Archive for the ‘Commentary’ Category
Friday, July 8th, 2011
“Practice does not make perfect. Only perfect practice makes perfect”. …………….Vince Lombardi
 I have a degree in music. I was a professional musician in and around New York City until 1989. In 1989, I played over 175 “dates” and made a considerable amount of money. 1989 was also when it was “Been there, done that” time in my life. That’s when I really moved into photography and used this medium to express myself, much like music.
To be a good enough musician to make it, one must practice, practice and then practice some more. You had to “know your Ax”, as we musicians used to say. The musicians local 802 directory in NYC was as big as a phone book. You had to be a good player to make it there. I still practice every day, but now with my camera.
Being just OK is not enough in music, or really any art form, to make it. In music, there are lots of great players at every turn, looking to take your job. All the silks you need come from wood-shedding and continued learning. Photography is no different.
As part of my photography workshops I constantly preach that we need to be able to get around our cameras, know each function button and what they do like the back of our hand, that way our right brain or creative side can function at capacity. This takes practice. Unfortunately, I see folk buying expensive equipment, myriads of software, the latest lenses etc., all looking for that “magic pill” that will make it all fall into place. Sorry folks, it does not work that way. It takes practice. I used to enjoy seeing the younger guys coming into the music store on 48th Street in NYC trying out new mouthpieces, thinking that a new mouthpiece was the Holy Grail. When I play my trumpet today; I still use the old Vincent Bach,Mount Vernon 1C (for you trumpeters) that I’ve used since high school! Believe me, it isn’t the mouth piece. It’s not the new gear that we have available today. Its practice and honing your skills.
I was introduced to perhaps the greatest trumpet player to have ever lived at an early age. His name was Rafael Mendez. What a life this fellow had. He was born in Jaquilpan, Mexico 1906. It is told that he practiced more than his father allowed, but he practiced. In 1916 he became the bugler to the famous guerrilla leader, Poncho Villa and was drafted into the Mexican Army. Villa demanded that Mendez stay with the rebels even after the rest of his family was allowed to return home!
Mendez came to American the early 1930’s, taking work in automobile factories in Detroit. He moved to southern California in the mid 1930’s and by 1940 was THE most in demand trumpet player in Hollywood. Decca records offered him a 12 record contract, unheard of for a trumpet soloist during this time.
OK, why an I telling this story? Mr. Mendez is no different from what successful photographers should be… perfectionists. Please turn up your speakers and listen to what Mr. Mendez says in this short black & white video. Think of how to apply his words to your camera and to photography. There is no difference. You will be a better photographer is you follow his words. ( and does not he play like anything you’ve ever heard?) http://www.youtube.com/watch?v=gUij8FCg0z8
Note his opening line. “There are no shortcuts to learning how to play a trumpet. It takes practice”. The same goes for photography. This video says it all. I can not add more. I suggest that we think about what Mr. Mendez says everyday, as we strive to improve our craft.
FINE TUNING USING TODAY’S TECHNOLOGY
There is a story, as there are many about Ansel Adams. When he was about 80 years old, one day he was printing one of his “classic” masterpieces. He finally waked out of the darkroom holding the print he made exclaiming “I finally got the print I wanted when I made the negative” What was amazing is that the image he printed was captured and and first printed by Ansel when he was 30 years old!
He was still finding ways to improve his work.
Though most viewers will never notice, I often find myself adjusting my master files using today’s technology before posting an image or making a print. I am totally committed to ongoing improvement and learning. In addition, my vision in some respects has changed over the years. Conversely, sometimes after working on the image for a few minutes I realize there’s nothing I can do to improve it, for my taste. I’ll leave it as is.

Recently I was working on the image on the left. This location is looking north toward San Francisco Bay on the cliffs of the Marin Headlands in California. I worked a bit with the color range, and used the eyedropper tool in Photoshop in a separate layer. By adding a very small curve in a separate layer, I was also able to bring out some detail and slight color enhancement not present in the original Ilfochrome print. I also was able to bring down the color in the water just a bit to balance the colors more evenly. By adding a bit of sharpening, and as usual some subtle “tweaks” offered by Nik Software, I think that I was able to revive this image quite a bit.
