Outdoor Photographer Outdoorphotographer.Com PHOTOGRAPH by STAN MONIZ MYTH: Mirrorless Cameras Aren’T As Fast As Dslrs

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SCENIC WILDLIFE TRAVEL SPORTS outdoorphotographer.com LANDSCAPE ISSUE

Robert Glenn Ketchum ALASKA’S STUNNING SOUTHWEST

Justin Black LANDSCAPE ABSTRACTIONS

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Quality. Service. Innovation. We’re here for you! CONTENTS

VOL. 33 NO. 2 | MARCH 2017

FEATURES

28 ALASKAN LEGACY How Robert Glenn Ketchum became a leading advocate for the preservation of Southwest Alaska’s ecosystems and economies By Wes Pitts / Photography By Robert Glenn Ketchum 36 OREGON ODYSSEY An adventure photographer’s epic journey through four Oregon hotspots By Kristan Ashworth Photography By Stan Moniz 42 ABSTRACTION IN THE LANDSCAPE Extracting the infinite from the finite Text & Photography By Justin Black 50 BEHIND THE SHOT Spring Sunrise in Grand Teton Text & Photography By Michael Swindle 52 TAHOE FOR ALL SEASONS California’s Lake Tahoe region offers year-round photo opportunities Text & Photography By Josh Miller

2 Outdoor Photographer outdoorphotographer.com PHOTOGRAPH BY STAN MONIZ MYTH: Mirrorless cameras aren’t as fast as DSLRs.

TRUTH: With the world’s fastest sequential shooting1, the E-M1 Mark II blows away every other camera on earth.

DSLRs used to own speed. Not anymore. The mirrorless OM-D E-M1 Mark II reels off RAW images at an incredible 60 fps so you’ll never, ever miss another shot. This camera is a potent combination of power and portability. Ditch the tripod and shoot using the world’s most effective image stabilization2 with 6.5 shutter steps of compensation. Freeze fast- moving subjects with precision AF tracking. The E-M1 Mark II. Redefining what’s possible.

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1 Sequential shooting speed as of September 2016, when using Silent Sequential Shooting H Mode S-AF. 2 With M.Zuiko Digital ED 12-100mm f4.0 IS PRO lens, as of September 2016. HOW-TO 48 WILDLIFE PANORAMAS Use this landscape technique for picturesque wildlife portraits Text & Photography By Chema Domenech

EQUIPMENT 58 LANDSCAPE PHOTOGRAPHY LENSES Our guide to wide-angle lenses, the most popular and useful optics for landscape photography By David Schloss 62 ULTRA “LITE” TRIPOD The top carbon fiber model in SLIK’s new LITE series is incredibly compact, lightweight and sturdy By Wes Pitts 26 COLUMNS 22 TECH TIPS In the Bag By George D. Lepp 24 & Kathryn Vincent Lepp 24 THE BIG PICTURE Jack Dykinga on the making of a photographer By Amy Gulick DEPARTMENTS 7 COVER SHOT 10 IN THIS ISSUE 12 SHOWCASE 16 NEW GEAR & TECH 26 FAVORITE PLACES 64 CLASSES, TOURS 58 & WORKSHOPS 72 LAST FRAME

On the web at outdoorphotographer.com ]Member Galleries ]Assignments ]On Location ]Pro Perspectives ]Weekly Tips Share your best photos Enter our themed photo Discover your next Be inspired by advice Sign up to receive our with the OP community challenges each week photo destination with and insights into the free “Tip of the Week” in our online galleries, for a chance to have our feature articles that art and technology of newsletter, featuring It’s free to register and your image recognized as highlight epic places for photography from top techniques to improve participate—join today! our Assignment winner. nature photography. nature photographers. your photo skills. CANYON-VERMILION CLIFFS WILDERNESS, JACK DYKINGA. SMITHSON PHILLIPS. PARIA SHIPROCK, PAUL

Medium ND Graduated Filter “LEE have made medium ND grads for me for a while Very hard ND Graduated Filter and now they are available to everyone. Carrying different strength ND grads enables me to ﬁ ne tune “ A very hard ND grad enabled me to retain the exposure balance really accurately in camera. highlight detail in the sky and a perfect exposure ” on the penguins. Such accurate control of light is LEE 0.9ND Joe Cornish - joecornishgallery.co.uk Medium Grad why I carry as many as ten different ND grads on LEE 0.6ND a shoot.” Very Hard Joe Cornish - joecornishgallery.co.uk Grad

Super Stopper “ Here I have used the LEE Super Stopper (15 stops) to introduce blur and motion in the clouds and water, which were moving very LEE Super Stopper slowly. Using the Super Stopper has allowed me to capture the movement I was looking for.” Jeremy Walker - jeremywalker.co.uk

Little Stopper “ I like to be creative in my work, giving an almost impressionist interpretation to the scene. One of the ways I do this is by using long shutter speeds LEE Little 10 0 mm SW150 system system system Stopper to highlight motion. Here I used a LEE Little Stopper (6 stops) in conjunction with a 0.6ND Soft Grad, the perfect combination for photographers like myself who like to ‘get it right’ in camera.” Jonathan Chritchley - jonathanchritchley.net leeﬁ lters.com outdoorphotographer.com

EDITORIAL SALES & MARKETING (617) 706-9110, Fax (617) 536-0102 Wes Pitts Editorial Director, Creative Division Bob Dortch 25% OFF Kristan Ashworth VP, Digital Sales Managing Editor Scott Luksh George D. Lepp Director, Media Solutions Your First Order* Field Editor Bob Meth Sales Solutions Director David Schloss Contributing Technical Editor Alexandra Piccirilli Media Solutions Director COLUMNISTS Miene Smith Elizabeth Carmel, Melissa Groo, Amy Gulick, Bill Hatcher, Classes, Tours, & Workshops Sales Manager Dewitt Jones, Frans Lanting, Jessica Krogman George D. Lepp, David Muench, Client Services Associate, Print William Neill Cassandra Pettit Client Services Associate, Digital CONTRIBUTING EDITORS Mark Edward Harris, Lewis Kemper, J. Ana Beckett Glenn Randall, William Sawalich Marketing Manager Briana Balboni PROFESSIONAL ADVISORS Daryl Benson, Jim Brandenburg, Marketing Associate Carr Clifton, Daniel J. Cox, Bruce Dale, ART & PRODUCTION James Kay, Robert Glenn Ketchum, David Muench, Marc Muench, Carolyn V. Marsden Michael Nichols, John Shaw, Art Wolfe Art Director

For an extensive archive For reprint information, contact: For digital editions: of back issues: Advertising/Sales, (617) 706-9110 zinio.com/outdoorphotographer www.outdoorphotographer.com

PRINTED IN THE U.S.A. Outdoor Photographer (ISSN: 0890-5304)—Vol. 33 No. 2—is published monthly except bimonthly ,CP(GDD[/CFCXQT/GFKC..%'ZGEWVKXGGFKVQTKCNCPFCFXGTVKUKPIQHƂEGU$TCKPVTGG*KNN1HƂEG 2CTM5WKVG$TCKPVTGG/#2GTKQFKECNU2QUVCIG2CKFCV$QUVQP/#CPF CFFKVKQPCNOCKNKPIQHƂEGU5KPINGEQR[RTKEGt#PPWCNUWDUETKRVKQPKP752QUUGUUKQPU#21 (21t%CPCFCtQVJGTHQTGKIPtKPENWFKPIRQUVCIGCPFVCZGU2C[CDNGKP75 funds. For orders, address changes and all other customer service, phone toll-free (800) 283-4410. 2156/#56'45GPFCFFTGUUEJCPIGUVQOutdoor Photographer$QZ$QQPG+# Canada Post Publications Mail Class Agreement No. 1559788. Email us (editorial matters only) [email protected] or visit our website at www.outdoorphotographer.com. Copyright ©2017 by Madavor Media, LLC. No material may be reproduced without written permission. This publication is purchased with the understanding that information presented is from many sources for which there can be no warranty or responsibility by the publisher as to accuracy, originality or completeness. It is sold with the understanding that the publisher is not engaged in render- KPIRTQFWEVGPFQTUGOGPVUQTRTQXKFKPIKPUVTWEVKQPCUCUWDUVKVWVGHQTCRRTQRTKCVGVTCKPKPID[SWCNKƂGF sources. EDITORIAL SUBMISSIONS: Outdoor Photographer assumes no responsibility for solicited or unsolicited contributions and materials. We do not accept original transparencies or negatives.1VJ- erwise, insurance for such materials, in transit or in our possession, must be the responsibility of the writer or photographer. Outdoor Photographer does not accept or agree to the conditions and stipulations printed on delivery memos, packing slips and related correspondence as they are presented without prior notice accompanying submission materials. Exceptions to this disclaimer of liability on the part of Outdoor Photographer must be prearranged, executed in writing and signed by both parties prior to the shipment of materials in question. All submissions must be accompanied by a self-addressed, UVCORGFGPXGNQRG 5#5' YKVJUWHƂEKGPVRQUVCIGVQEQXGTVJGEQUVQHTGVWTP6JGENCUUQHOCKNCPFKPUWT- ance coverage for returns will be determined by the amount provided for on the SASE. SUBSCRIBERS: Any obligation we owe to you, including delivery of your magazine, is contingent upon you providing WUYKVJ[QWTEQTTGEVOCKNKPICFFTGUU+HVJG2QUV1HƂEGPQVKƂGUWUVJCV[QWTOCIC\KPGKUWPFGNKXGTCDNG we have no further obligation to you unless we receive a corrected address from you within two years of VJG2QUV1HƂEGPQVKƂECVKQPBACK ISSUES are available for one year prior to the current issue. To order YKVJKPVJG75UGPFRNWURQUVCIGCPFJCPFNKPI %CPCFCRNWU+PVGTPCVKQPCN RNWU HQTGCEJKUUWGVQ$CEM+UUWG&GRVOutdoor Photographer/CIC\KPG$TCKPVTGG *KNN1HƂEG2CTM5WKVG$TCKPVTGG/#QTIQQPNKPGCPFXKUKVVJGG5VQTG0QQTFGTURTQEGUUGF Learn more at YKVJQWVRTQRGTHWPFUCPFURGEKƂEKUUWGKPHQTOCVKQP bayphoto.com/specials*Get 25% off your first order Outdoor Photographer is a registered trademark of Madavor Media, LLC. Copyright ©2017 Madavor with Bay Photo Lab! /GFKC..%#NNTKIJVUTGUGTXGF4GRTQFWEVKQPKPYJQNGQTKPRCTVYKVJQWVRGTOKUUKQPKURTQJKDKVGF Visit our website for details. To Subscribe Or For Subscription Questions: outdoorphotographer.com or (800) 283-4410

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Photographer: Robert Glenn Ketchum Location: Lake Clark National Park and Preserve, Alaska Equipment: Pentax 645, Fujichrome Velvia Situation: Lake Clark National Park and Preserve is a vast park in a fairly remote part of Southwest Alaska. There are numerous large lakes in the park, but Lake Clark is the largest, being five miles wide and 40 miles in length. Dozens of rivers, such as this one, and hundreds of streams feed into the lake. Although there's an excellent cabin system and much good hiking in the park, services and access are limited. Getting anywhere requires an experienced local pilot. Much of the work I did throughout Southwest Alaska was aerial, as there was little other access, and being above the landscape provides a unique perspective that gives you a much greater sense of the overall place. As you look at this image, I want to call your attention to an “old school” idea about taking pictures: The camera doesn't matter; it's what you see that's important. Since I turned my lens on the natural world over 40 years ago, I've always shot and printed full frame—no cropping. I “see” the final image in the 5 viewfinder when I shoot. In the air, this is a breathtaking experience because BALLHEAD things change so quickly you can barely get off multiple frames, and there's no E ABOUT YOUR CRAFT. going back. It's never the same. I'm so early sunrises. Discover the “busy” in the air, so lost in the process dicated as you. of seeing, I can barely recall all that has 7PEQORTQOKUKPI 'ǌQTVNGUU happened at the end of the flight. It's not until I review my processed film that I can track what I did. NOW AT: —Robert Glenn Ketchum 4KIJV5VWʘEQO

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than relying on descriptive information ALASKAN conveyed by subject content.” Black shares LEGACY both his creative and technical approaches to creating such images. How Robert Glenn Ketchum became a leading advocate for the preservation of Southwest Alaska’s Josh Miller reminds us that building a ecosystems and economies BY WES PITTS / PHOTOGRAPHY BY ROBERT GLENN KETCHUM portfolio of landscape work doesn’t require that you travel to far-off destinations. While Miller does travel often, he also spends sig- nificant time photographing close to home. Lake Tahoe is about an hour’s drive for him and is a place he’s explored extensively. In “Tahoe For All Seasons” Miller offers tips and location insights for photographing the unique qualities each season displays

Some of the many islands in Lake Iliamna, one of the largest bodies of freshwater in the world. Iliamna is also home to a unique species of freshwater seal. The ore haul road of in this picturesque California destination the Pebble Mine will be built along a substantial portion of the north shore of the lake, bridging (and likely destroying) numerous salmon-spawning sidestreams. Air quality, water quality and the quiet and solitude of wilderness are likely to be affected as well. that has ample accommodations and year- round diversions for photographers and their traveling companions. ne of my first “big” assignments and the power of photography to persuade For younger photographers like Stan for Outdoor Photographer many a reconsideration of the project. Moniz and many of his generation, land- years ago was an interview with All nature photographers, whether scape photography is part of a lifestyle ORobert Glenn Ketchum about his book, conscious of it or not, are advocates for of adventure and outdoor sports. An avid Rivers of Life: Southwest Alaska, The Last preserving the beauty of undisturbed wild surfer, Moniz recalls hearing “Rumors of Great Salmon Fishery. I admit to feeling places. It’s no coincidence that most, if not great winter swells pounding the shore a little intimidated meeting one of the all, of the photographers who make their and cliff side,” of Shore Acres State Park leading landscape and conservation pho- careers as landscape artists devote at least a in Oregon, “exploding more than 20 feet tographers of our time, but his friendly, part of their time and talents to supporting in the air.” Moniz previsualized an image candid manner quickly put me at ease and environmental initiatives that protect habi- of himself standing on the cliffs of Shore led to a series of articles over the years tats and wildlife. That’s not to imply that all Acres amid such a scene, and in “Oregon featuring his work. Ketchum is a tireless landscape photography must be literal and Odyssey” he describes how he captured advocate for environmental conservation, documentary, however. As Justin Black exactly what he imagined. “It was one of particularly in Southwest Alaska, most shows us in his article “Abstraction In The the scariest but most fulfilling moments recently in the effort to stop the construc- Landscape” there’s an opportunity to create of my life,” he says of nailing the shot. tion of Pebble Mine. In “Alaskan Legacy” stunningly beautiful images of landscapes “This is what being an outdoor photog- we consider the context of the proposed that evoke feeling through form, light rapher is all about.” –Wes Pitts, Editor mine, the detrimental effects it would have and color, as Black eloquently describes, on one of the most pristine and globally “Stimulating thought and emotion using Questions, comments? Email us at important ecosystems in North America, aesthetic characteristics themselves, rather [email protected].

contributors For over four decades, Justin Black’s Josh Miller has worn Robert Glenn Ketchum photographs have many hats, including has dedicated his been published naturalist, outdoor guide photography to address widely and featured in and environmental critical environmental numerous exhibitions. educator. From climbing issues. A founding fellow of the In collaboration with organizations like in the Sierra Nevada Mountains to International League of Conservation the World Wildlife Fund, The Nature exploring the rainforests of Panama, Photographers, he has been Conservancy, Panthera, the Sierra he has ventured and photographed recognized with numerous awards, Club and Conservation International, in some of the planet’s most exiting including being named by Audubon his photography has been used to places, leading photography magazine as one of the 100 people promote conservation campaigns to workshops and guiding adventure “who shaped the environmental protect threatened landscapes and trips throughout the world in search of movement of the 20th century.” ecosystems around the world. unique images.

