object’s shadow and place your camera’s lens in it, that way you are guaranteed to be blocking the sun.

Sometimes when attempting to capture your subject backlit, a good looking exposure may be more about timing than light. Photographing horseback riding in the Sierra Nevada mountains, I missed on my first shot, but got what I wanted on the second attempt. Photographs with a 24mm wide-angle lens, low to the ground, and exposed at f/11 for 1/200 second using ISO 100.

[5] Overcast light is soft and diffused, providing even lighting for your scenes. You can photograph landscapes in overcast light as long as you choose the right landscape. Similar to ambient light (any non-directional light, such as shade, dawn, or dusk light) it mutes color and replaces it with a monotone feel, tonal values similar to black-and-white photography. Contrast from direct sunlight is often the culprit for bad images of a beautiful forest. Soft ambient light is great for forest scenes since it offers fewer shadows and less contrast providing soft even light after a scene.

[6] Weather Outdoor photographers are ubiquitous in photography, so producing the highest level of imagery that stands out may influence your objectives- another reason why battling weather to pinpoint superior light may be important to you. Photographing nature for over 25 years, I have learned a mix of small tricks to create something from nothing. As they say, half of the battle is getting there, and sometimes you have to brave the elements, and try to use them to your advantage to create a great scene. Simply put, half of good nature photography is effort and commitment. The effort to hike back to camp in the dark through a rainstorm; the commitment to have your legs freeze in a glacier-fed river in order to get the best angle on a landscape; the dedication to tolerate mosquitoes tearing you up because you cannot miss the sunset light happening in front of you. When I hear question, “How can I take As the Sun set over a snowy Yosemite Valley, I found a higher vantage point to capture Half better photos in bad light?” the one-word answer that Dome in the golden light amidst the stormy clouds. Photographed with a 450mm lens at f/4 often comes to mind is “wait”, because if you wait long for 1/200 second using ISO 100. enough, the weather will change.

Some of the best and worst light to shoot in is storm light. You never know when the weather may change, if a sunbeam might shine through the clouds, or if instead it remains covered as the sky just gets darker, colorless, turning to rain and dreary skies – the day petering out to darkness. However, if the clouds do part for a few seconds or minutes, storm light can be the catalyst to turn good scenes into amazing images. You can find exquisite skies, high in contrast between dark grounds and brighter rays of sunlight, the combination creating powerful moments in nature. Color can burst into the scene aiding in creating unique extraordinary landscapes.

Rain itself rarely produces great photos since one of the main ways you see rain in a still image is by it being backlit from direct sun, and that is rare. However, rainbows are an aftereffect of rain and sunlight. When white light is separated, it displays all the colors of the rainbow. Therefore when rain or water mixes with sunlight, the light can be spread out into a rainbow. Rainbows usually appear 42° off-axis of the sun - that is if you are staring at the sun, turn your back on it 180°, then look roughly 45° to the left or right to find a rainbow. This can be useful when trying to predict a rainbow and find a scene for it before you even see one. The tough aspect of rainbows is finding or framing a good scene before it dissipates or disappears- that’s why it is a bit easier to capture rainbows in continuous water areas such as waterfalls. I have even captured lunar rainbows or “moon-bows” at midnight.

While on assignment in Mount St. Helens National Volcanic Monument, I waited out four days of rain until the light broke. The scenes were grey and drab the previous days, but as the storm cleared, I captured some of the strongest scenes of my trip. Setting my 80-200mm lens to 200mm, I exposed the scene at 1/8 second @ f/16, using ISO 100.

[7] ILLUMINATING A BEAUTIFUL FIND, POINT REYES NATIONAL SEASHORE, CALIFORNIA I stumbled across a newly born fawn hiding in the tall grass on a bluff overlooking the Pacific Ocean. FLASH Knowing I only had seconds to spare before its mother might appear, I chose my superwide 12-24mm lens, turned on my flash, and popped in enough light to lessen the shade while exposing for the overall grassy Adding light to your outdoor images scene. Taken at f/4 @ 1/100 sec, using ISO 100, the flash set in TTL at -1 stop.