I suspect that someday, I will work on it again with newer technology… but then again… maybe not.
Read more about Jack on his website here, and learn about his workshops here.
Posted in Commentary, Viewpoint | No Comments »
Monday, June 20th, 2011
I see many times people posting interest in taking their hobby of nature photographer to the pro level. Myself and I’m sure other pros have people that contact them asking for advice on what it takes to make a living in this field. My response is that from my experience it’s a seven day work week and can be tough on your family life. I work about forty weekends a year so any family birthdays, holidays, christenings, father and mothers days, sports, concerts, etc, are many times missed. This is much like the entertainment world, pro athletes, traveling salesman, or any other profession that requires you to be on the road many days a year.

Nature photography is one of the toughest fields of photography to make a living in. I’ve found that for me being diversified is the key to making it. Having multiple streams of income keeps the money flowing. Those streams all take a lot of time to keep them flowing.
Marketing is number one, nobody knows you’re alive and in business unless you tell them. Shameless self promotion is something you have to get used to and you need to be the type of person that doesn’t mind this type of marketing as some would consider this bragging about yourself, but it’s just getting the word out that you’re in business and having some success at what you’re doing. I spend a lot of my time marketing, I write a daily blog post, moderate on two photography sites including my own “Macro Nature Forum”, post images, post on Facebook and Twitter, and reply to photographers sending me emails with questions.

I display my images in about twenty art shows a year. This takes up twenty of my weekends, many away from home. The shows start in May and run until October and consume almost every weekend for those months. Some of the shows I’m gone on Friday and return on Monday, leaving me Tuesday, Wednesday, Thursday, to print, package, and pack for the next weekend. During the winter months I’m going though the process of applying to these shows, which is filling out applications, sending images for the jury process, writing out checks for show fees, etc, keeping it all organized so I have a show every weekend. Taking time to keep track of materials and doing all the ordering and always trying to find the best prices. During the winter when I apply to these shows the jury fees and booth fees run about seven thousand dollars, which I won’t see again for months.
During the art shows off season I’m presenting my workshops. I do about twenty workshops which are on weekends. This take time promoting the workshops, adding them to my website and blog, sending out emails and post cards, posting them on nature photography websites, posting on Facebook, etc. Working with the hotels on setting up rooms for the workshop all across the country. Planning the workshops and how they will run. Shooting images for examples in what I’m teaching in the workshops, and constantly updating the material presented at the workshops. Many days each year are spent on the road driving to and back from the workshops and art shows.

Wow, I’m already tired and I haven’t scratched the surface on what I do. While all this craziness is going on with the art shows and workshops,
I have to maintain my moderator duties online.
I work with art consultants that buy images for their design projects, print the images, package, ship, and invoice them.
I contact companies that would be willing to sponsor me, work with them when they need images for ads, photo conventions, sometimes even go to photo convention for them. I send them promos for my workshops that they can list on their websites.
I do online workshops, which takes time again promoting, critiquing the participants shooting assignments.
I have a how to macro book that took time to write and have printed, I have to maintain stock at Amazon, maintain on my store front sales, packaging and shipping to customers.
I have five e-books completed and am working on more. Again more promotion, sales and sending the e-books online. I also make them into CDs to sell at the workshops and art shows.
I’m working on how-to macro videos for You tube.
I travel and present programs for camera clubs, photo conventions, garden clubs for flower photography, have done some at REI stores.
Send submission to magazine with article ideas, and once accepted working with the mag to set-up the article and images. Invoice them.
Send out information introducing myself to new art consultants, interior designers, calendar companies. etc. reply to their emails as they contact me asking questions about pricing, printing, etc.
I maintain a blog which I write and post as frequently as possible and I write when possible for Tamron’s blog. Post on facebook any updates on workshops, art shows, and any other happenings.
Maintain a website, posting new images updating art shows and workshop schedules.
I will visit and sell through art galleries, so time is spend traveling to the galleries maintaining stock.
I have companies that contact me for stock images, negotiate, send files, and invoice them.