10 Outdoor Photographer outdoorphotographer.com Follow us at @outdoorphotographer EXPLORE. SHOOT. LEARN.

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White Out! By Harry Lichtman “My perfect winter day includes big snowstorms and turbulent weather since the chance for dramatic images increase. Bluebird winter days can be a bit boring for my style of photography. Wind-driven snow produced this slightly abstract image, as the sun broke through high clouds to help backlight the snow. I sought shelter in a tree line to protect me from some of the wind and Ã ÌÌ ÀÕ} >«iwi`°iÝ«iÀiÌi`ÜÌ `vviÀiÌÃ ÕÌÌiÀÃ«ii`ÃÌLÕÀ Ì iÃÜÜ iÃÌÀi`iÀ}Ì iÌÀiiÃÃ >À«°/ iÃÌÀi>}ÃÜÃ«wi`Ì i scene and allowed the textures and lighting to take center stage and create more of an emotional impact. This image was captured in New Hampshire's Crawford Notch, where high winds are often tunneled through a glacially carved section of the White Mountains.” ³ Canon EOS 5D Mark II, Canon EF 100-400mm ƒ/4.5-5.6L IS USM. Exposure: 1/45th sec., ƒ/13, ISO 100.

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

12 Outdoor Photographer outdoorphotographer.com 20mm F2 "+.ġ

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Show Yourself By Carla DeDominicis º>«>iÃiÜ «iÀÃÜ>Ã>i i>`LLÃ]«ÀÕiÌÌiÃ>`Ü}y>«ÃÌ ÛÌiÌ iÀÃÌÌ>iy} ÌÜÌ Ì i°7 iÌ ÃÃÜ>ÌÌÌ >ÌLi >ÛÀ on the white snow while showing both its yellow and black beak and the back of its spread white wings, I instantly got that goose-bumpy feeling that comes with capturing a winner.” ³ Nikon D800, AF-S NIKKOR 500mm ƒ/4E FL ED VR. Exposure: 1/1000 sec., ƒ/7.1, ISO 250.

See more of Carla DeDominicis work at DedomPhotographic.com.

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Previewed at Photokina last fall, Panasonic½ÃiÜy>}Ã « mirrorless model, the LUMIX GH5, is the latest camera to blur the lines between still and motion capture, offering 4K 60p/50p video recording and a 6K PHOTO feature that allows you to pull high-resolution stills from the video stream. The GH5 can capture 20-megapixel stills at up to 12 frames per second (or 9 fps with focus tracking) using its mechanical shutter. For even faster frame rates, 6K PHOTO allows you to extract an 18-megapixel still from 30 fps video; 4K PHOTO steps up the frame rate to 60 fps for 8-megapixel stills. The camera also offers built-in focus stacking capability VERSATILE WIDE TO TELE to take multiple frames with varied focus points, which can PANASONIC ZOOM Li VLi` vÀ i >Vi` `i«Ì v wi`] >` > VÕÀÕÃ Post Focus technology that Panasonic claims will allow Also new from Panasonic is the Leica DG users to select focus points after capture. Vario-Elmarit 12-60mm F2.8-4 ASPH for For sharper handheld photos and video, the GH5 Micro Four Thirds system cameras, providing includes 5-axis Dual I.S. 2, a system that combines 5-axis an equivalent focal range of 24-120mm. This in-body stabilization with 2-axis optical stabilization in versatile zoom can focus as close as 7.9 inches select lenses. The camera offers dual SD card slots, is and is compatible with the new 5-axis Dual sealed for water and dust protection, and can operate I.S. 2 stabilization system in the LUMIX GH5. in temperatures as low as 14 degrees Fahrenheit. An It also shares the sealing and weather-resistant optional battery grip extends shooting time. List price: characteristics of the GH5. List price: $999. $1,999 (body only). Contact: Panasonic, panasonic.com.

16 Outdoor Photographer outdoorphotographer.com THE POLAR BEARS OF CHURCHILL Be among the few to photograph the King of the Arctic

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Ideal for travel photography when you want to keep gear to a minimum, the Canon PowerShot G9 X Mark II is built around a 20-megapixel 1-inch sensor and the new DIGIC 7 processor also found in Canon’s latest mirrorless camera, the EOS M5. The built-in zoom lens offers an equivalent focal range of 28-84mm and can focus as close as 2.0 inches. Capable of continuous shooting in RAW and JPEG formats at up to 8.2 frames per second, the G9 X Mark II can also record HD video and time-lapse movies. WiFi and Bluetooth are also included for remote control and image COMPACT, WIRELESS-READY DSLR transfers via the Canon Camera Connect app for smartphones and tablets. List price: $529. Nikon kicked off its 100th anniversary year with a new entry-level DSLR, Contact: Canon, usa.canon.com. the D5600°/ Õ} >i`>ÌwÀÃÌÌi -,ÕÃiÀÃ]>ÌÕÃÌÛiÀ >vÌ i weight of the D500, the camera is also a lightweight backup option for Nikon shooters. The 24.2-megapixel, DX-format camera is capable of capturing stills WEATHER-PROTECTED >ÌÕ«ÌwÛivÀ>iÃ«iÀÃiV`>`>ÃvviÀÃ£änä« Û`i°/ i MIRRORLESS BAGS D5600 features a 3.2-inch Vari-angle touchscreen LCD that can be used to set focus with a touch. Both WiFi and Bluetooth are built in, enabling you to use the Nikon SnapBridge app to control your camera ƂÛ>>LiwÛiÃâiÃÌ>VV`>Ìi with your smartphone and to wirelessly transfer images. List price: $699. a variety of mirrorless camera systems, Contact: Nikon, nikonusa.com. Think Tank’s Mirrorless Mover series features DWR coating on the outside and polyurethane-coated fabric on the underside, and includes a seam-sealed rain cover to protect your camera and lenses from the elements. Inside are removable padded dividers to customize the space, which ranges from enough room for a small mirrorless camera with a compact lens attached in the Mirrorless Mover 5, up to a full-size mirrorless camera or small DSLR, two to four lenses, a tablet and accessories in the Mirrorless Mover 30i. List prices: From $34.75 (Mirrorless Mover 5) to $69.75 (Mirrorless Mover 30i). Contact: Think Tank Photo, thinktankphoto.com.

18 Outdoor Photographer outdoorphotographer.com ULTIMATE TRAVEL TRIPOD

Really Right Stuff’s new TFC-14 measures 17.2 inches in length and body weight to enhance stability. ECTDQPƂDGTVTKRQF is its lightest and 3.2 inches in diameter, making it easily The TFC-14 can get as low as 2.8 most compact tripod yet, 11 percent packable. The Apex mount has three inches from the ground or extend to a lighter and 15 percent more compact perimeter mounting sockets to attach maximum height of 47.6 inches. The than the TQC-14. Designed for use with accessories like the Really Right Stuff four-section legs feature ratcheting the BH-30 ballhead, the pair can support Mobile Phone Clamp & Stand. The angle stops and rubber twist locks camera and lens combinations up to 25 tripod also offers a removable hand vÀv>ÃÌ>`ÕÃÌiÌÃ°ÃÌ«ÀVi\fÇx pounds. The TFC-14 by itself weighs strap that can be used for convenient (head sold separately). Contact: ÕÃÌÓ°Î«Õ`Ã>`]vÕÞV>«Ãi`] carrying and allows you to use your own Really Right Stuff, reallyrightstuff.com.

outdoorphotographer.com March 2017 19 THE AMERICAN

Now in its sixth year, Outdoor Photographer’s American Landscape Photo Contest celebrates the beauty of our country’s natural spaces. Enter your best landscape photos today for your chance to be published in Outdoor Photographer and win other great prizes!

For complete contest details, visit l outdoorphotographer.com/tal2017 Photo By Sherry Bel Presented By tech tips

Projected Flash In The Bag Some 35 years ago, I began to experiment with Fresnel lenses and flashes to better Essential accessories concentrate light output on the subject. for outdoor photographers The Fresnel lenses I used then were the plastic kind you’d find in a bookstore to By George D. Lepp magnify the text on a page. A plastic bottle and Kathryn Vincent Lepp with a height equal to the focal length of the Fresnel lens was modified to hold the lens and fit over the flash. Soon, my son Torrey and I designed a more efficient eyond camera and lenses, what long exposures for special effects, such product and began to manufacture the tools do nature photographers need as recording the movement of clouds Project-A-Flash. The apparatus was still a to carry in order to be prepared for through a landscape in a single capture. bit bulky; when Walt Anderson developed Ba variety of likely subjects and situations? Oh, and one more! I sometimes carry the Better Beamer, a projected flash that There’s so much cool stuff out there, but a variable ND filter that can be precisely folded down to fit easily into a camera bag space and back strength have their adjusted from two to eight stops in order pack, I transitioned to it. limits! Here, we’ll discuss some of the to achieve the desired shutter speed and Recently, a participant at one of my sem- tools that I regularly employ in the field. aperture. However, the variable ND fil- inars introduced me to a new projected And, while we’ll share the brand names of ter isn't suitable for use on lenses over flash called the MagBeam from MagMod specific products I carry, other manufac- 200mm. It's comprised of two polarizing (magnetmod.com), a lightweight, collaps- turers may offer goods that accomplish the filters that are rotated in front of each ible rubber unit that holds the Fresnel lens same things. (Note that we don’t receive other, and when that much glass is put in place. Like the Better Beamer, the Mag- payment from any of these suppliers, but in front of a telephoto lens, sharpness Beam will gain approximately three stops some do furnish equipment for testing.) will be lost. For longer focal lengths, of light when using a telephoto lens of at a single ND filter is usually a sharper least a 200mm focal length, although it Neutral Density Filters alternative, even if it isn’t as easy to use isn’t actually achieving more power, but Neutral density (ND) filters reduce the as a variable one. rather gathering and focusing the light to light that enters the lens, allowing the ND filters now have another use, and the area that the lens sees. This is a great photographer to employ capture settings that's for video. It's desirable to have a tool for bird and wildlife photography, that wouldn't otherwise be possible. The shutter speed of around 1/60th second either as fill flash or as the only light source most common use is in photographing when shooting at 30 frames per second in dark environments. The best way to pur- falling or moving water; reducing light (FPS) and 1/125th second at 60 FPS. This chase the MagBeam is in the MagBeam allows a lengthened exposure that renders gives a smoother look to the video. On a Wildlife Kit configuration ($74). the water silky smooth and emphasizes bright day, it’s not possible to attain those movement. I carry filters of two densities speeds when using a large lens aperture Remote Shutter Releases for this purpose. A five-stop ND is used for shallow depth of field without the Remote releases—whether hard-wired most often, as my favorite shutter speeds addition of an ND filter. Note that when cables or wireless transmitters—allow for water are 1∕8 to ½ second. But, there shooting video with frame grabs in mind, the photographer to fire the camera are times when the water is very brightly much higher shutter speeds are necessary, without physically touching it. The remote lit and more light-filtering is needed to so the ND filter wouldn't be used. release is one of several techniques I use achieve the lengthened exposure; then My personal choice for ND and polar- to eliminate camera movement/vibration the 10-stop ND becomes useful. izing filters is Singh-Ray (singh-ray.com). when working with long lenses, long For really long exposures on a bright I’ve worked with them for many years exposures or multiple exposures. Cable day, add a 15-stop ND filter to the bag. and have tested the ND filters for clarity versions include a simple, short connection Let’s say we have people walking around and color. with a button that closes the circuit and in our scene. A single exposure of many seconds can actually erase them as they Get A Free Subscription! move about, eliminating lots of post-cap- Submit your Tech Tips questions to [email protected]—if your ture work in Photoshop! Think of the question is selected for publication, you’ll receive a free one-year subscription 15-stop filter as one that helps to achieve to OP!

22 Outdoor Photographer outdoorphotographer.com the best way to monitor and fire a camera without touching it, but at $300, it’s not the least expensive route to remote capture.

LCD Viewer We’ve mentioned the Hoodloupe (hoodmanusa.com) in these pages a number of times because it really is an important tool. On a bright day, you can’t see the LCD on the back of a DSLR to make evaluations in Live View or read camera menus. If you're shooting video, you need to be looking at the LCD for focus and framing, and without an LCD loupe, this isn't possible. The standard Hoodloupe is $90, and a mounting device to keep it in place for video will run another $19 (Cinema Strap) to $40 (HoodCrane).

Monopod I always carry a tripod, whether it’s a medium weight for long lenses and video, or a travel version that might not be quite as robust but will do the job in reasonable conditions (no wind). Lately, I’ve been using a monopod more often because I’ve been working in locations where tripods aren’t allowed, or I need help with handholding long lenses where From a distance of 40 feet on a snowy, cloudy day at dusk, there wasn’t much light QPVJKUYKNFLWXGPKNG%QQRGToUJCYMDWVCRJQVQITCRJETKGFQWVVQDGVCMGP)GQTIG a tripod isn’t practical. A monopod will GORNQ[GFC/CI$GCORTQLGEVGFƃCUJWPKVYKVJC%CPQP5RGGFNKVG':46VQTGCEJ also steady a DSLR that's being used for out. The hawk didn’t mind. Hand-held Canon EOS 5D Mark IV with Canon EF 100- video when a tripod with a fluid head can’t 400mm f/4.5-5.6L IS II USM lens and Canon Extender EF 1.4x III (560mm). Exposure: be used, as in this example of 4K video 1/500 sec., ƒ/11, ISO 1600. captured in low light at the Monterey Bay Aquarium (vimeo.com/192847679). The fires the camera, or a more complex unit options, but I often use a relatively inex- monopod and lens image stabilization did that allows the camera to be programmed pensive wireless unit called the Phottix a pretty good job. to take time-lapse images (intervalometer), Aion (phottix.com), about $95 online. It I’ve used the monopod when shooting long exposures that exceed the 30 seconds has all the functions of the complex cabled from ships, where a tripod would have found on most cameras, or to fire the units plus multiple firing for HDR. The transferred the engine vibration, and from camera sometime in the future. radio range is nearly 200 feet. kayaks to relieve the weight of the cam- Wireless units (either built-in or acces- For more complex situations, I use the era and long lens over extended periods sories) use a radio or infrared beam to com- CamRanger (camranger.com) to mon- of time. Be sure you get a monopod that municate with a handheld remote device itor and remotely fire the camera. The collapses enough so that you can use it from which the photographer programs CamRanger is a WiFi transmitter that sitting down and that has a head that pivots and fires the camera. The least-expensive attaches to the camera and sends an ad to change the angle of the camera—a ball option is the built-in version, which I use hoc WiFi signal to a tablet or smartphone head on a monopod is too much movement. in the Canon EOS 5D Mark IV, coupled that is running the CamRanger app, which So, is your shopping list ready? We’re with an app on my iPhone or iPad. For enables sophisticated still and video cap- not done yet. Next month, we’ll discuss other bodies, the camera manufacturers ture options, including precise focusing tools I find useful in macro photography, offer rather expensive after-market WiFi from as far as 150 feet away. This is by far both in the field and in the studio. OP