Add flash to your repertoire- or any alternate light source whether flash (strobes, speedlights), reflectors, or another fill source – and you can modify the light in a scene, cutting the contrast ratio by illuminating certain areas otherwise underexposed or without detail. Flash adds color to shaded areas, especially warm tones diminished by the ambient blue light. However, incorporating fill flash can be difficult, probably the toughest in regard to exposure. You must meter the overall scene while implementing flash, not knowing the area the additional light may cover or how powerful it may be. Then, picking the right scene to add light to is another learning process. So what’s the first step? Ask yourself what will my flash add light and detail to?. When you think this way, you begin to look at highlights and shadows to see if there is a high enough contrast ratio; wide-ranging tones your image sensor cannot handle in one shot. Experimentation along with experience can help you in these instances.

White Balancing fill-flash Syncing with your flash Watch what’s in front In addition to exposure, accept Most DSLR cameras only sync to 1/250 or 1/200 of a of you that if you use your white second (some only up to 1/125) when your flash is on, so To avoid overlighting balance flash preset (often shutter speeds above this will not record the light of closer subject matter around 5400K color the unit – a critical exposure aspect to be aware of. A with flash, branches or temperature), the balance of flash may fire extremely fast (1/10,000 sec for leaves closer than the available light with your flash example), but the shutter needs the time to open, fire subject you are trying to unit may not correspond, the flash, and close. Therefore your exposure is illuminate, consider another reason why I use a limited to shutter speeds equal to or below your maximum changing your preset that matches the scene. sync and because of this using flash outdoors can limit composition, moving left Then I add a gel over my flash you from using wide-open apertures; something a bounce or right of any unit, balancing it manually card or reflector will not do. You may be required to foreground subject in with the light I am use smaller apertures or ND filters in brighter order to eliminate the photographing in; the warmer situations to allow less light cutting the shutter speed distraction. the light, the warmer the down. Check your camera manual to confirm your highest orange gel I add to my flash. shutter speed sync.

[8] How to add Fill-flash to your Scenics One goal with fill-flash is to include it in places that help your image sensor cover a contrast range it normally cannot handle- usually deep shadow areas relatively close to your camera. Backlighting or side lighting are applicable conditions for adding fill flash since they contain higher contrast, creating shady areas where fill flash can be applied.

The light from a flash unit only travels so far depending on its power, 15-50 feet, some stronger than others, measured using "guide numbers". The aperture and ISO also plays a part, the light of the flash not extending as far with smaller apertures or lower ISOs due to the decrease in light and sensitivity of your sensor. The general overall lighting of the scene is another factor, lower light situations enabling the flash to be detected easier than brighter circumstances.

A second objective, yet not always the intent depending on your artistic vision, is to add flash (or fill) in a subtle natural way giving By adding flash to this blanket of leaves lying in a still pond, the additional light brought color and detail back to the your final image a realistic feel. One leaves while the balancing with the reflecting blue sky. I also tilted my speedlight up, directing the unit toward the leaves method of achieving this is to lower the further away, in order to spread out the light from my on-camera flash in a uniform fashion. power of your flash, because most flash units at full power are too bright, overwhelming a scene and often too obvious, especially in low light or shade. Speedlights that mount to the hot shoe on your DSLR provide more options in regard to power, allowing you to drop the power through stops (+1 stop, -2/3 stops), percentages (100%, 50%), or fractions (1/2 power, ¼ power, and so on). My default starting point is -1 stop, but I have added flash at - 3 As I lied down to photograph this alligator, it opened its mouth hissing at me, and I knew if I popped in some fill-flash, it would stops using the through-the-lens brighten the dark interior emphasizing the color as well as what this predator is all about. My flash was set to -1 stop from full (TTL) metering mode on the unit. In power as to not overpower the low-light situation. Shot with my 80-200mm f/2.8 lens, set to 150mm, f/4 @ 1/200 sec. ISO 100. most sunny conditions, flash will not overexpose highlights unless you buy a very powerful pro flash, or unless you are extremely close to your subject. In most cases we see little change in the sunny areas, yet more detail in the shadows.