I get to beta test new products for companies, and they always wait till the last minute to send you the product and need a response NOW! Take time to work with the product, Email back and forth with response.
I have charities that call and ask for print donations which I always do. Deal with emails, set-up time to make contact with prints.
Take care of all the accounting, sales, taxes, keeping track of cost of running the business.
Working toward setting up webinars for live how-to macro workshops online.
Wow, all this work is making me tired, I need a nap.
Now are you starting to wonder why I haven’t mention anything about shooting. As you can see there is not much time left to shoot. It can be frustrating and hard to schedule time to shoot, as you have probably heard most pros say that the business takes up ninety percent of their time. I do make time to shoot but it has to be scheduled at the peak times which for me are the spring and fall. The summer I almost never get out to shoot as the art shows consume so much time.
I have to say I’m pretty sure there are a few more thing I do, but I think you’re getting the point. If I tried to make it on any one of these streams alone it would be tough, but with a little income coming from all these streams I do very well, but I sacrifice a lot of time and family life to maintain this business.
I have to say even with all the work I do I can’t wait to wake up in the morning at five o’clock and get to work! I wouldn’t trade what I do with anything else. I always tell people where else can you work where people are complimenting you while handing you money!
Good luck if you give it a shot.
You can visit Mike’s blog and learn about his workshops here: Tiny Landscapes
Mike’s eBooks are available in the OPG store here: Mike Moats
Tags: Mike Moats, Nature Photography, photography business Posted in Articles, Commentary, Macro, Viewpoint | No Comments »
Tuesday, June 14th, 2011
Here’s a great post that was on NaturePhotographers.net the other day, and thought you all would like reading it. Thanks Michele for this great insight as a photographer’s wife. Just in time for Father's Day!
A Photographer’s Wife
by Michelle Blanchard
- Yes. I know not all photographers are men. But, being that my husband is one, I’ve learned that a photographer’s wife:
- Knows that a “going for a walk” really means “stand for long, long periods in one spot”.
- Becomes accustomed to seeing her husband lay on his belly in public places.
- Knows that ‘the light’s gone’ doesn’t mean it’s dark.
- Has learned that photography involves expensive gadgets which break, are easily lost, and are used only once in a very great while.
- Has learned that photographic equipment multiplies and eventually fills up what used to be the guest bedroom.
- Is resigned to the fact that camera manufacturers build obsolescence into each piece of equipment, and that after a year of use, the equipment needs to be replaced.
- Never has to wonder what to get her husband for Christmas and birthdays.
- Understands that when they board a plane, her bags will be checked, not his camera backpack.
- Wisely refuses to carry that backpack.
- Has learned that making statements like “watch your settings” and “did you charge the battery?” aren’t considered nagging.
- Has learned that, no matter how many photos he takes, she will never see more than one or two.
- Has learned that, “Okay, here we go” is always followed up with “Oh, wait”.
- Has learned to check all his pockets for memory cards before washing his clothes.
- Knows that “blowing out the whites” doesn’t involve explosions or Caucasians.
- Cannot get her husband to sit still for a family portrait.
Tags: Humor, Mike Moats, NaturePhotographers.net, NPN Posted in Commentary | No Comments »
Thursday, June 9th, 2011

Until last year I had never enjoyed the thrill of making my own photographic prints. When I needed a print, I’d send off a file (or slide) to whatever lab I was using at the time and they’d ship the print directly to me or my client. With only a few exceptions my image viewing experience consisted of staring at a photo on a computer monitor.
Then, I bought an Epson Stylus Photo R2880 printer and everything changed. If that sounds like a dramatic statement – it is. It’s also quite true. I started making my own prints. Whenever I wanted. On whatever paper I wanted. It didn’t take long and I was addicted to the smell of fresh ink on photographic paper as a new print rolled off the printer, landing ever so gently in the catch tray. Is there a difference between viewing an image on a computer monitor and holding an actual print, that you made, in your hands? You’d better believe it.
As an artist I like to have complete control over my work from start to finish. While it is true that you maintain a degree of control when you do all the post-processing on your photos before sending them off to a lab, you’re really not closing the loop. The ultimate control comes when you conclude the image making process by crafting your own print. Today’s inkjet printers are capable of producing professional quality archival prints that rival and, in my opinion, exceed those made using more traditional methods like Cibachromes. They’re sharper, more detailed, just as colorful and can be made using a diversity of papers.