outdoorphotographer.com March 2017 23 the big picture

on Mount Rainier, the combination of physical exertion and spiritual awakening A Wild Journey is life affirming.” Jack Dykinga on the making Less than three years ago at age 70, Dykinga faced another life-altering event. of a photographer During a Grand Canyon river trip, his By Amy Gulick blood oxygen level dropped dangerously low, and he ended up in intensive care Photography By Jack Dykinga undergoing a double lung transplant and double bypass surgery. After six weeks in the hospital and three months in recovery, n 1975, Jack Dykinga bought a pair of business transferred to his new passion he returned to his beloved canyon coun- hiking boots, jogged around the block of photographing nature. try. Upon seeing the Grand Staircase-Es- and thought he was ready to climb “In my years of feeding the presses, I calante National Monument again, the I14,410-foot Mount Rainier in Washing- had to produce every day. This requires place his images helped to preserve, he ton State. Working as a photojournalist discipline—I call it ‘dancing on demand,’” wept with joy. for the Chicago Tribune, Dykinga was he says. “You also have to tell a story, “My relationship with the land and the assigned to photograph a Chicago man truthfully. And you have to be curious. places I love has intensified,” he says. attempting to climb the fifth-highest If you’re not, you’re dead.” Grateful to the many medical profes- peak in the continental United States. Curious about his backyard in the sionals and support staff who each played After completing a short mountaineering American Southwest, he made spectac- a role in saving his life, he realized that course, Dykinga and his subject began the ular images of red rock canyons, desert this episode was a microcosm for his two-day, grueling climb to the summit. plants and rivers. Spending time alone in photographic life spanning five decades. The man turned back after the first day, wild country, he developed a deep appre- His latest book, A Photographer’s Life: but Dykinga trudged on. He soon found ciation for solitude and the importance A Journey from Pulitzer Prize-Winning himself bracing against 60-mph winds on of wilderness as a transformative refuge. Photojournalist to Celebrated Nature avalanche-prone Cadaver Gap. His group “You can’t do this kind of photography Photographer, is a tribute to the mentors, reached the summit and then lost track without having the place change you,” he bosses, teachers and fellow photographers of their route on the descent in stormy says. “And when you see firsthand the who shaped who he is. whiteout conditions. places that you love being degraded, you “It takes a village to make a photog- “It was a death march all the way off become an advocate.” rapher,” says Dykinga. “The book is my the mountain,” says Dykinga. “Pretty Dykinga’s images have played a role in way of showing gratitude to the people scary for a flatlander doughboy from conservation movements advocating for in my life who not only paved the way, the Midwest.” the preservation of wild places. His book, but they built the road. It’s been a wild And yet while facing danger, he also Stone Canyons of the Colorado Plateau, journey and could not be any better.” OP saw incredible beauty. Emerging through depicts the stunning landscapes of what the icy blue cloud line into golden light became the Grand Staircase-Escalante Jack Dykinga is the recipient of the 2017 on top of the world, his life was forever National Monument in southern Utah and Lifetime Achievement Award presented changed. He moved to Arizona, contin- the Vermilion Cliffs National Monument by the North American Nature Pho- ued to work for a newspaper, and started in northern Arizona. tography Association. View his work at exploring and shooting the landscapes In today’s fast-paced technological dykinga.com. of his new desert home. Photographing world, why do wild places matter? “Every scenery was a departure for this seasoned morning I go for a hike in my nearby Amy Gulick is a founding fellow of the photojournalist and Pulitzer Prize winner state park, and on a good day I’ll see a International League of Conservation for his images of deplorable conditions in desert tortoise or a rattlesnake, maybe a Photographers and author of Salmon in Illinois mental institutions. But the same bobcat. And I feel rejuvenated,” Dyki- the Trees: Life in Alaska’s Tongass Rain skills that served him well in the news nga says. “Like my earlier experience Forest. View her work at amygulick.com.

24 Outdoor Photographer outdoorphotographer.com 2GVTKƂGFUCPFFWPGUKP2CTKC%CP[QP8GTOKNKQP%NKHHU9KNFGTPGUU This image is the cover photo of Stone Canyons of the Colorado Plateau, a book by Jack Dykinga featuring landscapes that became RCTVQH)TCPF5VCKTECUG'UECNCPVG0CVKQPCN/QPWOGPVKPUQWVJGTP 7VCJCPF8GTOKNKQP%NKHHU0CVKQPCN/QPWOGPVKPPQTVJGTP#TK\QPC

outdoorphotographer.com March 2017 25 favorite places

Shiprock >Û> >Ì]->Õ> ÕÌÞ] New Mexico Text & Photography By Paul Smithson Phillips

Location Shiprock is an isolated peak in the rugged Four Corners region of New Mexico. The stunning formation soars over 1,500 feet above the surrounding high-desert plain to a total elevation of 7,177 feet above sea level. It appears to have been shipwrecked there for an eternity by the ancient volcano from which it was forged. The Navajo word for Shiprock is Tse' Bit' ai', meaning the “rock with wings." This type of isolated mountain is known as a monadnock, meaning a land formation that abruptly rises from the surrounding terrain. Shiprock lives true to its name and is visible for miles in any direction. Approximately 12 miles south of the town of Shiprock, New Mexico, Shiprock can be reached on Navajo Route 5010, a rough dirt road heading north from Red Rock Highway. A high ground clearance vehicle is recommended. Alternatively, good views of the rock are possible from Navajo Route 13, a paved road, which can be accessed from U.S. Route 491. Shiprock is on Navajo Nation land and is an essential part of Navajo his- while summer can be unbearably hot road heading north, you’re flanked by tory and religion. Legend says that it's in this highly exposed environment. a low-elevation ridgeline to your left. the remains of the giant bird that carried Summer monsoon season makes for the This ridgeline is one of the “wings” the Navajo people out of the north into most interesting skies if you can handle in Navajo legend about Shiprock. It’s current day New Mexico. The area should the late-afternoon heat. Having your highly visible from aerial and satellite be respected, so it’s important to stay on vehicle next to your shoot is excellent images. The ridgeline heads north established roads. for a quick exit during a spectacular yet toward the rock formation’s peak. dangerous summer lightning storm. It’s here that I set up on the dirt road Weather southeast of the mountain. This location The high desert is generally cold Photo Experience gives a southwestern perspective of this and windy during winter. Dressing I’ve been back to this location on stunning formation. warmly is critical. Wind is generally a several occasions to photograph it. As As the light in the late afternoon hits photographer's main nemesis on this usual, each time I was looking for the the southwestern side of the rock, the vast, open plane. The weather is quite right light and hoped for a great sunset. greater exposure draws the eyes toward pleasant in late fall and early spring, As you approach Shiprock on the dirt the most dramatic section of cliff. The

26 Outdoor Photographer outdoorphotographer.com remaining ambient light keeps the east- Best Times ern flank from being clipped off the left I shot this picture of Shiprock in end of the histogram. winter. The winter’s more southerly I used a telephoto lens to compress the sunset gave me a better southwestern image, which also allowed greater flex- exposure. Additionally, the short ibility to compose the subject from that winter vegetation helps minimize any visible movement caused by wind. distance. In this case I used my Canon EF However, I’d recommend this area at 70-200mm ƒ/2.8L IS lens mounted on a any time of year. Dramatic sunsets in Canon EOS 6D to do the job. Because I the skies of New Mexico and Arizona was plagued with a light variable breeze, Ãii iÛiÀ «ÀiÃiÌ >Ì Ì Ã VyÕiVi I stabilized my tripod with rocks in a of impressive geologic features. tripod hammock. I used mirror lockup with a two-second delay and remote con- For tourism information, visit trol and waited for the breeze to ease up `ÃVÛiÀ>Û>°V° before I hit the remote. OP

outdoorphotographer.com March 2017 27 ALASKAN LEGACY

How Robert Glenn Ketchum became a leading advocate for the preservation of Southwest Alaska’s ecosystems and economies BY WES PITTS / PHOTOGRAPHY BY ROBERT GLENN KETCHUM

28 Outdoor Photographer outdoorphotographer.com Some of the many islands in Lake Iliamna, one of the largest bodies of freshwater in the world. Iliamna is also home to a unique species of freshwater seal. The ore haul road of the Pebble Mine will be built along a substantial portion of the north shore of the lake, bridging (and likely destroying) numerous salmon-spawning sidestreams. Air quality, water quality and the quiet and solitude of wilderness are likely to be affected as well.

outdoorphotographer.com March 2017 29 ew outsiders know Southwest goes way beyond that,” referring to the Alaska as intimately as Robert pit itself. “The next part of the footprint Glenn Ketchum. Remote and vast, would be the road and all of the hauls Fthe region has limited roadways, requiring that have to occur to move the ore, and planes and boats to explore. It’s also home all the air pollution that’s created by to several national and state parks, wild- doing it.” life reserves, complex ecosystems and Then there’s powering the mine. “It the largest salmon fishery in the world, would use more electricity than the entire Bristol Bay, which supplies half of the city of Anchorage. And they’ve [Northern global sockeye salmon catch. Dynasty] said, ‘You don’t have to build us “There’s Katmai, a national park; any infrastructure though, because there’s there’s Lake Iliamna, one of the largest coal on-site, so we’ll mine it and burn it freshwater lakes in the world; there’s to generate our own electricity.’” Lake Clark, a national park; there’s Ketchum continues, “So now because Togiak National Wildlife Refuge; there’s of the coal burning you’ve got mercury Wood-Tikchik, the largest state park in pollution in the air and in the water coming North America. They’re all there, and right in to the Bristol Bay fishery, and it’s they’re all going to get [expletive] up if spreading out across the entire landscape. you put this mine in there.” The footprint is getting bigger and, wait, The proposed mine to which Ketchum we’re not finished. This mine is flooding refers is known as Pebble Mine. If per- continuously and it’s continuously being mitted, it would be the largest open-pit pumped out, and all of that’s toxic because mine in North America, potentially as it’s got iron oxides in it, it’s got the injec- large as two miles wide and two thou- tion materials that are used, it’s got the sand feet deep, in a terrain Ketchum [residue from] the explosives used, so you describes as, “Saturated at surface level. end up with these huge toxic pools.” drive the birds off. This mine [Pebble You draw water by stepping on the soil. To make the scene relatable, Ketchum Mine] would have 20 square miles of Dig down 2,000 feet, and the walls of references a recent story in the Los Ange- open pits—20 square miles. That’s like this pit mine are going to look like les Times reporting that thousands of a small inland sea. That’s bigger than a waterfall.” migrating snow geese had died after land- the Salton Sea [in California] of open In the context of the immense, pris- ing in toxic pools from a former open-pit pits. They’ll be deep enough that the tine landscape of Southwest Alaska, the copper mine, Berkeley Pit in Montana. earthen dam works containing them will mine proposed by Northern Dynasty “Berkeley Pit is a couple hundred yards be larger than the Three Gorges Dam Minerals, a Canadian company, might across. I’ve photographed it extensively,” in China. And, you’re doing this on the seem relatively small. “Unfortunately,” says Ketchum. “It’s not that big; they Pacific Flyway in the middle of a com- Ketchum explains, “to make a mine that have air radar, beeping horns and every- plete wilderness, so you have wolves, big, and to maintain it, the footprint thing else, and it still wasn’t enough to moose, caribou, marten, lynx, eagles and

30 Outdoor Photographer outdoorphotographer.com This is the approximate location of the proposed Pebble mine. If it were a hundred million birds on the Pacific It becomes a Superfund site.” to be built, this view would be an Flyway who will think those [open pits] The effort to stop the mine is one Rob- industrialized hole in the ground over are lakes. So, unless you’re going to build ert Glenn Ketchum is uniquely equipped two miles across and 2,000 feet deep. screens over them, or stadiums around to join. them to keep everything out, you’re going to kill anything that comes near them. etchum has spent most of his You could, in fact,” Ketchum concludes, career as a photographer work- and came in to my career, which is “damage the entire Pacific Flyway. And ing tenaciously for conservation grounded in the landscape. Rather than the end result of the mine, the waste left Kefforts, and Southwest Alaska is a chief just making beautiful images in and of after the mine—who cleans that up? They beneficiary of his lens. themselves, I saw, in my generation, [Northern Dynasty] go back to Canada “When I graduated from UCLA,” he the politic of it, too. I reasoned that if and dump it on the American taxpayers. says, “I left rock-and-roll photography I was going to do this as a profession,

outdoorphotographer.com March 2017 31 ADVICE FOR EXPLORING ALASKA’S SOUTHWEST

Southwest Alaska is a paradise has, expect to charter planes and spent any time in Alaska, you know how vÀ ÕÌiÀÃ]Ã«ÀÌwÃ iÀ>>` guides to get you from Dillingham much getting anything done in Alaska photographers alike. The immense, to destinations like Katmai and Lake costs. When you go to one of these untouched wilderness is the source Clark. “Once you’re there, on the amazing lodges, you get picked up in of the region’s allure, but also its ground,” Ketchum advises, “you’ll see } >LÞ«ÀÛ>Ìi«>i>`yÜ challenge to would-be adventurers. there are pilots advertising everywhere, out to the lodges. So, as a photographer “There’s a reason a lot of people >`Ì iÀi>ÀiwÃ }V >ÀÌiÀÃ}} you pay those fees, and you go in as who go to Alaska take a cruise boat,” upriver. You can get a pilot who will >wÃ }ViÌ]>`Ì iÞÕÃ>Þ]¼ Ketchum says. “Everything’s answered yÞÞÕÕÌÛiÀÌ iiÌÀiÌiÀÀÌÀÞ] `½Ìii`>QwÃ }R}Õ`i]ÕÃÌÜ>Ì vÀÌ iÆÌ iÞ`½Ì >ÛiÌw}ÕÀi ÌÕÃÌ>Ì>° ivÌ iÃiÌ }Ã ÌyÞÜÌ iÛiÀÞL`ÞÌ iÀÜ>ÞÕÌ anything out by the seat of their pants.” is cheap. This is why common public >`Ì iÀÜ>ÞL>V°ÕÃÌÜ>Ì>ÃÕV The problem with this, Ketchum points tourism isn’t out there yet—tourism is >ÀÌi>ÃÞÕV>}Ûii]ÃÕÃÌyÞi out, is that you don’t see much from a }ÀÜ}]Ì½ÃÕÃÌiÝ«iÃÛi°» ÕÌÜÌ i>V vÞÕÀQwÃ }R}ÀÕ«Ã°» cruise boat, so he doesn’t recommend One path for photographers is to You might even get lucky and get a that approach for photographers who use services and facilities catering to dedicated plane. On one trip, Ketchum want to truly experience Southwest Ã«ÀÌwÃ iÀ>°À ÃiÝ«iÀiVi] }ÌÕÃÌÌ >Ì°º9ÕÜÕ`Li >À` Alaska. “The bottom line is, Alaska º/ iwÃ }`}iÃ>ÀiÃ«iVÌ>VÕ>À pressed to have a really good place to doesn’t really have an in-between. So, destinations, but they’re also killer stay with three square meals a day and if you want to get off the cruise boat expensive,” says Ketchum. “They >Ì iyÞ}ÌiÞÕVÕ`«>ÞvÀp and get on the ground, you’re going to run about $700 to $1,000 a day, and for $1,000 a day—anywhere else in have to do some of this yourself.” Ì iÞ½ÀiÕÃÕ>Þ>ÕvwÛi`>ÞÃ° Ƃ>Ã>°Àiy} ÌvÀL>ÃiV>« For the kind of access necessary to However, having said that, if you think ÕÌ i>]ÞÕVÕ``À«fÇääÕÃÌ explore Southwest Alaska as Ketchum about this as a photographer and you’ve vÀÌ >Ìiy} Ì>`Ì½ÃÞ> ÕÀ