Then, add a warm amber gel over the flash, a light orange plastic piece that connects to the front of the flash or a cellophane-type material applied with tape as I use. The white artificial light of the flash unit is lessened, bringing back warmth to your subjects, more representative of normal slightly yellowish light. A third way to achieve this when metering is to expose for the highlights, the brighter parts of the scene. This insures detail in those areas since your hopes are to add more detail to the shadow areas through your fill flash.

[9] BRINGING BACK DETAIL THROUGH GRADUATED NEUTRAL DENSITY (Grad ND) FILTERS Two examples of using 2-stop grad NDs used on reflections in the Tetons (above) and Yosemite (below)- the best grad ND to use for landscape reflections because the exposure difference between the sky and the area of the sky mirrored in the water is roughly around 2 stops. This makes the reflection the same, or slightly darker than the sky, which is what I see with my eye. Both shot with wide angle lenses, filter holder, and a square filter to slide up and down to place in the right spot. FILTERS Assisting your exposures and correcting the light

There are three objectives in applying any filter – one is to use it in an effective way that helps the exposure, the second is to compensate for the loss of light, and the third is to find a scene that benefits from the filter.

Today’s nature photographer can use two types of filters: in camera, the tried-and-true method of attaching filters to your camera while you shoot, or filters you apply after the fact - the Photoshop or Plug-in method of a filter system. I still believe it is best to use filters with your camera to attempt to get as much as you want in your original image file, than adding something later in computer. On some occasions, if you do not capture certain highlights or details in your original scene, it may take quite a bit of time to pull them back using Photoshop or other software methods – or even cost to buy the software - and on many occasions the final file will not look the best or as realistic.

Issues when adding a filter to your camera can come in the form of more flare, slightly less sharp detail, vignetting (seeing the edges of the filter due to a wide-angle lens), or overuse (wherein the filter use is obvious and unrealistic – fine if that is what you are going for, but unacceptable if you are trying to depict nature in an accurate manner).

[10] Whenever you add one to your lens, depending on the color and density of it, filters will have an effect on your settings, lengthening the exposure to compensate for any light loss. This can range anywhere from 1/3rd of a stop to 9 stops. With all current cameras systems, the meter will adjust the exposure. In Av, Tv or Program, your exposure will change automatically. In manual, the meter will recommend a different exposure, but you have to remember to adjust your settings. It is good to be aware of this exposure change since, for example, adding a polarizer filter can slow your exposure by up to 2 stops, which may not help if you are shooting action or wildlife, trying to stop the subject in motion with a fast shutter speed. There are literally hundreds, if not thousands, of filters you can purchase and use in the field. Personally, I stick to just a few to assist me when I am in need; mainly graduated neutral density, and polarizing filters.

Graduated Neutral Density with Landscapes Skies are often brighter in exposure than the landscape, especially during optimal shoot times. Although you can see the scenery with your eyes, your film or image sensors tend to exaggerate the difference in contrast, forcing you to lose detail whether in the subtle color of the sky, or the formations on the ground. Applying graduated neutral density (grad NDs) to landscapes is one of the best ways to improve your overall image through the exposure assistance the filter applies. Clear on the bottom and darker on top, they come in varying degrees of 1, 2, or 3 stops, the best ones being square in shape, giving you the option of sliding them up and down depending on your horizon line. How do they correspond with exposure? Graduated ND filters bring a scene with a high contrast ratio and reduces it by darkening the brighter parts (in the dark half of the filter), while leaving the darker areas alone (in the clear half of the filter), pulling the contrast together to create a better exposure.

I prefer graduated NDs over split NDs since they provide a seamless softer edge resulting in a less noticeable change in Capturing sunrise along the Crooked River in Oregon’s Smith Rock State Park required a most of my shots. These three-stop graduated neutral density filter in order to maintain the orange tones from the Sun filters work best with as well as the deep shadows of the rest of the shaded landscape. wide-angles Shot with my 24mm lens f/2.8 lens set to f/22 at 1/2 second using ISO 100. (20mm-35mm) because these lenses can see a wider field of view covering the entire filter (and gradation) from top to bottom. Ultra-wide lenses may cause vignetting, while lenses above 50mm are less effective since they only see a portion of the filter. Split ND filters have a harder edge, the reason why they are better for lenses ranging from 35mm-60mm; the sharp line of delineation blurring some due to the length and coverage of the lens.