While difficult to quantify, there is a certain pleasure and satisfaction in handling an honest to God hand-crafted print. It is a tactile experience. You feel the weight of the paper, the texture. Unseen details emerge. Perhaps you feel pride in the knowledge that the print you are holding was born of your own creativity, and that without your vision and skills it would cease to exist. I get none of this from viewing an image on a computer monitor.
I’ve also noticed that people react differently when viewing my photographs in print. On the computer (or iPad), they quickly flick through the images. When I hand over my portfolio book I’ve noticed that they linger on each image. They don’t madly flip from one page to the next. Do people, even non-photographers, appreciate a fine art print more than they do an image on a screen? It would seem so.
What is your experience with pixels vs. prints?
Learn more about Bret, view his images, scout his workshops and read his blog here.
Tags: Art, Bret Edge, photography, printmaking Posted in Articles, Commentary, Viewpoint | 1 Comment »
Monday, May 30th, 2011
Our pal Andy Biggs, of Gura Gear fame, appeared on the NBC Today Show last week to give folks some photography tips. You can view his segment right here:
You can find out more about Andy, his safaris, his blog and his images at his website: www.andybiggs.com
Kathie Lee: It’s time for Today’s Travel and putting the focus on taking great family and vacation photos.
Hoda: At least memory cards give us more room for making mistakes, but who wants to spend valuable vacation time erasing photos when you should be taking them. Well, travel photographer, Andy Biggs, has all the advice you need. Andy, welcome.
Kathie Lee: Hello, Andy, you world traveler you.
Andy: Thanks for having me.
Hoda: What beautiful pictures you take.
Andy: Thank you.
Hoda: They’re all behind us. A lot of these were taken in Africa, right?
Andy: Most of them, yeah.
Hoda: Tell us about these photos and how you decide what to take.
Andy: Well, I travel around the world. Primarily in Africa is where I spend most of my time, and I’m just seeking out fun, remote places to introduce my photography to the world.
Kathie Lee: Is this the Masai tribe?
Andy: It is. That was in Tanzania.
Kathie Lee: My friend, Eva, goes almost every year, and they know her so well there that when she shows up in their town, they go, “Mrs. Moore, Mrs. Moore.”
Hoda: They know her. Do you just catch these at the exact moment because can a lay person do what you’re doing?
Andy: They can. You just have to know your subject, and you have to be patient. The best photography doesn’t happen with drive-by shooting. You need to just sit and be patient.
Kathie Lee: Yeah. But you’ve also been there so often you’re not afraid of this environment. A lot of people, I think, for the first time are like I didn’t get that elephant because I’ve never been here before.
Hoda: They’re too quick about it.
Andy: Yeah. You really need to know your subjects though.
Hoda: Let’s talk about some mistakes that some people make. We actually have two examples of pictures from a recent trip that the Nichols and Dean family took. They went to Legoland in California. So, these are some pictures, right? Tell us what they did wrong.
Kathie Lee: That’s the shade, right?
Andy: What I would have done here is try to figure out a way to get the light on both of their faces and eyes, because the eyes are really the connection to the viewer of the photograph. So, maybe use the fill flash.
Hoda: That’s the whole thing.
Kathie Lee: How about go to a different place than the pool where the sun is shining a little brighter?
Andy: Or just use the fill flash.
Hoda: What about this one right here?
Andy: Use the fill flash, again. It’s all about light, because the subject isn’t the background, all that blown out sky. It’s actually the three subjects.
Kathie Lee: You should never have the sun in the back of you, right?
Andy: You can. You just need to use a reflector or a flash to get the face illuminated.
Hoda: A lot of it people just think it’s the camera, like I’ve got to just have the right camera.
Andy: You don’t.
Hoda: They have so many ones that all you have to do is push the button and it goes.
Kathie Lee: Everything is too complicated now.
Hoda: Tell us about the ones you have on the table.