32 Outdoor Photographer outdoorphotographer.com “The Channels” of the Kvichak 4KXGTCTGCXGT[FGUKTCDNGƂUJKPI NQECVKQP6JG-XKEJCMƃQYUHTQO .CMG+NKCOPCVQ$TKUVQN$C[CPFKU the largest and most productive TKXGT CPF YCVGTUJGF KP VJG ƂUJGT[ the Hudson River book, was so impressed small cruise boat, courtesy of The Wal- with Ketchum’s work, he was offered a lace Foundation, that would cater to him I wanted to do it as a profession of new commission: Alaska. “What land- for the next 10 days, giving him access responsibility and not one out of nar- scape photographer wouldn’t want to go to places the foundation wanted him to cissism. Instead of having just another to Alaska?” Ketchum asks. “But Alaska experience and to photograph. “In those monograph about Robert Ketchum, I to me was, like, Denali.” 10 days, I found myself wearing a full wanted to write about the Tongass rain The Wallace Foundation’s interest Helly Hansen rainsuit. It rained virtually forest or the Cuyahoga Valley. I wanted was in bringing public attention to the every single day, and sometimes it rained to write about places where you could clear-cut logging taking place in Alas- five or six inches a day,” he recalls. After make stuff happen.” ka’s Inside Passage. The foundation a few days, though, he began to adjust to His first opportunity to create effect explained that the region comprised the the conditions and finally enjoy himself. through his work was his Hudson River rarest rain forest in the world, unique When the ship charter ended, he took to project, which resulted in the book, The for its proximity to the Arctic Circle. kayaks and trails to explore deeper into Hudson River & the Highlands, pub- Ketchum confesses that, at the time, he the rain forest. lished by Aperture in 1985. The suc- was hesitant. “And that was how it all began,” says cess of the book as an advocacy tool “At that point, I’m a backpacker—I Ketchum. “I’m in Alaska, I’m in a kayak convinced Aperture’s then-publisher hate rain. I’m thinking, ‘Maybe I don’t that’s like an extension of my body, and I Michael Hoffman to pursue new proj- want to do this. I want to go to Alaska, but can go anywhere there’s water—up rivers, ects with Ketchum, the next of which, I don’t really want to go to a rain forest.’” across lakes, I can paddle into incredible The Tongass: Alaska’s Vanishing Rain Ultimately, the opportunity won, and he fiords—and it was like I was reborn.” Forest (1989), marked the beginning of boarded a plane to Anchorage. several decades of work Ketchum would Disabused of the misconception that y the end of the Tongass project, do on behalf of Alaska. he might simply rent a car in Anchor- Alaska had captivated Ketchum. The Tongass project was serendipitous. age and drive to the Tongass—not pos- At the encouragement and invi- The Wallace Foundation, underwriter of sible—Ketchum was provided with a Btation of friend Kenneth Leghorn,

}°9ÕV>yÞ>`>ÞÃÌ>Þ}ÜÌ Smokes, which is a volcanic landscape airport, and from there, “You can drive one of the lodges for the $1,000-a-day that’s like no other place you’ve ever 150 miles of road at Lake Iliamna, and fee. That may sound like a lot of seen. It looks like the surface of Mars, go out into complete wilderness areas money, but when you look at what and it’s so unlike the rest of the park, like Pedro Bay, put a kayak in the water, you’re getting for it as a photographer, it’s like going to another place entirely. and go camp on the most fantastic little it’s really not such a bad deal.” And, so, it’s like two parks in one— islands you’ve ever seen. Lease a kayak Alternatively, there are roads out of you’ve got this volcanic park up at the >>vÀivÌ iÕÌwÌÌ} Dillingham that lead up to the southern top, and you’ve got the rain forest and guides, and get them to drop it at the boundaries of Wood-Tikchik State Park. wÃ iÀÞ`Ü>ÌÌ iLÌÌ]ÜÌ >v beach of your choice in Pedro Bay and “You can drive to the southernmost the bears. Katmai is a really neat place, have them pick you up at a designated shore of the southernmost lake, and with walking trails and the infamous Ìi£ä`>ÞÃvÀÌ i]>`ÕÃÌÌ>i then start accessing the lake chain Brook Falls where everyone takes the that kayak and go. So, anywhere that through boats, so that’s another way to ¼Ã>Õ«}ÌÌ iLi>À½ÃÕÌ ½ there’s an airport and a little hub of approach it.” While most of Southwest photograph. Katmai is a destination Ãi`]ÞÕV>yÞÌ iÀi>` Alaska’s wildlands aren’t reachable that everyone knows, whether they w}ÕÀiÌ >ÌÌ iwÃ iÀ>>` ÕÌiÀÃ by road, Ketchum notes, “There are realize they know it or not, and there >Ûi}ÌÌ>w}ÕÀi`ÕÌ°9ÕÕÃÌii` plenty of places to drive to that are are roads to drive and there are trails to get on the ground and start asking interesting, and in Katmai, there’s a to walk, and it’s probably the simplest some questions.” bus trip you can do as a day trip that Q«>ÀRÌ>VViÃÃ°» kk Ketchum generously welcomes takes all day long, about a three-hour Another destination in Southwest anyone who’s serious about planning drive by bus—so you’re going to spend Alaska that Ketchum recommends for a trip to Southwest Alaska to a good bit of time in a bus—but you road access is Lake Iliamna. Fly in to contact him through his website, end out in the Valley of Ten Thousand the city of Iliamna, which has its own robertglennketchum.com, for advice. 1PGQHOCP[URGEVCEWNCTNCMG Ketchum joined the board of directors “I don’t know, try to find another proj- basins in Lake Clark National of the Alaska Conservation Founda- ect in Alaska.” Park and Preserve, Twin Lakes tion, and helped promote the foundation “Do you fish?” he asked. “Yeah, sure, would actually be quite near the mine site and the haul road from through photography and media cam- why?” replied Ketchum. the mine would run along part of paigns. “That gave me an excuse to go up “You want to see some of the greatest the park boundary. three times a year for board meetings,” fishing in the world, really world class, he confides, which also afforded him and it’s completely unprotected and opportunities to explore and photograph nobody even knows it’s there? I think new locations. it’s going to become a battle zone, and I the state of Washington.” At the time, Ketchum remembers, “I think it could be a great project for you. At the time, Pebble Mine had not yet didn’t really have any projects, I just got We’ll fly out there now if you want.” been proposed, but there were petroleum involved with ACF campaigns. We were They left immediately for Bristol Bay. leases in Bristol Bay. Ketchum decided fighting to protect the North Slope from “I’ll never forget this,” Ketchum says that his next project would focus on pro- drilling, we were working with native of the flight. “We came out of the clouds tecting the bay and the salmon fishery on villages about bycatch in the gulf and in this tiny little jet headed into the air- which the local and native communities wasted fish being thrown overboard, and port at Dillingham, and the landscape depended. As he departed its board, he so those were the wide range of issues,” opened up underneath me, and in one forged a partnership with ACF to use the to which he contributed. easy glimpse, I could see three or four project as a fundraising campaign, and As Ketchum’s tenure on the ACF board hundred lakes and eight or ten rivers with support from additional corporate was about to end, he was approached by and thousands of sidestreams.” Ketchum sponsors, Ketchum began the work that a former board member, Jan Konigsberg, was awestruck by the sheer magnitude would become his 2001 book, Rivers of who had retired the year prior. “So what of Southwest Alaska. “How would I Life: Southwest Alaska, the Last Great are you going to do when you leave the even photograph this much landscape, Salmon Fishery. board?” he inquired of Ketchum. because it’s a huge area, it’s larger than His next book on Southwest Alaska,

34 Outdoor Photographer outdoorphotographer.com 4GHGTTGFVQD[NQECNRKNQVUCU p$GXGTN[*KNNUqDGECWUGVJGTGCTG Wood-Tikchik: Alaska’s Largest State he sent books and a slideshow to Pres- so many “swimming pools,” this Park (2005), was a natural extension of ident Obama, Secretary of the Interior aerial of the broad terrain shows his work on Rivers of Life. “I had spent a Sally Jewell and EPA Administrator the astounding abundance of lakes, lot of time in planes,” explains Ketchum. Gina McCarthy. He sent the same slide- streams, creeks and rivers that “Wood-Tikchik from the air is spectac- show to executives at Rio Tinto, one EQORTKUGVJG$TKUVQN$C[YCVGTUJGF ular, and I had an inordinate amount of the world’s largest mining concerns of pictures in Wood-Tikchik that didn’t and a principal investor in the Pebble get in to the book,” referring to Rivers Mine project. of Life. “The project will kill half the wildlife “Wood-Tikchik was on press when in Southwest Alaska and all the birds in couldn’t build the mine even if they beat they announced the Pebble Mine,” the Pacific Flyway with its toxic ponds,” the EPA in court.” Ketchum recalls. “So, I took the best Ketchum asserted in the slideshow. Despite the apparent success of the pictures from both books, and as I nor- “Three months later,” he reports, “Rio campaign to stop Pebble Mine, the battle mally do to support the book campaigns, Tinto pulls out.” isn’t over, and Ketchum remains vigi- I bled the pictures together and created a In 2014, Alaskan voters passed the lant. As an artist, activist and a Founding ‘No Pebble Mine’ exhibit.” The exhibit “Bristol Bay Forever” initiative, which Fellow of the International League of intended to bring attention to the impact requires state legislative approval for the Conservation Photographers, he’s fre- the mine would have, not only on the mine project to proceed. The campaign quently asked about his next project, life-sustaining salmon fishery in Bristol also succeeded in convincing all three to which he responds, “You know, we Bay, but on the ecology of all of South- major investors in the mine—Mitsubi- haven’t won this Pebble Mine thing yet, west Alaska. shi, Anglo American and Rio Tinto—to and I’m not going anywhere. I want to Ketchum’s photographs were also abandon the project, leaving Northern see this place protected, and all of my used to illustrate full-page ads oppos- Dynasty Minerals as a shell corporation resources are directed at that.” OP ing the project, placed by the Natural without funding. In response, Northern Resources Defense Council in major Dynasty is suing the EPA, “But they have Visit Robert Glenn Ketchum’s blog at U.S. newspapers. At NRDC’s request, no investors,” Ketchum notes, “so they rbtglennketchum.blogspot.com

outdoorphotographer.com March 2017 35 ust weeks after a powerful storm hit the Oregon coast, causing toppled OREGON trees, downed powerlines and two tornadoes, Southern California’s Stan Moniz learned that a big northwest swell was soon expected to blast the coastline. Hoping to capture some unique shots of the action from the cliffs, he contacted friends Dudley Yerby, Ryan Rosas and Brian Bloss to plan a trip to the Beaver State for the following week. Moniz and his team flew into Port- An adventure photographer’s epic journey land, rented a vehicle that would double as their shelter at night, and began an through four Oregon hotspots approximately 800-mile, six-day photography adventure. The road trip would BY KRISTAN ASHWORTH take them through four of Oregon’s most PHOTOGRAPHY BY STAN MONIZ popular scenic destinations, where some extreme weather would hopefully provide dramatic skies and epic waves. Chasing waves isn’t anything new for Moniz. Raised in Waialua, Hawaii, he was a professional body boarder at age 18 and is still an avid surfer. In 2014, when Moniz began focusing on adventure photography and astrophotography, Outdoor Photographer caught up with

36 Outdoor Photographer outdoorphotographer.com p+HVJGTGYCUQPGUVCPFQWVJKIJNKIJVQHO[VTKRVQVJGDGCWVKHWNUVCVGQH1TGIQPKV would have to be this one. Shore Acres State Park can show some serious power in the surf department. Standing there, holding tight for dear life, hearing and feeling the power as 20-foot swells slammed full force into the cliff side was an experience I will never forget. Timing, trusting my heart and intuition was everything on this trip. This is what being an outdoor photographer is all about, in my opinion.”

“This is Trillium Lake CVNCUVNKIJVO[ƂTUV UVQRCNQPIVJG1TGIQP odyssey, a lake I've seen in magazines, online and heard through story. We got there with maybe 30 minutes before sun down. I couldn't believe my eyes! With not a wisp of wind, the lake was perfectly still. Myself and the rest of the crew were just in utter shock as Mount *QQFoUTGƃGEVKQPDGECOG stronger and more apparent as the colors shifted between these beautiful hues of purple and pink.”

him to talk about his process of photo- cloud in the sky, and the water at Tril- some night photography. “I shoot all graphing waves in an article, “Shooting lium Lake was perfectly still. “I walked of my astrophotography on the Sony The Curl.” The Oregon road trip coin- out until I could position the reflection a7S II,” Moniz explains. “There’s just cided with Moniz leaving his 9 to 5 job of Mount Hood between two rocks, something that’s so magical about that to focus on photography full time, and and I set up right there. I was testing camera. It produces such a clean file all getting drenched still comes with the the new Tokina FiRIN 20mm F2 FE the way up to 12,800 ISO." territory, especially in the fall in the MF, which I used on a Sony a6300. For Unable to shoot Wizard Island at sun- Pacific Northwest. my landscapes, I like to shoot really rise from the angle he wanted due to the drawn-out long exposures, so my ISO road closure, Moniz had to find a differ- First Stop: Mount Hood was as low as you can go, 100 on the ent vantage point. “We found this spot, 4GƃGEVKQP#V6TKNNKWO.CMG a6300, which gave me about an eight- to and I walked out onto the ledge; it was a “Trillium Lake has always been a place 10-second exposure—that way you get perfect ‘V’ [in the foreground]. It was a I’ve wanted to capture,” Moniz says. “A that real milky look in the clouds. I was 70-degree drop down in front of me, and lot of people have told me it’s so hard to also shooting a time-lapse of the same right behind me was a big tree, and I was get an image with the reflection of Mount sequence, plus we got it on video and by literally huggint the tree and setting my Hood in the water because the weather drone. We got a crazy amount of footage camera up right there. And I did that at in Oregon is pretty tough sometimes.” of this one scene.” night. I knew this was where I was going They arrived an hour before sunset, to shoot the sunrise because the other road but after pulling into the first parking lot, Next Stop: Wizard Island was closed, and this was the only angle Moniz realized they were in the wrong At Crater Lake I could get of the lake with the island in spot because it didn’t offer the composi- Moniz and his team planned to arrive there. The next morning, I got up at 6 a.m., tion he was after. “We then went around at Crater Lake in time to catch the it was probably like 25 degrees. I got back to a different parking lot, and I could see sunrise, but due to an unexpected road to the tree and I was hugging it because it instantly,” he recalls. closure, a long detour brought them if I had stepped 2 to 3 feet in front of me, Despite recent storms, there wasn’t a there after sunset, just in time for I would have slid straight down that hill.

outdoorphotographer.com March 2017 37 “Crater Lake National Park is a location “The moon was out, which helped me UVCTVGFVQVWTPCVƂTUVNKIJV I've been wanting to photograph, CVQPCUKVYCUO[ƂTUVVKOGVQVJGRCTM “I proceeded to take six vertical images, especially at night, for quite some time +ƂPCNN[HQWPFVJKUNQECVKQPTKIJVWPFGT from left to right, as a test for the morning now. I absolutely love shooting the stars a tree, at a seriously sketchy downward sunrise. I then took them back to the car, CPFVJG/KNM[9C[DWVOCFGO[ƂTUV slope. It felt at times very nerve racking where I stitched the images together visit to the park just a little too late in the to set up here, but I knew this was the in Lightroom. I was excited to see that season. Nevertheless, I did capture a bit of location to be. It felt right, so I set up my it turned out great and exactly how I the Milky Way as it set below the horizon, gear and planned a panoramic image to planned. I set my clock to wake up during CPFVQDGJGTGKPVJGRCTMƂPCNN[+YCUKP be taken at sunrise capturing some of blue hour and walked back to the same awe. This park is jaw-dropping beautiful. the lake, and Wizard Island as the clouds location to do it all again at sunrise.”