More noticeable when used with overcast skies, grad NDs are best used with colorful skies, and the choice between the strength used (1, 2, or 3 stops) depends on the contrast ratio in the scene. One-stop versions are subtle, two-stops are the traditional, and three-stops are for extreme situations. How to expose using these filters? The best way I have found is to judge the sky’s exposure, overexpose from that correct setting depending on the strength of the grad ND filter used, then determine if this new setting will give you enough detail in the darker ground area. If the contrast is such where it will not, then consider slightly overexposing your sky, or using a stronger grad ND, such as the 3 stop version.

[11] I few more examples of grad NDs with landscapes: The three-stop version used on the Yosemite landscape above to cut the contrast, allowing my image sensor the ability to deal with the high contrast at sunrise - and the image below in Montana’s Glacier National Park, using a two-stop grad ND to balance the reflection. What a difference a filter makes huh?

[12] Polarizers sky’s tone while maintaining a rich landscape. In other circumstances, the filter causes exposure Polarizing filters also have a special need in Rotate for Polarization issues due to the added contrast, such as a outdoor photography unable to be replicated in strong gradation in wide-angle scenes, or an The best way to start with Photoshop, at least not yet. They come in a few unrealistic look to a sky, something that could be a ploarizer filter is to types such as circular polarizers (the main ones used for dramatic effect. They can increase or rotate it while on your used today), gold-n-blue polarizers (which add reduce the presence of a rainbow by intensifying lens or even in front of more color intensity), and LB “lighter, brighter" the refractions of light in the water droplets, which your eye, to see if you polarizers (polarizing a scene without cutting as create the rainbow’s hues, or by diminishing them. notice a change. A much light). On occasion, polarizers are not as effective during polarizer changes the There are a number of situations where they can harsh mid-day hours depending on angles, the strength, from 0° minimum be used effectively to reduce or eliminate haze in sun, the weather conditions, and the lens used. to 90° maximum skies and reflections on water. In fact, polarizers polarization, as you The drawback with polarizing filters, as mentioned work on any reflective surface such as ice, glacier rotate the filter. earlier, is the loss of light, depending on the polish, or even leaves, removing sunlight to create strength of polarizer, usually one to two stops, a richer green tone. They are most effective at hence the slower shutter speed, wider aperture, certain angles, usually 30-45° degrees off-axis for higher ISO, or a combo of all three is required. cutting reflections, 90° degree off-axis of the sun Once you dial in your polarizer, re-meter the scene for atmospheric conditions. Their effect produces to adjust for the change in exposure. intensified blue skies (helping billowy clouds and the Moon stand out), deepens green tones in forests and plants, and boosts most primary colors. For landscapes or skies, polarizers are most effective when used in sunny conditions, and strongest when pointing North or South, losing their strength the closer your point your camera toward East or West.