Andy: I’ve got three cameras here, three recommendations. The blue camera is a Panasonic TS10, and this is a great camera for the beginner to throw in your purse or your pocket for the man, and it’s shockproof and waterproof.
Hoda: Oh.
Andy: That’s really neat.
Hoda: And the flash goes off when it needs it. You don’t have to do anything.
Andy: Exactly.
Hoda: That’s what I like.
Kathie Lee: It’s a dummy, like for idiot’s camera.
Andy: It’s a great camera though.
Kathie Lee: That’s what I need.
Andy: This is my camera, by the way. Here’s a Sony NEX 5, and this is the smallest SLR, which means you can change the lenses on it, but it’s really small. You can actually put it in a small purse or a small pouch.
Hoda: Now, who should have that type of camera? Do you have to be kind of a little bit of a pro?
Andy: You know, you want to be into photography a little more. The investment’s a little more, around $700 including the lens.
Hoda: Look at the guy on the end.
Kathie Lee: That’s almost paparazzo boy.
Andy: That’s the Nikon D3X. That’s the go for broke, shoot for the Holy Grail. That’s the camera I use to try to make really, really big prints.
Hoda: How much is it?
Kathie Lee: Is that the one that you took these pictures with?
Andy: Most of them, yes.
Hoda: How much is that camera, the Nikon, the big daddy?
Andy: It’s a lot. It’s around $8,000.
Hoda: $8,000, and how about the other two?
Kathie Lee: But you’re a professional.
Andy: This is around $200, street.
Hoda: Okay.
Andy: And the Sony is around $700, so a little variance here.
Hoda: Now, sometimes with family photos, I think a lot of people, they take scenery pictures, and I understand why you did in Africa, but often on family trips they take so many scenery pictures and leave the people out, like here’s another picture of the Eiffel Tower.
Kathie Lee: But everybody’s standing there, like the same group of dumb . . . it’s the same, no matter what’s in the background. It’s the Eiffel Tower. It’s the Pisa.
Andy: Yeah.
Kathie Lee: Mix it up, right?
Andy: Mix it up. Put people in your photographs. I think everybody knows what the Eiffel Tower looks like, what the Grand Canyon looks like. Let’s be real. Most of the people who look at your photographs are your friends and family.
Hoda: Yeah.
Kathie Lee: I hate posed pictures though. Let out with the candid shots.
Andy: Act goofy.
Hoda: You take beautiful pictures, by the way.
Kathie Lee: Even though you’re a goofy guy.
Hoda: Yes, you are.
Kathie Lee: Thanks so much.
Hoda: Thanks for being with us. Thanks, Andy.
Tags: Andy Biggs, Gura Gear, photography tips Posted in Commentary, Tips and Tricks, Video | No Comments »
Monday, May 23rd, 2011

When I started in the art show business five years ago it was my first experience at selling nature photography, I thought that the art shows were a place where people came to find contemporary abstract art, so I loaded up my booth with abstracts and soft focus images. It didn’t take long to figure out that the people that attended these shows were not interested in the abstract images. What they were buying was the images that is called realism. Everything in focus images of subjects that people could identify and relate to. Images of reality.
After about five or six shows, I pulled out most all of the abstracts and replaced them with realism. My sales shot up dramatically.
So why do people like realism over abstract? Not everyone likes realism, there are the people that like abstracts, but they are in the minority. I’m in the minority because I tend to prefer the soft focus abstracts, or images with patterns, shapes, soft blurred colors.
One thing that I have learned from talking with the people who buy my images at the shows is that they usually have a connection to the subjects in the image.
Take this Lily of the Valley flower in the image above. One lady buying this image told me that her grandmother had a patch of Lily of the Valley flowers in her yard, and every time she sees this flower she thinks of her grandmother.
Many women who bought it told me that they carried Lily of the Valley flowers down the aisle on their wedding day. So they were buying the image based on that connection of a happy day in their lives.
Another lady told me that her favorite perfume is made from the Lily of the Valley, so she was buying the image based on that connection
I would have never believed that my best selling image every week would be of a frog in duckweed. I had this image for two years before I decided to take it to one of my shows. It outsells every image, every week.