So that's where I made a six-shot vertical panorama of Wizard Island at sunrise." Moniz may not have been able to shoot from the location he had envisioned, but hopefully he’ll soon have another chance to capture his dream shot from the other side of Crater Lake when he returns in August to photograph the solar eclipse.

Up Next: Shore Acres State Park From Crater Lake, it was a three-hour drive to the cliffside beauty known as Shore Acres State Park, but a passing storm brought enough rain to keep them confined to their car for the day. Moniz didn’t mind, though, because he knew he’d soon have some incredible waves to photograph, although he didn’t realize at the time just how incredible they’d be. p6JKUKU5WPUGV$C[&TKXKPIHQTJQWTUQPGPFVJGFC[DGHQTGYGFGEKFGFVQUVQR here for the night and get some rest before locating the close-by Shore Acres As it began to get dark, and still unsure State Park in the morning. As I woke up before dawn, my mind, body and soul exactly where Shore Acres State Park could not have been happier. The view of the bay at low tide as the sun started to was, they pulled off to find a place to rise in the east literally took my breath away. camp, which turned out to be a little spot “I rushed back to the car, got my gear and ran out as far as I could before I hit called Sunset Bay. The skies cleared, the water’s edge. I envisioned a longer exposure to capture the already dream-like feel that this bay was giving me. It turned out to be about 8 seconds, which was just allowing them to get in some astropho- enough to give the water and clouds above that expression and mood that I was tography before calling it a night. “The feeling at the time.” next morning, I woke up at 6 a.m. not knowing what to expect,” recalls Moniz.

38 Outdoor Photographer outdoorphotographer.com every once in a while, and when it did, I huge swell was coming in, so Moniz told would run up that cliff like you’ve never them to press the button again. He then seen anyone run before.” ran back to view the photos, and it was Cameras Moniz set up the composition and used the second set of wave shots that had kkSony a6300 manual focus to make sure the exact spot the power he was looking for. “I looked kkSony a7S II where he would be standing would be 100 at the viewfinder, and I started crying,” Lenses percent sharp, marking the spot with paint- he says of the once-in-lifetime moment. kk Tokina FiRIN 20mm F2 FE MF er’s tape. He handed his friends a walk- “I’m such a sappy dude. I’ve wanted this kk Tokina AT-X 11-20mm F2.8 ie-talkie, told them not to move his camera shot for two years now, and it’s so hard to PRO DX and said he was going to walk out onto the predict a big swell with good weather. I kk Tokina AT-X 100mm F2.8 cliff into the frame to add scale to the image. could have turned around and gone home PRO D “We cannot leave without this shot, I told after that shot.” kk Tokina AT-X 24-70mm F2.8 them. This is the shot. And I told Ryan, But he didn’t. There were still a couple PRO FX when I tell you to press that button, you must-see locations on his list. Filters press that button.” kkHoya Solas 4-stop ND Moniz made the quarter-mile trek out Cannon Beach And kkHoya Solas 10-stop ND to the cliff. When a big wave came in, he Ecola State Park Tripod gave the command over the walkie-talkie Next, Moniz and his team made the five- kkSlik Lite AL-420M for Ryan to fire the camera. About 10 sec- hour drive up the coast to Cannon Beach onds later, his walkie-talkie roared to life. to see the 235-foot-tall Haystack Rock, The screams of joy from his friends told the famous backdrop in the opening him that they had nailed the shot. Another sequence of the classic ‘80s buddy- “I began to set for a shot of the sunrise over the bay. When the sun started to rise, I was like, oh my goodness—it was magic. It was really low tide, and you could walk almost half a mile out.” It was time to pack up and make their way to Shore Acres State Park when they discovered that they had stumbled right into it the previous night. They found the narrow road that led down to the cliffs where they would prepare for the shot that had brought them to Oregon in the first place. The waves crashing against the cliffs were more intense than they had imagined. “I’m from Hawaii originally, and I’ve never seen waves this big ever since I moved to California in 2001,” says Moniz. “The waves that were coming through that coastline as we were driving were jaw-dropping. I couldn’t believe my eyes. I knew the shot I wanted to get, and I was already getting scared.” Moniz studied the waves for a while and noted that only one out of every 20 or so would hit the cliff he intended to stand on for the image. The others were exploding about 15 feet to the right of the vantage point. “There was one wave that would come straight in “This is Ecola State Park during the rise of the morning sun. With this magical tree in the HQTGITQWPFQXGTNQQMKPI%CPPQP$GCEJCPF*C[UVCEM4QEMKVYCUCUKIJVHQTUQTGG[GU1TGIQP undeniably holds one of the most beautiful stretches of coastlines that I have ever seen.”

“This is another image taken at Crater Lake 0CVKQPCN2CTM1PEG+OCFGVJCVƂPCNVWTPEQOKPI ever closer to the top, I saw the setting moon and Milky Way to the west of me. I slammed on VJGDTCMGURWNNGFQXGTCPFNKVGTCNN[NQUVKVtKPC good way, as any excited photographer should. The mixture of the moon and Milky Way setting together, without a soul in sight, was just something out of a dream. This image is a combination of four vertical images stitched together in Lightroom to give it more of a panoramic point of view that you would see with your own eyes.” adventure film The Goonies. “It’s so the team then swung by the small sea- to maximize time, it was the unexpected magical and mystical up there,” Moniz side town of Astoria for more Goonies moments that made the trip special. And says. “We saw eagles flying overhead and nostalgia, then up to Washington’s Cape Moniz isn’t one to shy away from taking moose grazing on the cliffside.” Disappointment State Park before return- it to the extreme: “The timing of this trip Here, he took a long exposure of the ing to Portland to catch a flight home. was impeccable because the weather was sea stacks, using a four-stop ND filter to Despite the rain, cold and unexpected kind of chasing us the whole time.” OP get a slow enough shutter speed to capture road closures, the trip was a grand success some movement in the water. and an adventure they won’t soon forget. See more of Stan Moniz’s photography As any true Goonies-at-heart would, While a lot of planning went into the trip at stanmoniz.com.

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IN THE

'ZVTCEVKPIVJGKPƂPKVGHTQOVJGƂPKVG TEXT & PHOTOGRAPHY BY JUSTIN BLACK

This may be controversial, but creativity. Photographs like these tell abstract compositions, whether in an I'll say it anyway: It's time to us little about the photographer’s own exotic destination or my own backyard. consider whether the world personal creative vision, and while they Using photography as a medium to make needs any more iterations of presumably seek to convey the beauty abstract images poses the obvious chal- the famous, done-to-death, iconic, and serenity of wide-open wild places, lenge of reckoning with the photograph’s “big landscape” compositions. An they have too often been made while innate descriptive nature, but that also online image search using keywords standing shoulder-to-shoulder with a makes success all the more rewarding. like “Mesa Arch,” “Yosemite Tunnel mob of photographers jockeying for the An effectively executed and compelling View” or “Tetons barn” will yield classic perspective. abstract photograph is perhaps the purest vast numbers of cookie-cutter, cliché The reality, however, is that an infinite demonstration of a photographer’s origi- pictures. Though some of these may be landscape of creative compositions are out nal vision, understanding of fundamental perfectly executed and may be valid as there just waiting to be discovered. Ever aesthetics and ability to move the viewer. technical exercises for photographers since I fell in love with photography about Abstraction in art is all about stimulat- learning the craft, at the end of the day 30 years ago, I have been consistently ing thought and emotion using aesthetic they most often boil down to formulaic intrigued by the unlimited potential to characteristics themselves, rather than knock-offs of someone else’s original imagine, seek out and create compelling relying on descriptive information conveyed by subject content. As the painter jjAscending Bivröst II.1PC8KUKQPCT[9KNFGZRGFKVKQPDCUGFQPCUOCNNUJKRKP Alan Soffer has said, “Abstraction forces )TGGPNCPFoU5EQTGUD[5WPFHLQTFU[UVGO,WUVKP$NCEMCPF(TCPU.CPVKPINGFVJG you to reach the highest level of the ITQWRCUJQTGVQRJQVQITCRJCDTKNNKCPVCPFGZRCPUKXG#WTQTC$QTGCNKUFKURNC[#HVGT basics.” It involves the act of prioritizing RJQVQITCRJKPIEQORQUKVKQPUQHVJGNCPFCPFUGCDGPGCVJVJGPQTVJGTPNKIJVU$NCEM VWTPGFJKUNGPUXGTVKECNVQRJQVQITCRJVJGF[PCOKEtCPFNGUUNKVGTCNtEQORQUKVKQPU and employing essential elements such directly overhead. Nikon D810, Sigma 50mm F1.4 DG HSM Art, Really Right Stuff as color, tone, line, form, texture and the TVC-24L tripod and BH-55 ballhead. Exposure: 8 sec., ƒ/2.0, ISO 3200. fundamental graphic considerations of

outdoorphotographer.com March 2017 43 Aasiaat Steel. Cut steel plate scraps at the harbor in Aasiaat, &KUMQ$C[YGUVGTP)TGGPNCPF(KXGQXGTNCRRKPIHTCOGU Untitled. $CUCNVKE5VTCVC5PÂHGNNUPGU2GPKPUWNC+EGNCPF combined into one composition. Nikon D810, PC-E Micro Nikon D810, AF-S NIKKOR 70-200mm ƒ/4G ED VR, NIKKOR 85mm ƒ/2.8D, Really Right Stuff TVC-24L tripod and Really Right Stuff TVC-24L tripod and BH-55 ballhead. BH-55 ballhead. Exposure: 1/4 sec., ƒ/16, ISO 64. Exposure: 1/50 sec., ƒ/14, ISO 400. composition, taking advantage of human can either go looking for inspiration objects, such as rock formations, veg- visual cognition to compel the viewer’s and find images wherever one stumbles etation, ice, flowing water and many imagination and emotions to think and across them, or one can conceive pictures macro subjects. On the other hand, the feel in response to the work, deemphasiz- in advance, work out how they would harsh contrast of direct sunlight can ing or stripping away features that convey need to be made, and then go out and wreck some natural designs but create explicit meaning or objective facts. execute them. opportunities to use light itself as the Abstraction isn’t dogmatic. It doesn’t There are, however, some practices subject, such as arrangements of shapes tell the viewer what to think; rather, the that I employ in the search for effective cast by hard shadows or patterns created aesthetic aspects of the image inspire a abstracts. First, in advance of visiting a by specular reflections and defocused response. A common misunderstanding location, I try to identify an inventory of highlights. Backlight can yield graphic is that the underlying subject matter available subject matter and themes that silhouettes and can also be applied to of an abstract image must be entirely interest me, seasonal phenomena, light good effect with fog, smoke, waves, unrecognizable, but an image can be and weather conditions, and any other leaves and translucent objects. simultaneously representational and elements that I might take into consid- One of my favorite ways to create abstract to varying degrees. It's more eration as I conceive images. This gets abstract designs is with motion captured the case that the actual identity of the sub- amended and updated on the fly once during long exposures—the opportuni- ject matter used in an abstract picture is I'm on location. ties here are limitless. We are all familiar largely unimportant, while the aesthetics Qualities of light can suggest what with long-exposure landscapes depicting are everything. sort of subject matter to look for. Diffuse silky-smooth flowing water, and the same This raises the question of how to go light—overcast, shade, light bounced technique can be applied to create abstract about finding abstract compositions, and off a canyon wall, flash with a diffuser, designs using moving clouds, groups of the answer is the same as it would be etc.—tends to work well for rendering animals and just about anything else that for any other kind of photograph: One abstract designs and patterns inherent in will render a form or line as it moves

44 Outdoor Photographer outdoorphotographer.com kkFønfjord Iceberg. 4GƃGEVKQP detail of an iceberg in Fønfjord, Scoresby Sund, eastern )TGGPNCPFNikon D810, AF-S NIKKOR 70-200mm f/4G ED VR, handheld. Exposure: 1/250 sec., ƒ/16, ISO 400.

through the frame over the course of seconds or minutes. Very long exposures (30 seconds and more) can also be used to blur the texture of bodies of water or cloudy skies into even-toned backgrounds that provide clean negative space, against which other forms can be arranged. Interesting results can also be yielded from the motion of the camera position itself, such as from a moving car, on a tripod on the deck of a rocking ship sail- ing through Arctic pack ice or panned vertically by hand to turn an aspen forest into a series of vertical streaks. On my last visit to the Southern Ocean, I took advantage of the brilliant pinpoint specular reflections of the sun on the surface of the waves to “carve” well-defined linear designs during a half-second handheld exposure from the deck of the ship. Though the reflection was too bright to look at with the naked eye, a 10-stop neutral-density filter made the image possible. At the faster end of the shutter speed range, reflections in water offer all sorts of opportunities. Particularly if the surface of the water is smoothly undulating, it can be a tremendous medium for transforming reflected colors and tones in the sky, an iceberg or perhaps a cliff-face illuminated by sunset light into elegant and colorful Technical camera patterns. Fast exposures of the sun’s spec- carrying systems ular reflections on the textured surface of for all photographers a babbling brook will yield fascinating Comfortable and secure. patterns that look like they come straight Harnesses or holsters to out of string theory. carrysingleormultiple Another tool we can use to build cameras. abstract designs is multiple-exposure. Although this technique was once limited to either film cameras or manual layering of images in Photoshop, more and more digital cameras today permit cottoncarrier.com the photographer to merge, in-camera, several frames into a single composi- 1- 877-852-9423 tion. This enables the photographer to

outdoorphotographer.com March 2017 45 jjSiberian Elm. Washington, D.C. Five overlapping frames combined into one composition. Nikon D810, Sigma 50mm F1.4 DG HSM Art, Really Right Stuff TVC-24L tripod and BH-55 ballhead. Exposure: 1/100 sec., ƒ/11, ISO 125.

kk Arctic Dream. Floating through pack ice north of 81 degrees NCVKVWFG5XCNDCTF*KIJ#TEVKE Nikon D810, Sigma 50mm F1.4 DG HSM Art, Really Right Stuff TVC- 24L tripod and BH-55 ballhead. Exposure: 15 sec., ƒ/16, ISO 64.