Polarizers also add contrast, often very effective when it deepens a

[13] UNDERSTANDING 1:1 MACRO Macro comes in different measurements, depending on the parameters of how close you can get to your subject, usually measured in magnification. Most non- A quote I love that applies to macro photography is what Georgia O'Keeffe, macro lenses magnify subjects at roughly a 1:8 to 1:10, or 1/8th to 1/10th of their the famous Southwest painter, said of her style of work. I decided that if I size. Size in comparison to what you may ask? could paint that flower in a huge scale, you could not ignore its beauty. Macro Originally created in the days of 35mm film, where film was 24mm x 36mm in is about emphasizing small parts of nature you normally do not see. You can size, this life-size measurement was a macro term used to describe the relation show detail of a particular subject, highlight an interesting shape or form, or of the actual object photographed as compared in size to its image on the piece produce impressionistic-style abstracts. This can include the pattern a river of film. If a bug was documented at 1/10th of its size, this meant if you took that 35mm slide or negative and placed it next to the bug, it would be approximately makes as it flows a small rock, or a spider web spun into a shape like a Native 1/10th of the actual bug’s size. Most macro lenses start around 1/4th size, or 1:4, American dream catcher - as I found one morning near Monterey, California (below). This image was not my initial goal when I arose from a warm bed before sunrise on April morning. My initial thoughts were to photograph the first rays of sunlight as it crested a distance ridge, but as I ventured into the hillsides along a trail, there was nothing but fog. At first I figured my morning was a wash, but I soon changed my mindset and decided to search for scenes that benefitted from soft light – macro scenes. By switching gears I was able to come across a wonderful find, a pleasant surprise. A myriad of spider webs surrounded a small pond, so I decided to look for one that stood out. When I found this one, I was blown away. As it spun its web, the spider pulls the two reeds together to create a perfect oval. Close to various branches and with numerous trees in the background, I knew I wanted to eliminate as much of the surroundings to draw focus to this masterpiece. The spider created the art form and I documented it in a way that gave it the attention it deserved.

giving you the chance to photograph details of a flower, a small insect or reptile. The closer you are able to get, the more magnification you acquire, and the closer to life size the final image becomes. At 1:1, you are at the actual size of your subject. That is, if a bug was exactly 36mm in length, and was shot at 1:1, it would cover the horizontal length of the film, or the diameter from edge-to-edge in a digital image file.

[14] Lens Choice Because having the ability to photograph a subject close-up is usually beyond the focal range of most normal lenses, you need a lens that can focus usually within inches instead of feet. This is where macro is defined in photography. Any lens that has the ability to focus closer than a normal lens of the same length, usually by stretching the glass elements inside farther apart, or by the general configuration of the lens, is considered to be macro. Some cameras have the ability to switch into a macro setting although true macro lenses provide more options.

If you own a wide-angle lens that can focus within inches, it may be a nice option when trying to fit into small areas since the lens can cover a wide field of view. When it comes to standard and telephoto lenses, there are three main macro lens lengths - 60mm, 105mm, and 200mm. The 60mm lens allows you to get Sometimes breaking the rules works, as I did here using a 20mm wide angle lens to create a closer to your subject, including a bit more of the unique macro scene of two California poppies in Tilden Regional Park, backlit by the surroundings than the longer lens. I have owned a afternoon Sun. Photographed at f/8 for 1/640 second using ISO 64.

60mm macro for years and love it. But if you cannot get close to your subject for one reason or another, it may not the best choice for you. The 200mm version allows you to focus in on your subject from a further distance, but it also cuts the amount of background you can see through the limited angle of coverage and through the less depth-of-field it provides. If you want your subject completely in focus or desire more DOF, then this might not be the lens to use. A 105mm lens falls somewhere in between - not too short, not too long, not as much depth-of-field than the 60mm lens, but more than the 200mm model. It is said that most macro lenses focus better close-up while not being as sharp at normal distances. This may be factual, but I have never personally notices this using my macro lenses in all types of situations.

You can also get macro type images using a telephoto lens, great for when you cannot get close to an area, but still come away with a close-up looking shot. One examples of this is when you want to photograph a small area of a fast-flowing river without entering it; another is when you are shooting cactus plant, hoping to avoid any injury.

When it comes to depth-of-field in macro, the closer you are the less depth-of-field you come by, but you can benefit from this. Minimal DOF for macro images not only gives depth and dimension through selective focus, but also helps to give the appearance of softness, delicacy, and fragility. It offers a clean less distracting background drawing focus to your subject.

With the soft ambient light of shade assisting my scene, I mounted my 60mm f/2.8 macro lens to my camera and slowly inched closer to this praying mantis to display its alien-like features. Metering the green tones, I exposed the insect in manual mode handholding my camera at 1/160 second @ f/4, using ISO 400.