Why does it sell so well, because amazingly I’ve been told several times by buyers that they have huge collections of frogs at home.
I hadn’t taken this frog image to the shows because I thought, who would buy a frog to hang in their home, boy was I wrong!

I stopped taking most of my images of wildflowers because very few were being sold. I started to realize that most people are just not familiar or knowledgeable on wildflowers. If they don’t know what kind of flower it is, then they are not interested in hanging it on their walls. Again, people need a connection to the subject. They like Calla Lilies, Sunflowers, flowers that they can easily identify.
My wife has attended many of my art shows and knows some of the European photographers that show landscapes and scenes from Europe. She had never expressed any interest in any of their images until she went to Europe. After her trip she bought four images from one of these photographers because they were images of places she had been. A connection now caused her to purchase those images.
With abstract, we can’t connect these images with anything in our lives. Unless we have some artistic tendencies we will not be able to connect to these subjects in the photographs or paintings.
The connection to reality is strong. One lady was buying an image of a Trillium that she thought was a Calla Lily, and when I told her it wasn’t a Calla Lily, she no longer had any interest in buying it. It’s still a great image of a beautiful flower, what difference does it make that it’s not a Calla Lily, but it did make a difference to her.
Photography of landscapes are shot with everything in focus and would not be considered abstract, so these are images of realism and reality. That’s why landscape photographers will get good response to their images. But as macro photographers, we tend to be more artistic in what were can do with our subjects, so many of the macro photographers get disappointed when friends and family don’t get the abstracts.
It was mentioned on my facebook page that abstracts tend to appeal more to the younger generation, and I totally agree that younger people tend to be more open minded to this kind of art. The few abstracts I did sell were to the younger generation. The problem is for those of us trying to sell, the art shows are filled with the older baby boomer generation who have the finances to purchase art.
Young people have families and very little money that can be spent on collecting wall art. If they need art for their homes they can buy it much cheaper in the prices they can afford at Ikea, Kirland, Walmart.
Most of the buyers are the older people that have more disposable income because their kids have left the nest, and they have more money to spend on themselves and their homes.
So if you would like to see a more positive response to your macro photography, shoot everything in focus of reality in nature. Hey it’s good stuff, I have lots of great images of reality that do very well in selling, photo contests, and impressing friends and family members.
Find subjects to shoot that people can connect with.
You can visit Mike's blog and learn about his workshops here: Tiny Landscapes
Mike's eBooks are available in the OPG store here: Mike Moats
Tags: art shows, Macro, Mike Moats, reality Posted in Articles, Commentary, Macro, Viewpoint | 1 Comment »
Monday, April 18th, 2011
I spent a while chatting it up with this charming guy with the help of an interpreter.
If there’s one thing I was reminded of while in Africa it was my need to “connect in order to create.” That connection may be as simple as an exchange of smiles between me and a young man stacking charcoal or as intricate as an interpreter explaining my every word. As a photographer, my curious nature places me in situations that can be hard to navigate and at times difficult to explain. I found throughout the years that being sincere, respectful and giving a big smile are key ingredients to successfully navigating language barriers.
Here are a few guidelines to try to follow when traveling abroad:
1. Be polite and respectful. Don’t be the ugly tourist with camera.
2. Consider a local guide when traveling abroad. S/he can really help break down the communication barrier.
3. Spend some time getting to know your subject before getting the camera out.
4. If you’re in a town for a few days consider going for a walk without your camera. Scouting an area and connecting with people/shopkeepers can pay dividends when you come back with your camera in tow.
5. Telling a story — Try to tell a story with your images. I avoid shots that simply portray poverty. Taking a keen interest in what a person does for a living or how he or she supports their family is what I’m interested in photographing.
6. Lastly, remember safety is key. I love street photography but it’s very easy to get caught up in a “moment.” Having a travel partner that can watch your back is just common sense.
Selling charcoal in Nairobi
Loading the buckets for sale
Local flavors–grilling meat for sale
At the end of the day, it’s all about following the “Golden Rule” and using common sense. I believe when I make a sincere attempt to connect with people they look beyond the camera and see me for what I am: a harmless, curious guy with a camera 
Learn more about John, view his images and check out his blog here.