the way in which it “wants” to be photographed. Commonly, the best framing of an abstracted natural subject will critically exclude unwanted elements that disrupt the illusion of the abstract design and return the image to grounded reality. When seeking or refining compositions in the field, I spend a lot of time moving around using my fingers as cropping tools, changing my perspective and the crop to precisely carve out what I consider the ideal composition. In the case of the accompanying image, Ascending Bivröst II, rather than making a picture of Green- land’s mountainous landscape with the northern lights above, I chose to point the camera straight up into the sky to capture a more abstract, less literal image that I considered a stronger and more evocative design. Likewise, in the case of Aasiaat Steel, an abstract design I carved (com- layer various compositions into one; for information that may diminish the purity positionally speaking) out of its context instance, combining views of a single of the abstraction. For the same reason, in a jumbled pile of scrap metal in a west object or shape viewed from different ori- abstracts of ambiguous shapes in clouds Greenland harbor, I spent several minutes entations or shooting multiple exposures tend to be far more effective when exe- carefully adjusting the tripod position and of a moving object, such as a close-up cuted in black-and-white. framing to retain the design elements I golden aspen leaf quaking in the wind, Regardless of the techniques applied, felt were most important while distracting and building up an abstract pattern of careful framing of compositions is perhaps and overly bright background elements well-defined edges as it twists and turns. never more important than in the case of were kept just out of frame. The final The same technique could be applied well abstracts. Conventional styles of landscape composition involved tilting the camera to reflections on water. photography often conform to established off-level for the best balance and visual Color is one of the key pieces of visual compositional conventions suggested by flow. It’s about the design, after all. The information that we use to identify things the scene itself—imagine, for example, fact that I found it in Greenland is largely that we are familiar with in the world, a mountain in the distance reflected in a irrelevant to the aesthetics. and eliminating it can be helpful in the lake in the foreground. But abstraction is Alfred Stieglitz, an early proponent and creation of abstracts. Imagine a black- unconstrained by a need to communicate practitioner of abstraction in photogra- and-white photograph depicting a purely in explicit, literal terms, and thus conveys phy, once said, “Wherever there is light, abstract design that happens to include, as greater creative freedom, and therefore one can photograph,” and indeed one of part of the composition, a puddle reflect- greater creative responsibility, to the pho- the most inspiring things about delving ing a cloudless blue sky. Now, convert tographer. In other words, the photographer into abstraction is that we can do it any- that same image to color. Suddenly, the has to do more of the work, since the land- where. My photograph Siberian Elm is a viewer is provided with a key piece of scape itself is less helpful in suggesting composition I discovered in a downtown

46 Outdoor Photographer outdoorphotographer.com park while taking a stroll through my may be. It invites viewers to use the subject matter that ranges from some- hometown of Washington, D.C. It's one photograph as a mirror of sorts as well, what ambiguous to downright unidenti- of those images that's simultaneously rep- contributing something of their own to fiable. Personally, I’m excited to discover resentational and abstract, still a straight the interpretation of an image made by what new visions I might see around the photograph of a tree, but also something another person using decontextualized next bend. OP else. After finding the exact position and perspective for the composition, I made a snapshot on my phone as a “sketch.” The next day, I returned with my Nikon D810, a Sigma 50mm F1.4 Art lens and my tripod, found the precise position again, and made five overlapping frames so that I could merge them to create a super-high-resolution file suitable for printing up to eight feet tall. To some, the tree is clearly interpreted to be an Ent, an ancient race of walking, talking, tree-like creatures invented by J.R.R. Tolkien in The Lord of the Rings. I never imagined that I'd encounter an escapee from the pages of a fantasy novel just a few blocks from the White House. The pursuit of abstraction in photography opens our imagination, raises our awareness of photographic possibilities, and makes us better photographers, regardless of what our primary interests

outdoorphotographer.com March 2017 47 panoramic image is one of the most beautiful ways Use this landscape technique to show wildlife in their environment. Unlike for picturesque wildlife portraits traditional landscape panoramas, however, Awildlife panoramas have subjects that move across the landscape, which can be problematic. When I started TEXT & PHOTOGRAPHY shooting wildlife panoramas, I often created a bison BY CHEMA DOMENECH with two heads or a moose with two butts. The success rate of these types of images can be low, but with the techniques outlined here, you'll be well on your way to increasing your success rate. As with traditional panoramas, you'll want to shoot in portrait format and overlap about one-third of each frame. Usually, you'd start at the edge of your panorama and then move left or right, but wildlife panoramas are different.

48 Outdoor Photographer outdoorphotographer.com The most common pitfall is overlapping your 4vÀ>iÃÜ iÞÕÀÃÕLiVÌÃ moving into a new frame. If ÞÕÀÃÕLiVÌÃÛ}Ì i direction you're overlapping, allow it to completely exit the frame before snapping First, you want to capture "ViÞÕ >ÛiÞÕÀwÀÃÌ Do the same on the your overlapped frame. the image of your frame, overlap one-third ««ÃÌiÃ`ivÞÕÀwÀÃÌ ƂÜ}Ì iÃÕLiVÌÌÃÌ>Þ 1ÃÕLiVÌ>`Ì iVÀi>ÌiÌ i 2of each frame to one side 3frame, ensuring you are also in the frame will lead to the «>À>>>ÀÕ`Ì >ÌwÀÃÌ until you reach the edge overlapping by one-third of dreaded double butt or frame. of the scene you want to a frame. double head. capture.

It takes a planning and a little luck. correctly. I then panned left and right, When making this image, I anticipated making sure he wasn't in any of my that the bison might want to cross the other frames. fence. Noticing a break in the fence, I It takes a bit of practice, but stick to set up my tripod and planned my first it, and before you know it you'll become shot around the bison crossing at that addicted to making these images—at point. I got a little lucky by guessing least that’s what happened to me. OP

outdoorphotographer.com March 2017 49 behind the shot

Spring Sunrise In Grand Teton Oxbow Bend, Grand Teton National Park, Wyoming Text & Photography By Michael Swindle

ne of my objectives on a trip to Grand Teton National Park in the spring of 2014 was to Oget a sunrise photo from Oxbow Bend. Getting the sunrise shot that you've been dreaming of can be nearly impossible when you have limited shooting days and absolutely no control over the weather or the wildlife that you might encounter. Although I'd have liked to be able to get a photo from Schwabacher Landing, it wasn’t in the cards for this trip as it was under construction. Getting sunrise photos in the spring means getting up extremely early to account for daylight saving time. But, it’s also very peaceful and quiet in the early morning hours, which I do enjoy even if it’s difficult to get up and going. Having scouted the area the previous night, I knew I wanted to set up near the water’s edge and had located a path that would bring me to the water line. As I was setting up and daylight arrived, I noticed that the clouds were covering the Teton peaks and thick fog was rising off the water, so I was going to have to be a challenge, but I was committed to noticed ripples in the water and realized wait for the clouds to move and the fog getting the picture. a beaver was plucking river grass from to lift so the peaks would be exposed. I set up and was ready to shoot as the banks and swimming downstream. Trying to capture the sun shining on the soon as the mountain peaks were visi- Unfortunately, I wasn't able to focus on peaks of the mountains with the mir- ble. Fortunately, the weather would be him quick enough to capture a picture of rored reflection of the Tetons on the in my favor, as the clouds shifted and his busy work. tree-lined Snake River was bound to the fog burned off. As I was shooting, I As the sun was rising, the water was

50 Outdoor Photographer outdoorphotographer.com ³%CPQP'15&/CTM+++%CPQP'(OOH.+575/5KPIJ4C[RQNCTK\KPIƂNVGT+PFWTQ%6 ECTDQPƂDGTVTKRQF'ZRQUWTGUGEc+51 rippling and more visitors were arriv- not return this morning and the serene, proceeded to the Signal Mountain Lodge ing, I realized my opportunity for my quiet, smooth river flow would no longer for some needed coffee and breakfast.OP morning shoot was passing. Someone reflect the Teton peaks. throwing or possibly attempting to Hoping I had captured the tranquil To see more of Michael Swindle’s “skip” rocks on the water was the final beauty of Teton Range and the Snake photography, visit www.mikeswindlepho- clue that the beaver would probably River on the frames I had taken, I tography.com.

outdoorphotographer.com March 2017 51 TAHOE For All Seasons

California’s Lake Tahoe region offers year-round photo opportunities TEXT & PHOTOGRAPHY BY JOSH MILLER

This view of Emerald Bay at sunrise is one of the most classic locations around the lake. Be here early and you may have a chance to catch a predawn glow in the clouds.

52 Outdoor Photographer outdoorphotographer.com outdoorphotographer.com March 2017 53 ith golden aspen in the dramatic low-angled light, and you have the crowds around the lake by following fall, fresh snow blanketing a true landscape photographer’s paradise. the Tahoe Rim Trail to many great mead- W the mountains in winter, While spring rains provide a chance to ows filled with wildflowers and dramatic wildflower-covered photograph new growth around the entire views of the lake. Summer also is the best beaches in the spring and basin, the most popular locations are the time to photograph thunderstorms over sparkling blue water in the summer, fields of lupine growing on the beaches the lake in the afternoon. The general rule Lake Tahoe is a photographer’s paradise during years of low water. Historically, of thumb is if there are building clouds in every season. For photographers these fields of flowers existed on a small before 10 a.m., you have a good chance willing to hike or ski miles for a single scale, but years of drought in California of an afternoon thunderstorm. shot, as well as those wanting to shoot have led to lower lake levels and thus Many photographers consider fall to be from the side of the road, Tahoe offers a larger beaches. The last few years, these the best season in the Tahoe basin because lifetime of subjects that change with the blooms have been particularly great and of the unique mix of colorful aspen, views weather and the seasons. have become an Internet phenomenon. of the lake, wildlife and potential early Winter is by far my favorite season to While wildflowers can be found all winter storms. Nearly every creek leading photograph Lake Tahoe. While the ski around the lake, the largest concentra- into the lake is lined with aspen, but the resorts may be packed, some of the best tion is on the beaches along its northwest largest concentration is along the south- locations along the shore can be com- corner. Come in June or July, pack your west shore. While there are many aspen pletely deserted. The surrounding moun- widest lens and pray for clouds at sunset. in this area, the most popular is the Taylor tains are covered with snow, and the lake is Summer is the slowest season for land- Creek area because of its run of non-na- nearly free of boats. Winter storms help to scape photography around Tahoe. Days of tive kokanee salmon. Plan to explore this wash beaches clean of footprints, and cold cloudless, hazy skies and crowds of peo- location right after shooting the sunrise temperatures add frost on top of patterns ple make shooting around the lake more elsewhere, and you'll avoid the crowds in the sand. Add in the chance of fresh, challenging. But, this is also the season and find the best light. With luck, you may untouched snow covering the beaches and for high mountain wildflowers—escape even have a chance to photograph black

54 Outdoor Photographer outdoorphotographer.com Left,9JGPNQYNCMGNGXGNUCPFNCVGURTKPITCKPUEQODKPGKVoURQUUKDNGVQƂPFJWIGƂGNFU of lupine on the exposed shores of the lake. Below, After exploring the classic locations, photographers with more time would be well served to look through topographic maps of VTCKNUCPFDCEMTQCFU;QWPGXGTMPQYYJCVIGO[QWOC[ƂPFCVVJGGPFQHJKMG

Right, This is one of my favorite images from Lake Tahoe. It proves the point that braving bad weather can increase your RJQVQITCRJKEpNWEMq1PVJKUQEECUKQP I was leading a photo workshop and nearly everyone canceled due to the bad forecast. The few people who did decide to brave the weather ended up wet and cold, but with an amazing break in the clouds right at sunset.

bears feeding on the salmon before the crowds arrive and scare them away. In addition to the lakeside aspen groves, with some exploration you can even find a few higher elevation locations where it's possible to see the lake and fall colors in the same shot. If all this photographic potential doesn’t get you excited about planning a trip to Tahoe, then perhaps good restaurants, easy lodging, casinos and close access to the Reno airport may be enough to convince you. In addition to great photography, the Tahoe area also offers many activities for your non-photographer traveling companions that will keep them happy while you adventure around the lake with your camera. With so much to do in the Tahoe basin, the question becomes not which season is best but rather which season you’re willing to miss. For many

outdoorphotographer.com March 2017 55 photographers, their first trip is only an sunset skies. While Sand Harbor offers Left, This summer view from Emerald introduction that keeps them coming back perhaps the most accessible sunset shoot- $C[KPENWFGUVJG6CJQG)CNRCFFNG to Lake Tahoe for years to come. ing on the lake, it's also very popular and wheeler as part of the scene. Including the classic tour boat gives a sense of parking can be a challenge in the summer. scale and helps to provide balance Key Locations Visit during winter, and you may have with the dramatic blue water of the By far the most-photographed location the entire beach to yourself at sunset and, lake. Right, Shooting a clearing storm at Tahoe is Emerald Bay at sunrise. with luck, untracked snowy beaches. from the east shore should be on every This classic location can be good Once you've explored these popular RJQVQITCRJGToUFTGCONKUV7UKPIC EKTEWNCTRQNCTK\GTVQTGOQXGTGƃGEVKQPUKP year-round, especially when a storm is locations and are ready to branch out, it the water, I was able to give a feeling of clearing, but spring is the best because is good to understand how the weather depth to the image by getting close to the waterfall on Eagle Creek will be and light comes into the Tahoe basin to the foreground with my 16-35mm lens. roaring and makes a great foreground. aid in your exploration. Storms typically Follow California State Route 89 along come in from the west and often break the west shore of the lake until you up over the lake toward the end of the on the other side of the lake because the reach the bottom of the hill overlooking day. Shooting clearing storms at sunset clouds broke in a strange way. The best Emerald Bay. Park in the roadside lot from the eastern shore tends to be the best advice is to be out with your camera no (Eagle Lake Trailhead), walk across the because the sun is setting behind them matter how bad the weather, and be ready street and follow the path down to the to the west as they break up. Building to move quickly because conditions can viewpoint next to the waterfall. Be very storms are typically best shot at sunrise change rapidly. OP careful on this path—it can be super along the western shore because the light icy from blowing spray, and I've seen is coming from the east and will often Josh Miller lives in the Sierra foothills several cameras meet their demise here. light the clouds. about an hour from Lake Tahoe. Another classic location is Sand Harbor These are only general guidelines To find out more about his work and his at sunset. This is possibly the most popu- because Tahoe has a strange way of creat- workshops, follow him on Facebook and lar beach at Tahoe. It has wide expanses ing its own weather patterns. I can’t count Instagram @joshmillerphotography or of sand as well as piles of boulders that the number of times I've been set up for visit his website at joshmillerphotogra- make strong foregrounds against dramatic sunrise or sunset only to wish I had been phy.com.