[15] ON THE PHOTOGRAPHIC HUNT Capturing animals, birds, reptiles and insects through photography

Wildlife photography is a combination of knowledge, effort, and luck. You become part athlete, part zoologist, part Zen master, and part photographer. Documenting animals can require a great deal of effort in the field, leaving trails to hike cross-country, getting into position while carrying heavy photographic equipment over rough terrain – the athlete in you being aware of the strength and stamina needed. Whether you find wildlife by chance or through research, knowing how they act and behave in certain situations gives you another leg up on the chances of creating a better photograph; translating what that animal is all about into a still image, while making sure you are safe in the process. Patience is just as much of a tool when photographing animals as your camera gear is. With patience comes foresight and dogged perseverance, actions helping you deal with the adversity than comes from documenting unpredictable subjects. Finally, the photographer in you begins to think about the settings you need, the light you crave, and the framing you desire; the technical skills and techniques to catch a fleeting moment. All your knowledge and experience is required when capturing wildlife; animals that are on the move, traveling through changing light, altering distances from your camera, every aspect of which creating exposure, focus, and compositional challenges.

Hunting or stalking wildlife with a camera is no different than with a gun, except for the final result of course. Applying some hunting techniques to your photographic trips can bring you a little closer to animals, once again increasing the chances of a better shot. Communication with animals is often through body language, and you can make them either secure or fearful. There is usually one solid way to get rid of an animal in the wild – stare it down. Ironically, little eye contact should be the rule. The less they know you are looking at them the better since creating a predator-prey feeling can arise any time you focus intently on an animal. Most likely it will move further away or potentially act out to defend itself. Of course when trying to photograph wildlife, you need to use your eyes, but there are a few ways to avoid eye contact, such as turning your back on an animal (glancing its way every so often, being aware of your position to be safe and aware), or using your LCD screen, eyepiece, or sunglasses as a mirror watching them in the reflection.

These elephant seal pups slept on Drakes Bay along the California coast, unaware of my presence, giving me the change to move in, capture this sweet moment, and move away without disturbing their behavior. Exposed at f/7.1, 1/500, ISO 100, using a 400mm lens.

[16] Wildlife Concerns Enter any wilderness and one of the first pieces of information you should obtain is the species of wildlife you may encounter. In all my solo hikes around the West I have never encountered a mountain lion, yet I am acutely aware I am traveling through their terrain and at any point may see one. Even animals like deer can attack if surprised, provoked or trapped. Once you set foot into the territory of bears, alligators, or wild boars, if you do not take time to understand the hazards of photographing there, you are underestimating the dangers you may come across. Most animals prefer to flee than attack, but a little knowledge and few extra items (such as pepper spray or a bear canister to protect your food) can lessen the risks. We, as nature photographers, are often alone during times of the day when most are back at their campsite, in their tent, or home; when animals venture out for water or food. Therefore, being acutely aware of your surroundings and what animals may inhabit the area (where you are photographing) is very important. Photographing alligators in Big Cypress National Preserve meant using two guides to protect me, unaware of the alligators to my left and right as I looked through my viewfinder to document the one in front of me.

Wildlife photographers get into trouble by not recognizing danger signs or by not acting on the bad feeling they were having while around wild animals. When it comes to risk versus reward, I am always willing to lose an image if it means not getting attacked. An animal may look cute and cuddly, but corner it by accident and you might realize too late that you have made a mistake. In most cases, they prefer to flee than confront, but you should still be prepared to expect the unexpected. Trusting your gut is key since your body can tell you when something does not feel right, more so than your vision or mind. I am very calculated with my movement when in these situations. You can come away with great wildlife images not having any idea about your subject, but the more you learn about an animal’s behavioral habits, the higher-quality shots you can get while reducing your risk.

As with any wildlife situation, always be aware of the distance between you and the animal. Watch for any signs of agitation that might result in the animal charging at or attacking you. One of the worst situations you can create for yourself is to get between a mother and their offspring. If you find a young animal to photograph, note that one or both of its parents could be close by, and an attack may be imminent if they feel you are preying on their young.