Tags: John Batdorff, portraits, travel, Travel Photography Posted in Articles, Commentary, Viewpoint | No Comments »
Monday, January 31st, 2011

Being nature photographers gives us access to things most people will never see and experiences many will never understand. A brief exchange about such things with two other photographers on twitter led me to ponder on this for a while. I came up with eight things I love about being a nature photographer. I know there are more, and I’m sure you’ll all have some excellent additions to the list.
1. Seeing the natural world around me in a more intimate way than those whose eyes don’t appreciate the nuances of light, texture, shadow and form.
2. Sunrises and sunsets in the mountains, canyons and deserts. Nuff said.
3. Being able to share the visual beauty of those sunrises and sunsets with those who weren’t able to enjoy the moment with me.
4. Getting excited when I hear a good storm is headed my way.
5. Sitting alone, in the middle of the most beautiful nowhere anyone has ever seen, watching shadows lengthen and waiting for those few glorious moments when the light is just right for making an image.
6. Knowing where and when to find the best wildflowers, the best fall colors, the best waterfalls, the best mountain views, the best alpine lakes, the best wildlife, the best…ah, you get the point.
7. Meeting all the really amazing people I never would have met if I hadn’t been addicted to nature photography.
8. All the amazing places I’ve been that I wouldn’t have seen if I wasn’t on the prowl for new and exciting locations to photograph.
So, there’s my list. I’d love to hear some things you love about being a nature photographer. Feel free to list ‘em in the comments below!
Learn more about Bret, view his images, scout his workshops and read his blog here.
Tags: favorite, lists, Nature Photography, photography Posted in Commentary, Vision | 2 Comments »
Monday, January 10th, 2011
The holidays are now over. Your naughty/nice tally has been reset and another year is a head of us! Apparently, you were super good because you got that new camera gear you had been asking for. The excitement of getting what you wanted has passed, and now it's time for you to take your new toy and put it into action.

Many times, this is much easier said than done. Many people get stuck pondering what to do next once they have their new gear.
Never fret (yes folks, some of us still use that word…). We have four tips to make this transition easier. Not all of these suggestions are applicable in all situations so yes, your mileage will vary. Some may seem basic, but you can never underestimate the importance of mastering the basics. Nonetheless, these ideas are better than you engaging in a staring contest with your new and exciting toy. The new gear always wins the staring contest… I promise…
1. Read… The Manual
Regardless of where you are in your photographic journey, it is beneficial to read the manual. You need to be familiar with how to use your new equipment before you take it into the field. The last thing you want is to get the killer moment presented to you in the field only to miss it because you were futzing around with your gear. Your gear are your tools which enable you to make the photographs. If you start reading through the manual and you don’t understand stuff, don’t worry. This is all about learning. Do not let unfamiliarity hinder your quest to understand your gear.
2. Go Out And Shoot
Only way to see how much you truly understand from Step 1 is to go out and shoot. You'll want to go and shoot something familiar. The intent of this exercise is to test your comprehension of how to use your new gear. If you get some keepers, cool! But, the goal here is to test how much you retained from reading the manual. Nothing more.
3. Re-read the manual
No rolling your eyes… I see you there in the back of the room!… Re-reading the manual will uncover little nuggets you missed the first time around. Now that you have gone out and shot in the field, you will have new areas you need to understand.
4. Go to the Zoo and shoot
I don’t care if you think your house is a zoo. Go to an actual zoo. This is your chance to truly “test” your knowledge of your new gear. You will not know everything by this stage, but you should be able to use your new stuff well enough for a good field test. I suggest the zoo because it provides you opportunities to photograph many different scenes and let you play and experiment. If you shoot 1000 images and have five you want to publish, you’re doing well.
By this time, you should be familiar enough with your new gear to use it in the field. I always recommend you carry the manuals for your major gear (cameras, lens, and flashes) with you. As questions arise, I would re-read or refer to the manual. Believe it or not, after I am comfortable with my gear, I re-read the manual about every three months. No sense in buying a Ferrari and only leaving it in first gear…
Learning a new piece of gear can be like driving a brand new car. Sure, you can probably make it work based on previous experience. But, to get the most out of your investment, you will need to read, re-read, and then apply the skills and techniques you have learned in the manual to get the most out of the toy.