56 Outdoor Photographer outdoorphotographer.com Forthoseshotsthatbegtobe

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Broken Sky Dawn Oxbow Bend on the Snake River in Grand Teton National Park, in October. This panorama is a single image, exp 0.3 sec at ƒ11 with a Canon 5D mark III and EF24-105mm f/4L IS lens. Jay Caldwell, OutsideShotFineArtPhotos.com

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meridianpro.com | 800-544-1370 LANDSCAPE Our guide to wide-angle lenses, the most popular PHOTOGRAPHY and useful optics for landscape photography LENSES BY DAVID SCHLOSS

There's nothing more satisfying for a important in capturing and conveying the perspective has some bearing on what landscape photographer than capturing grandeur of a scene, and today there’s an is wide enough for your subject. Shoot an image that displays the grandeur array of excellent wide-angle lenses that a forest from a few yards away, and and beauty of nature. Whether it be weren’t even possible a generation ago. you might want a 14mm lens to cover sunset washing a mountain of fall Computer-based design, advanced man- everything. Shoot that same forest from a foliage with a blaze of color, a river ufacturing techniques, refined focusing few miles away, and a 50mm might do the snaking majestically through eroded motors and miniaturized computer pro- trick. That said, most wide-angle lenses canyon walls or a lone tree against the cessors have all led to the development provide an angle-of-view around 114 to whispering grass and blue sky of a of today’s high-quality wide-angle lenses. 122 degrees, at which point you start to savannah, it’s the scale of nature that Along with the advances in lens tech- helps tell the story about the beauty of nology has been an overall broadening of SENSOR TYPE MAGNIFICATION the outdoors. the photographic platforms available to (CROP FACTOR) That’s why behind every good land- the shooter. From Micro Four Thirds to Full Frame 1x scape photographer is a good wide-angle APS-C to Full Frame, there’s an astound- lens. No other photographic tool is so ing array of cameras on the market today, APS-H (Canon) 1.3x and while each have their own wide-per- APS-C 1.5x spective solutions, the different technol- APS-C (Canon) 1.6x ogies have different tradeoffs in terms of Micro Four Thirds 2x image reproduction and image quality. 1-inch 2.7x

Angle of view venture into fisheye territory. Narrower Generally speaking, wide-angle lenses than around 110 degrees, and you get into are those that have a full-frame focal “standard” perspective lenses. length of wider than around 35mm— That said, the type of sensor inside though that’s not a hard-and-fast rule, as your camera will determine what is “wide angle” on your system. In the general photographic market, there are four Left to right: Canon major categories of interchangeable lens '(OOc. camera sensors: full frame, APS, Micro +++75/.GKEC5. Four Thirds and 1-inch, in descending OOc order of sensor size. The APS category #52*2GPVCZ*& 2'06#:&(# breaks down into APS-H for some Canon OOc'& lenses, APS-C and then a slightly differ- 5&/94 ent APS-C format used by Canon. If you take a lens designed for a full- frame camera and put it on an APS-C camera, for example, you’ll end up cropping part of the light coming from the lens. This, in turn, creates a focal length magnification. A lens that’s designed for 35mm .GHVVQTKIJV(WLKƂNO :(OO(494 1N[ORWU/

will have a 1.3x to 1.6x crop depending on the type of APS-C sensor. Put a 24mm full-frame lens on an APS-C sensor, and it’s equivalent to using a 36mm lens. That quality and value of the lens. Generally focal length crop can turn wide-angle speaking, this is true, but there are some lenses into standard lenses. While that outlier bargain-priced gems and some crop is something that’s advantageous high-priced dogs. to wildlife shooters at the telephoto end Many elements (both literally and fig- (your 300mm crops to 450mm), it’s not uratively) internally and externally affect great if you’re trying to go wide. the image quality and performance of any Luckily, there are a wide array of lenses lens. The construction of zoom lenses and available for APS-C cameras, and plenty prime lenses are different, with a zoom of wide-angle lenses to choose from. lens having vastly more components to it. Because the sensor is smaller on APS-C In the body of a lens are several glass cameras, focal length measurements are elements (essentially lenses, the way you’d not the same as on full-frame cameras, think of them in eyewear) that change so manufacturers often list their full- the way light passes to the sensor. Some frame equivalents in the specifications. parts of a lens are designed to focus the unique design processes or elements. The super-wide Sigma 8-16mm ƒ/4.5-5.6 light, some parts are designed to reduce While each of these lens types get pro- DC HSM lens for APS-C cameras, for unwanted effects like halos or chromatic gressively better, you’ll often see them example, provides a full-frame equivalent aberration (more on this in a moment). together in the same lens. With groups of focal range of 12-24mm. Sophisticated processors and motors, as ED and groups of UL glass, for example, As you get to smaller sensors, like well as internal stabilization systems, con- manufacturers can correct a variety of imag- Micro Four Thirds (MFT), the crop factor tribute to the final price of a lens, with faster ing issues. increases. The Micro Four Thirds sensor processors and stabilized lenses costing The construction, quality and price of is half the size of the full-frame format, more. Weather sealing also affects perfor- lenses also depends on a variety of design resulting in a 2x crop, so an 8mm lens for mance and price, since it takes more work choices. The “faster” a lens (the wider its MFT will be equivalent to 16mm, 12mm to design a lens that keeps the elements out. maximum aperture) the better…usually. will be equivalent to a 24mm, and so on. When reading the specifications of While you’d expect an ƒ/2.8 lens to be bet- The 1-inch sensor found on cameras lenses, manufacturers will tout the ter than a less-expensive ƒ/4 lens, the inter- like the Nikon 1 produces a 2.7x crop image-improving optics in the elements, nal design of the elements is sometimes factor, so an 8mm lens is a 21.6mm equiv- which are arranged internally into groups. more important. There have been numer- alent in full-frame format. Just like with You might read a lens description such as, ous examples of a company’s ƒ/4 lens APS-C lenses, manufacturers of MFT “comprising 14 elements in 12 groups, being sharper than their equivalent (and lenses and those for 1-inch cameras list the lens has three aspherical lenses, four more expensive) focal length lens with the full-frame equivalent on the marketing LD lenses and two ELD lenses.” an ƒ/2.8 maximum aperture, so design is materials to avoid confusion. There are an array of terms that indicate paramount. There are two different types these special optical features, and they’re of zoom lenses, fixed aperture and vari- Lens construction all designed to improve light transmission able aperture. In a fixed aperture zoom, Anyone who has looked at the prices and correct common optical issues. The the maximum aperture remains constant of lenses knows that there’s a huge most common terms are LD (low disper- across the whole zoom range. With a disparity between the cheapest lenses sion), ED or ELD (extra-low dispersion), variable aperture lens, maximum aperture and the most expensive ones. What SLD (special low dispersion) and UL decreases as you get to the longer end of makes a $2,000 lens better than a $200 (ultra-low dispersion), HRI (high refractive the range. It’s much more difficult and lens, and does the difference matter? index) and ASP (aspherical). Most manu- expensive to create a fixed aperture lens. It’s a simplification to say that the factures have their own lens designations Years ago, before computer mod- price of a lens is directly correlated to the that may be added to the list to signify eling, design and precision robotic

outdoorphotographer.com March 2017 59 manufacturing, the quality gap between New wide-angle options groups, including four aspherical lens ele- zooms and primes was much wider, and Following is a selection of the latest ments. Eleven of the elements are made zoom lenses were typically relegated to wide-angle lenses for the most popular with glass that Leica refers to as anom- situations where traveling light was the camera systems. alous partial dispersion, which reduces highest priority. Even the lowest-end The Canon EF 16-35mm ƒ/2.8L III chromatic aberrations. List price: $5,000. zoom today is head-and-shoulders above USM ($2,200) and Canon EF-24-105mm Nikon’s AF-S NIKKOR 24-70mm its counterparts from a few decades ago. ƒ/4 IS II USM ($1,100) are great updates ƒ/2.8E ED VR lens is an update to the Today’s lenses, with their built-in micro- to classic Canon full-frame glass. The company’s venerable zoom with its lat- processors and precise focusing motors, 16-35mm has 16 elements, including est technologies, including four stops of are often the unsung heroes of mod- one aspherical lens, fluorine coating image stabilization, an electromagnetic ern photography. and a minimum focus distance of under aperture (for consistent aperture during If you end up shooting a zoom lens at the a foot, with a fixed ƒ/2.8 aperture and bursts), newly designed ASP/ED elements widest setting all the time, then there’s not a dust- and weather-resistant housing. The and a lens coating to further reduce flare lot of value to the zoom capabilities, and the 24mm–105mm lens also has a fixed aper- and ghosting. List price: $2,400. The cost savings can be great. The AF-S NIK- ture but at ƒ/4, keeping the price down AF-S NIKKOR 24mm ƒ/1.8G ED is KOR 24-70mm F2.8G ED retails for about on this wide-ranging focal length zoom. another lens found often in landscape $1,800, while the AF-S NIKKOR 24mm (WLKƂNO’s XF 16mm F1.4R WR lens photographers’ bags thanks to the wide- ƒ/1.8G ED is about $750, for example. is a favorite for Fujifilm cameras, with a open ƒ/1.8 aperture and the ED and The choice of which wide-angle lens 24mm equivalent focal length. The lens aspherical elements. List price: $750. (or lenses) to purchase comes down to has two aspherical and two ED elements, For DX (APS-C) Nikon cameras, the budget, expected uses and image quality. and a nano coating to correct refraction AF-P DX NIKKOR 18-55mm ƒ/3.5-5.6G Luckily, there’s a huge array of wide-an- and reduce flare and ghosting. The lens VR offers a 27-83mm equivalent range gle lenses to choose from. has a minimum focus distance of under and has built-in image stabilization. A new six inches and a fast-focusing motor. List stepping motor means smoother, quieter price: $1,000. autofocus. A version of this lens is available Left to right: Sigma 12-24mm Leica updated a legendary lens, the without VR but only saves about $50, so we H&)*5/#TV5QP[(' OO()/6COTQP Summaron-M 28mm ƒ/5.6, for its M-se- recommend the VR model. List price: $250. 18-200mm f/3.5-6.3 Di II VC. ries digital cameras. First available in The Olympus M.Zuiko Digital ED 1955, the lens came with the then-cur- 12-100mm ƒ/4.0 IS Pro lens has a full- rent screw mount; the new version has frame equivalent range of 24-200mm been updated with today’s Leica M mount and a fixed aperture throughout. It's con- and can focus as close as three feet. The structed of 17 elements in 11 groups, and “symmetric” optics have six elements features the company’s Z Coating Nano in four groups and a classic vignetting, optical coating and in-lens stabilization, which made the original lens so desirable and it's weatherproof, making it a great for certain looks. List price: $2,500. companion for OM-D series cameras. For Leica SL shooters, the native SL List price: $1,300. 24-90mm ƒ/2.8-4 ASPH is constructed The Panasonic Leica DG Vario-El- with 18 elements in six individual moving marit 12-60mm F2.8-4.0 ASPH Power OIS lens isn’t for Leica systems, as the name suggests, but a result of the cooperation between Panasonic and the legendary lens company, and fits any Micro Four Thirds camera. The full-frame equivalent range of 24-120mm gives the ability to adapt to different situations, enhanced by weather proofing and the ability to work down to 14 degrees Fahrenheit. List price: $999. Another Panasonic collaboration, the Lumix G Leica DG Summilux 12mm ƒ/1.4 .GHVVQTKIJV6QMKPC(É4+0 20mm f/2 EF MF, Panaso- PKE.GKEC&)8CTKQ'NOCTKV OO(#52*2QYGT 1+5

ASPH for Micro Four Thirds has a 24mm and a silent motor. List price: $2,200. equivalent focal length, and the wide-open Available in the Tamron lineup since ƒ/1.4 allows for shooting in very low-light 2015, the Tamron 18-200mm ƒ/3.5-6.3 Di situations. The body is splash and dust II VC is an all-in-one zoom with a budget proof. It features two aspheric elements, price. Available for Canon, Nikon and one ED element, two “UED” elements, Sony Alpha mounts, the lenses employs and has a nine-blade aperture for smooth a redesigned motor for quieter autofocus, background defocus. List price: $1,300. and it’s one of the lightest zooms with this Shooters of the Pentax K-1 system wide of a zoom range. List price: $200. can turn to the Pentax HD PENTAX-D Tokina’s 14-20mm ƒ/2 PRO DX lens FA 15-30mm ƒ/2.8 ED SDM WR lens for is available for either Nikon or Canon wide coverage and a fixed ƒ/2.8 aperture. mounts. Both versions feature a wide Constructed with ED glass elements and a ƒ/2 maximum aperture across the zoom coating designed to limit flare and ghost- range and a plastic aspherical lens, which ing, the fast-focusing lens works with the the company says creates highly detailed built-in stabilization in the K-1 for up to images. Price: $600. elements, and the body is sealed against five stops of correction. List price. $1,500. For Sony shooters, the FE mount dust and moisture. The Batis line uses an The Samyang 20mm ƒ/1.8 ED AS Tokina FíRIN 20mm ƒ/2 FE MF is a OLED display to show focus distance and UMC lens is available in just about every manual focus lens with manual controls, aperture, advantageous when working in camera mount, with a version for Sony though electric contacts allow the Sony low light. List price: $1,500. OP E and A mounts, Canon, Nikon, Pentax, body to meter with the lens. The lens Micro Four Thirds and Fuji X-Mount. All is “de-clickable” (you can either click models are manual focus, and all have 13 to apertures or slide smoothly between elements in 12 groups, with a minimum them), which makes it great for cinema focusing distance of under a foot. The use, too. List price: $799. lens is often sold under the company’s Relatively unknown Venus LAOWA Rokinon brand. Price: $600. has released the 12mm ƒ/2.8 Zero-D Sigma’s 12-24mm ƒ/4 DG HSM Art lens, which it claims has almost no lens joins the company’s high-end lineup, distortion. The lens has a seven-blade with a version available for Canon, Nikon aperture design for smooth, defocused and Sigma’s own camera system. This backgrounds. The lens is also available lens features the largest aspherical glass for several systems, including both Sony mold in the industry, according to Sigma, E-mount and A-mount, Nikon, Canon and which gives bright coverage edge-to-edge. Pentax. Price: $980. The elements use FLD dispersion glass Zeiss offers a number of wide-angle for better image quality and can focus as lenses in the Milvus line for Nikon and close as 9.4 inches at the 24mm setting. Canon shooters, from 15mm through List price: $2,000. 35mm. With options ranging in price For Sony E-mount and the Sigma mount, from $1,200 to $1,900, the company offers the Sigma 30mm ƒ/1.4 DC DN lens has different models for Nikon and Canon, aspherical and “double-sided aspherical” with similar specifications and the com- elements, nine aperture blades for soft pany’s legendary optics, including their backgrounds and a minimum focus dis- Partial Dispersion elements, Distagon tance just under 12 inches. List price: $339. optical design and Zeiss T* Anti-Reflec- Sony’s new G-Master line boasts the tive Coating. best resolution yet in 35mm-format lenses, The Sony E-mount compatible Zeiss and the Sony FE 24-70mm F2.8 GM has a Batis 18mm is part of the company’s line nano coating for flare and ghosting reduc- of autofocus lenses to complement its tion, an XA (extreme aspherical) element, partner, Sony. The lens is constructed with a nine-blade aperture for smooth bokeh 12 elements, including four aspherical

outdoorphotographer.com March 2017 61 Ultra “Lite” Tripod one that gets you really close to the ground 6JGVQRECTDQPƂDGTOQFGNKP5.+-oUPGY.+6'UGTKGU (7.71 inches) when you twist off the center is incredibly compact, lightweight and sturdy column. Fully extended, the maximum height of the tripod is 70.1 inches. Adjust- BY WES PITTS ing the leg angle is very easy with SLIK’s Rapid Flip Mechanism (RFM) at the top of the legs that releases with a quick press hen you first pick up SLIK’s pounds and collapsing down to 18.7 inches and clicks satisfyingly in place when the WCF-422 LITE tripod, you have to to slip into the included carrying case. legs reach one of the three lockable angles. remind yourself that it’s supposed to be There are several features we really This RFM also allows you to invert the lightweight. It’s natural to unconsciously like about this tripod. In our field use, it legs 180 degrees to make the tripod more equate weight to quality. With photo performed comparably to heavier, more compact for storage. Twist-grip style con- equipment, heft often denotes better mate- expensive carbon fiber models upon trols allow you to easily lock and unlock rials and construction—think expensive which we’ve relied for years. The dimin- the leg segments when adjusting height. lenses and flagship DSLRs. That’s not the utive ballhead included with the carbon The only difficulty we encountered case with this new tripod from SLIK. It’s fiber LITE models, the SBH-180DS, is with the CF-422 was the tension knob one of the sturdiest tripods we’ve used, rated to support a max load of up to 6.6 that locks the center column. It’s made of and its light weight is exactly what most pounds, but in use we got the impression a hard plastic that’s not especially com- photographers want in an accessory that’s it could support much more. We paired fortable to use and that can be tough to begrudgingly necessary. the CF-422 and SBH-180DS head with a unlock if you’ve overtightened it. After The CF-422 is the top model in the Nikon D750, Tamron SP 150-600mm F/5- some use, though, we got the hang of it. company’s new LITE series tripods. The 6.3 Di VC USD G2 plus a Tamron Tele Overall, the CF-422 and SBH-180DS LITE moniker has a double meaning: first, Converter 1.4x and a Really Right Stuff ballhead combo make an excellent cam- to imply its portability, and second, to L-plate, for a total weight of about 6.72 era support, ideal for photographers who reference the removable LED flashlight pounds. The SBH-180DS head handled want an affordable carbon fiber tripod that’s built-in to the tripod’s center column. the load effortlessly, suggesting it could lightweight and compact, perfect for hiking There are five models currently in the be pushed a lot further before losing grip. and backpacking.And the removable LED series—three aluminum and two carbon The CF-422’s four-section legs can be flashlight is an added bonus for illuminat- fiber. Of these, the CF-422 is the larg- locked at three angles: one to maximize ing your way back after sunset. List price: est and the heaviest, weighing in at 2.43 height, one for a slightly wider stance and $329. Contact: SLIK, slikusa.com. OP

62 Outdoor Photographer outdoorphotographer.com

Classes, Tours & Workshops

Galápagos Travel Specializing in comprehensive, professionally-led, natural history and photo tours in the Galápagos Islands. In-depth monthly departures on 16 passenger yachts spend either 11 or 15 days fully exploring the islands, including early morning and late afternoon wildlife viewing sessions. Other in-depth photography destinations: Cuba, Madagascar, Easter Island, Antarctica, South Georgia (800) 969-9014 or +1 (831) 689-9192 www.galapagostravel.com

Participate in our weekly photo assignments at outdoorphotographer.com/ gallery/assignments for your chance to be recognized and have your winning photo featured!