There are other ways to record animals in a safe manner, such as a game farm, where, for a small fee, you get some time to take closer portrait-style images of animals. I do not see anything wrong with this, great practice for later in the field, just as long as you label these images as captive wildlife.

When I first spotted a herd of mountain goats feeding a high alpine meadow, they were too far away to photograph, so I waited patiently and let them come to me over a period of a few hours.

[17] Considering exposure with animals Shooting in manual mode Another misconception about nature photographers is that we work at a Metering wildlife is no different than metering any other scene requiring slow pace, an effortless job that only requires you to hold a camera up you to determine the best exposure to maintain as much detail in the snapping off a few pictures. Far from the truth. Nature moves fast and highlights and shadow areas. However, when an animal’s tone is critical nature photographers have to keep up, whether with ever-changing light, for the scene, say to maintain white fur detail on a mountain goat, then, dealing with rough weather, planning out a day trying to hike to a location spot metering the animal itself is preferred. Now it is about nailing one to catch optimal light, or attempting to keep up with powerful agile tone instead of a range of tones. Judging an animal’s tone, to either animals in difficult conditions. Under these situations, especially with overexpose or underexpose from the meter’s middle grey wildlife, you have to work fast - a level to attain to yet not necessarily the recommendation, is the way to go. How to figure out an exposure on an best method to use when you start. As I tell my daughters, you make animal? That just takes time and experience learning tonal values and mistakes when you work too fast. understanding what your meter is telling you.

One of the toughest parts of exposure is when you have to meter a When tracking moving wildlife, like birds that move past a mix of bright subject moving in and out of altering intensities of light and past and dark backgrounds, shooting in manual mode protects your exposure backgrounds with different tonal values. The trick is to learn features and from changing drastically. Meter the scene or the animal, lock in your functions with your gear that are good options in certain settings, adding a desired setting, and that will cut out some of your variables giving you the mix of techniques to get the shot. Then and only then can you learn how chance to concentrate on nailing focus while creating a decent to work fast, and even then you will make mistakes, we all do. Here are a composition. Once the light changes, or when you have a break in the few ways and means on how to expose wildlife depending on the action, re-metering is always good to do, especially in manual. circumstances.

Metering for tone Practicing wildlife photography in a local zoo with a workshop student, I metered this female gorilla using my 70-200mm f/2.8 lens and underexposed from my meter’s recommendation in order to obtain the darker tones in its fur and skin. Since its face was my main subject, I exposed her at 1/40 sec, f/4, using ISO 100. I converted the image to black-and-white later in Photoshop.

Choosing a higher ISO In most cases I try to use a low ISO for minimal noise and rich color, but as mentioned in the fast shutter speed example in low light, sometimes a higher ISO is needed when photographing wildlife.

Another example comes from a hike I once made out of the Grand Canyon. I came across a bighorn sheep in shade, and not having the time to pull out my tripod, I quickly switched my ISO setting in order to handhold my 200mm lens.

It should be noted as newer camera systems hit the market, digital noise at higher ISOs continue to improve, however, lower ISOs will always offer less noise.

[18] Framing wildlife A common thought with wildlife photography is that long lenses are critical. This is not necessarily true. I have used every one of my lenses with animals in the field, from a super wide to a 400mm with a teleconverter. For wildlife portraiture or safari trips, long lenses are the norm, getting photographers close without the need to close distance. This keeps an animal more comfortable in its environment, makes for tighter compositions, while the photographer remains at a safe distance. As with any telephoto lens, similar to binoculars, they can emphasize any little camera or subject movement during the exposure, so fast shutter speeds can help to negate this issue. Once again, focus is critical, usually tied into the eyes, although this is a guideline and not a hard ‘n fast rule.

Another guideline I follow when framing animals, is when I cannot get in tight – due to the distance of the animal, my lens, or vantage point - my mindset switches to find the most interesting composition, placing the animal in its surrounding. At first, photographers can get disappointed when they cannot get close enough, but some of the most amazing wildlife images are ones that include scenery and show animals in their environment. And don’t forget about vertical compositions with wildlife, tougher to accomplish and therefore more unique, and possibly more pleasing than a horizontal version.

Framing wildlife on the move is hard to master since capturing a moment becomes about timing and focus while attempting to create an interesting well-balanced composition. Everything is moving fast and at the moment of capture, your viewfinder is closed allowing the shutter to be open for the exposure. Sometimes it is a guessing game, yet as you improve that can turn into an educated guess – regardless, part of the fun of it is never knowing completely what you will get until you see the final shot.

Following any of the compositional guidelines mentioned in the second lesson can aid in creating a nice flow and balance to your scene. When you first spot an animal, take the documentary-style shots first and let the scene play out. You may get that wow moment if the animal moves into a nice position, but if not, at least you have a few images to take home. Consider features such as Continuous Shooting Mode on your camera- motor drive. This gives you the ability to fire off numerous frames fast in case a fleeting moment occurs. A fox walking through a field might be a nice image, but if you freeze it in mid-air as it all-of-a-sudden jumps high to pounce on its prey, then you have something special.

Remember to follow the handheld shutter rule and use a tripod, a cable release or remote, mirror lock, vibration reduction or image stabilization (if you have it), or a combination of these since camera shake can ruin a nice wildlife image. When it comes panning, the handheld shutter rule gets thrown out. You can use a tripod if you wish, or simply handhold and move with your subject following it any direction.

When you find a moment where wildlife is silhouetted, side angles, as opposed to front angles, create better shapes of the animal. The same could be said for people. As for eye contact, sometimes having an animals eyes look toward the camera can be powerful, but it is not always necessary, especially if you prefer to document the creature in its natural habitat, without the inference of a person being present.

[19] A few more examples of using composition with wildlife photography: I could not get as close as I wanted to the Bighorn sheep (above) so I framed it in its landscape, surrounded by wildflowers and rolling forested hillsides overlooking Yellowstone. Later I was able to approach one (below) using the rule of thirds as well as limited depth-of- field to create an interesting composition. The last example (right) is of two moose, vertically composed to include the Tetons above.

[20] Photographing this red-shouldered hawk in captivity allowed me the chance to NATURE ASSIGNMENT #4 document this beautiful raptor’s plumage up close without the need to sit in a blind for hours or days. Using a 70-200mm f/2.8 lens, set at 150mm, I exposed Let there be Light, Filters, or Wildlife! the bird at f/5.6 for 1/250 second, ISO 100, adding fill flash to bring out the color and detail in its shaded head, as well as a ‘catch-light’ in its eye. Here is your last nature assignment: Covering a variety of subject matter in Lesson #4, I will give you the choice to create three images using any of the topics mentioned:

GREAT LIGHT - Finding a scene and utilizing quality light to add to the image.

FILL-FLASH - Using fill-flash to cut your contrast in a landscape, macro, or wildlife scene to open up the shadows.

FILTER - Applying a filter, whether a grad ND, split ND, or polarizer to enhance your in-camera capture.

WILDLIFE - Capturing an image of an animal in a unique way, whether through light, composition, or fill flash.

Shoot in RAW + JPEG if possible to have an archival file to work with, and a JPEG to upload if you chose not to prep the RAW file.

You can choose any combination of the topics above. Review all of your images, and submit your three (3) favorites. While working on this assignment, detail what equipment you used and attempt to record as many specifications of your selected image not included in your EXIF metadata, such as filter type, direction, or location. The more info I have, the better feedback I can give. Attempt to illustrate the concept well while trying to produce the best photograph possible.

THANK YOU FOR BEING A PART OF MY ONLINE COURSE!

Happy shooting! Sean

QUESTIONS & COMMENTS PPSOP INSTRUCTOR

Last week folks! So remember, if you’re stuck, frustrated, or don’t understand a section, concept, or assignment, SEAN ARBABI contact info: please ask away in the Q&A in your Member Center. Being a 4-week course, we couldn’t cover every aspect of 925-855-8060 nature and landscape photography, but I do want you to [email protected] leave my course pleased with all the new things you’ve http://www.seanarbabi.com learned, having challenged yourself. Thank you! https://www.facebook.com/mrphotoguru

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