St Paul Island Tour Join us in Alaska’s Pribilof Islands where you can view and photograph swarms of nesting seabirds including two kinds of pufﬁns, Arctic Foxes, Northern Fur Seals, and an amazing Alaskan wildﬂower display in the summer. The location in the Bering Sea provides an experience that is unique in North America. Our guides are in residence EXPOSURE TOURS from May to October with peak activity Photo Safaris and Workshops occurring from late June to mid-August. Contact us for more information on photography, bird, or general tours. 30 years of experience in the Mara and Serengeti 2 Photographers per vehicle, 1:1 Instruction Onsite back-up and free WiFi Scott Schuette | 907-762-8429 www.exposuretours.com www.stpaultour.com

64 Outdoor Photographer outdoorphotographer.com For more workshop listings, go to outdoorphotographer.com/ctw

Margo Pinkerton and Arnie Zann run small, intensive, fun-filled workshops to great locations here and abroad. They encourage you to seek your own vision and improve your artistic skills. With groups limited to 12 participants, you’ll have lots of individual attention, help and daily critiques. www.BCphotoadventures.com

WE OFFER SEVERAL FLORIDA CHOICES FOR 2017!

The Nature Workshops started offering photography workshops over 20 years ago with a goal to visit the best photo locations with small groups. We started in the US, mostly in National Parks, and now have expanded to some of the best locations of the world. We have recently initiated a workshop concentrating on night photography, in the Everglades Upcoming trips include several Florida options, Alaska (with coastal brown bears or Denali National Park), Baja Whales Encounter, Lake Clark NP, AK, Patagonia, Iceland, Galapagos Islands, Banff & Jasper Parks in the Canadian Rock- ies, and the best of Autumn in New England. Join us and become one of our returning alumni! Check our website for all the details. www.natureworkshops.com | 618-589-1729

outdoorphotographer.com March 2017 65 Classes, Tours & Workshops First Light Photo Workshops Leading photo workshops since 1992, Andy Long shares his keen eye for composition and new techniques on all trips. Whether in the field or the room, take home new ideas to bring your photography to the next level. With trip locations from Alaska to Florida and points between along with numerous foreign locations, he will get you to the right place at the right time for images you’ll enjoy for years. Experience his passion and enthusiasm for subjects and participants.

UPCOMING TRIPS The Palouse Flower Techniques Mount Rainier Oregon Coast Tetons in Fall

andy@ﬁ rstlighttours.com | 303-601-2828 www.firstlighttours.com

GALAPAGOS ISLANDS Don Smith Photography Sail on the most in-depth itinerary possible. Photo Workshops Early and late landings with max field time caters to wildlife photographers. 18-day tours, May and June, 2017 and 2018.

Join acclaimed landscape photographer/instructor Don Smith as he guides you to the most scenic locations in the Western U.S. Don has been leading successful workshops for the past 11 years in areas he knows intimately. Classes includes image reviews and workfl ow. cheesemans.com 800.527.5330 [email protected] CHEESEMANS’ ECOLOGY SAFARIS www.donsmithphotography.com CAPTURE THE SPLENDORS OF NUNAVIK’S PARKS IN QUEBEC’S FAR NORTH Kuururjuaq National Park Tursujuq National Park Pingualuit National Park

©Eric Bozet ©Steve Deschênes ©Isabelle Dubois Land of the Inuit people, Nunavik’s national parks shelter true gems of nature that will make the perfect backdrop to stunning photos of your next adventure, up in Quebec’s Far North. While you’re immersed into the age-old yet vibrant Inuit culture, you’ll be mesmerized by the meteoritic Pingualuit crater’s crystal-clear lake nestled on moon-like tundra; soak in the spirit of Kuururjuaq’s mythical Torngat Mountains in the majestic Koroc River valley; or flow to the rhythm of Tursujuq’s inland seas bound by fabulous cuestas. NUNAVIK PARKS | 1-844-NUNAVIK | NUNAVIKPARKS.CA

66 Outdoor Photographer outdoorphotographer.com For more workshop listings, go to outdoorphotographer.com/ctw

Strabo PHOTO TOUR COLLECTION

Fall under Spain’s magical spell: Andalusia is considered somewhat “off the beaten path”. It is undoubtedly the most exotic and stunning region in all © Brenda Tharp and Jed Manuring of Spain. The beauty of remarkable architecture and breathtaking landscape will entrance you, while the diversity and warmth of its culture will captivate you.

607.756.8676 • [email protected] • www.phototc.com

Photograph in Monet’s Garden with Freeman Patterson in 2017 Ignite your artistic passion in 2017! Join award-winning fine art nature photographer Charles Needle for creative macro, flower/garden and iPhoneography workshops that will challenge and inspire you to see in new ways and take your photography to the next level. Locations in 2017 include: Monet’s Garden (Giverny, France) with private access, co-taught by award-winning Canadian photographer and best-selling author, Freeman Patterson; Tuscany and Venice (Italy) in Springtime; The Butchart Gardens (Victoria, Canada); Atlanta Botanical Garden (Atlanta, GA); Great Smoky Mountains National Park in Autumn (Tennessee) and many more. Charles Needle Photography | 770.630.0453 www.charlesneedlephoto.com

outdoorphotographer.com March 2017 67 Classes, Tours & Workshops Adventure Photography With Cathy & Gordon Illg

We’d love to have you join us! Small groups, great locations, GARY HART 17 years of putting you in the PHOTOGRAPHY best places at the right times. We’ll take care of your lodg- Extraordinary Photo Workshops ing, meals and do all the driving—just come along Gary Hart is an enthusiastic Valley, or Grand Canyon for and enjoy the photography! photo workshop leader great photography, expert who enjoys photography training, insightful image Grouse Galore Galapagos Solar Eclipse as much as you do. Maybe reviews, small groups, and Louisiana Bayou Wildlife Babies Wild Horses that’s why over 60% of private lodging. You’ll also Northern Lights Glacier Switzerland Gary’s workshop partici- have lots of fun. Nome pants are returnees. Join Gary in Yosemite, the Eastern Sierra, Hawaii’s Big 916.283.6362 Gordon Illg or Cathy Illg | 303-237-7086 Island and Maui, Death www.EloquentImages.com www.advenphoto.com

Rocky Mountain National Park Photo Workshop Join us in the wilds of Northern Canada to see polar bears & icebergs, the great caribou migration, wild wolves during the den cycle or musk-ox & incredible northern lights!

Rocky Mountain National Park in Estes Park, CO becomes your on-site photography classroom June 20 - June 24, 2017. While instruction includes detailed presentations in the classroom, the greatest amount of time is spent learning and shooting in the field. Same-day critique sessions of your images provide you with immediate feed- back of your progress and increase the learning opportunities for everyone. Special-rate at the YMCA of the Rockies include 3 meals a day. www.thelon.com Nic Showalter | [email protected] [email protected] www.rockyphotoworkshop.com +1 608-370-5071 ARIZONA HIGHWAYS PHOTO WORKSHOPS Capture Glacier National Park with Kerrick James - July 23-27, 2017 © Eric Welch © Kerrick James © Kerrick James WŚŽƚŽŐƌĂƉŚ ƉƌŝƐƟŶĞ ĂůƉŝŶĞ ůĂŬĞƐ͕ ůƵƐŚ ŵĞĂĚŽǁƐ͕ĞǀĞƌŐƌĞĞŶĨŽƌĞƐƚƐĂŶĚƌĞŵŶĂŶƚŐůĂĐŝĞƌƐƚŚĂƚĐĂƌǀĞŽƵƚƚŚĞƌƵŐŐĞĚƉĞĂŬƐĂŶĚĚĞĞƉ ǀĂůůĞǇƐ ŽĨ ƚŚŝƐ ŵĂũĞƐƟĐ ƉĂƌŬ͘ ďƵŶĚĂŶƚ ǁŝůĚůŝĨĞ ŽīĞƌƐŐƌĞĂƚŽƉƉŽƌƚƵŶŝƟĞƐƚŽĐĂƉƚƵƌĞŵŽŽƐĞ͕ďŝŐŚŽƌŶ͕ŵŽƵŶƚĂŝŶƐŚĞĞƉĂŶĚďĞĂƌ͘^ŽŐƌĂď ǇŽƵƌ ĐĂŵĞƌĂ ĂŶĚ ŚŝŬŝŶŐ ďŽŽƚƐ ĂŶĚ ƉŚŽƚŽŐƌĂƉŚ'ůĂĐŝĞƌ͘&ŽƌŵŽƌĞŝŶĨŽƌŵĂƟŽŶǀŝƐŝƚ͗ǁǁǁ͘ĂŚƉǁ͘ŽƌŐͮϭ͘ϴϴϴ͘ϳϵϬ͘ϳϬϰϮͮϲϬϮ͘ϳϭϮ͘ϮϬϬϰ

68 Outdoor Photographer outdoorphotographer.com For more workshop listings, go to outdoorphotographer.com/ctw Magical Madagascar Tours 760-533-5154 | [email protected]

Join accomplished photographer Nicki Geigert, USA, and Canon Ambassador Jay Collier from Australia, on this photo ÌÕÀÌ >}V> >`>}>ÃV>ÀÜ iÀinä¯vLÌ Ì iyÀ> and fauna are seen nowhere else in the world. Go to www.nickigeigert.com for more information or to sign up!

Bill and Linda Lane Nature’s Image Photography Workshops

Though we are by choice only conducting 4 workshops in 2017, we are returning to some of our favorite places. The state of W.Va. has always had a special place in our hearts. Tangier is unique and in a constant state of change. N.C. never lets us down for fall colors and waterfalls and Chincoteague always offers something for everyone. We have long but fun days with lots and lots of one on one and the best camaraderie anywhere around.

(804) 883 7740 lanephotoworkshops.com

Online Photography Courses Learn photography online with the New York Institute of Photography. Our fully-accredited courses will make learning photography fun and easy. Complete your course from anywhere, anytime, at your own pace, with professional photographers working as your mentors every step of the way. And get started for as little as $59.

1-800-583-1736 | www.nyip.edu/outdoor

outdoorphotographer.com March 2017 69 The Professional’s SourceTM Canon EOS 5D Mark IV DSLR Camera (Body) Nikon D500 DSLR with 16-80mm Lens CAE5D4 | $3,499.00 NID5001680 | $3,066.95

Visit BandH.com for the most current pricing

Canon Speedlite 600EX II-RT Lumu Light Meter for iOS Devices YUNEEC Typhoon H Hexacopter CA600EX2 | $579.00 LULMIOSDSSS | $149.99 YUNTYHBRUS | $1,899.99

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From the Pros

1 Keep Your Camera 2 Always Have Business 3 Motivation Is Free Expedited Shipping Equipment Clean Cards Handy The Key on orders over $49* Ablowerbrushand Whether you’re on a professional Even the most creative lens-cleaningclothcangoa shoot, or taking pictures for per- minds get stuck once in a long way in maintaining your sonalenjoyment,youmaybeap- while. To get out of that cameras and lenses. Blowing proached by a person, or persons, rut and keep yourself mo- dust from the camera’s sen- requesting your services. Having tivated, taking a trip to sorandmirror,orgentlywip- business cards on hand, or a pro- the local gallery and look- ingthefrontelementofyour mo card featuring an example of ing at other people’s work lens ensures your images yourwork,isalwaysagoodidea. can help guide you into the will be clear and free of any Remember to have updated con- direction you might want spots.Hoursofeditingpho- tact and website information so to go as a photographer. *Applies to In-Stock Items. Some restrictions may apply. tosonyourcomputerwillbe potential clients will always have Books and magazines can See website for details. NYC DCA Electronics Store Lic. #0906712; saved simply from keeping your information readily available prove to be great referenc- NYC DCA Electronics & Home Appliance Service Dealer Lic. #0907905; NYC DCA Secondhand Dealer – General Lic. #0907906 the equipment clean. for any future events. es, as well. © 2016 B & H Foto & Electronics Corp. BandH.com

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A Hare-Raising Encounter Spending summers in Ellesmere Island, sometime as high as three-and-a-half Nunavut, in Canada’s High Arctic feet from the ground! This sudden provided wildlife photographer Fred burst of energy was amazing to watch. Lemire with plenty of bright nights It was like they received an energy for photographing wildlife. One such boost from the milk. A few minutes night, he was visited by a drove of later, they all left in their own direction. arctic hares. “This sudden gathering Following this encounter, I noticed this told me that something was about to behavior two or three times per day. It happen,” he recalls. “A few minutes was pretty fun to watch.” later, I spotted the mother. When ³ Canon EOS-1D X, Canon EF she reached her babies, they all start 600mm f/4L IS II USM, Gitzo carbon nursing at the same time, in a half- wLiÀÌÀ«`]LÕL> i>`° Ý«ÃÕÀi\ circle position, for about 30 seconds. 1/2500 sec., ƒ/5.6, ISO 400. Then the action started. The mother hare suddenly bolted from the young >ÀiÃ] Ü V Ì i ÃÌ>ÀÌi` Ì Õ« See more of Fred Lemire’s photography and bounce around in all directions, at fredlemirephotography.com.

72 Outdoor Photographer outdoorphotographer.com

icvrtenx g next the Discover zoo o’envrtofrfo ra close great a from You’re nevertoofar ©Kristofer Rowe Focal Length: 600mm Exposure: F/6.3 1/1600sec ISO: 720 www.tamron-usa.com Di: For APS-C format and APS-C Di: For andSony*mounts Canon,Nikon For (Model A022) SP 150-600mmVC USD G2 F/5-6.3Di *Sony mount model without VC model without mount *Sony full-frame DSLR cameras DSLR cameras full-frame