Happy New Year! Now go and chase the light.
You can check out Ted's work on his website, and follow his comments on Twitter.
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Practice, Practice and “Know your Ax”
Friday, July 8th, 2011“Practice does not make perfect. Only perfect practice makes perfect”. …………….Vince Lombardi
To be a good enough musician to make it, one must practice, practice and then practice some more. You had to “know your Ax”, as we musicians used to say. The musicians local 802 directory in NYC was as big as a phone book. You had to be a good player to make it there. I still practice every day, but now with my camera.
Being just OK is not enough in music, or really any art form, to make it. In music, there are lots of great players at every turn, looking to take your job. All the silks you need come from wood-shedding and continued learning. Photography is no different.
As part of my photography workshops I constantly preach that we need to be able to get around our cameras, know each function button and what they do like the back of our hand, that way our right brain or creative side can function at capacity. This takes practice. Unfortunately, I see folk buying expensive equipment, myriads of software, the latest lenses etc., all looking for that “magic pill” that will make it all fall into place. Sorry folks, it does not work that way. It takes practice. I used to enjoy seeing the younger guys coming into the music store on 48th Street in NYC trying out new mouthpieces, thinking that a new mouthpiece was the Holy Grail. When I play my trumpet today; I still use the old Vincent Bach,Mount Vernon 1C (for you trumpeters) that I’ve used since high school! Believe me, it isn’t the mouth piece. It’s not the new gear that we have available today. Its practice and honing your skills.
I was introduced to perhaps the greatest trumpet player to have ever lived at an early age. His name was Rafael Mendez. What a life this fellow had. He was born in Jaquilpan, Mexico 1906. It is told that he practiced more than his father allowed, but he practiced. In 1916 he became the bugler to the famous guerrilla leader, Poncho Villa and was drafted into the Mexican Army. Villa demanded that Mendez stay with the rebels even after the rest of his family was allowed to return home!
Mendez came to American the early 1930’s, taking work in automobile factories in Detroit. He moved to southern California in the mid 1930’s and by 1940 was THE most in demand trumpet player in Hollywood. Decca records offered him a 12 record contract, unheard of for a trumpet soloist during this time.
OK, why an I telling this story? Mr. Mendez is no different from what successful photographers should be… perfectionists. Please turn up your speakers and listen to what Mr. Mendez says in this short black & white video. Think of how to apply his words to your camera and to photography. There is no difference. You will be a better photographer is you follow his words. ( and does not he play like anything you’ve ever heard?) http://www.youtube.com/watch?v=gUij8FCg0z8
Note his opening line. “There are no shortcuts to learning how to play a trumpet. It takes practice”. The same goes for photography. This video says it all. I can not add more. I suggest that we think about what Mr. Mendez says everyday, as we strive to improve our craft.
FINE TUNING USING TODAY’S TECHNOLOGY
There is a story, as there are many about Ansel Adams. When he was about 80 years old, one day he was printing one of his “classic” masterpieces. He finally waked out of the darkroom holding the print he made exclaiming “I finally got the print I wanted when I made the negative” What was amazing is that the image he printed was captured and and first printed by Ansel when he was 30 years old!
He was still finding ways to improve his work.
Though most viewers will never notice, I often find myself adjusting my master files using today’s technology before posting an image or making a print. I am totally committed to ongoing improvement and learning. In addition, my vision in some respects has changed over the years. Conversely, sometimes after working on the image for a few minutes I realize there’s nothing I can do to improve it, for my taste. I’ll leave it as is.
Recently I was working on the image on the left. This location is looking north toward San Francisco Bay on the cliffs of the Marin Headlands in California. I worked a bit with the color range, and used the eyedropper tool in Photoshop in a separate layer. By adding a very small curve in a separate layer, I was also able to bring out some detail and slight color enhancement not present in the original Ilfochrome print. I also was able to bring down the color in the water just a bit to balance the colors more evenly. By adding a bit of sharpening, and as usual some subtle “tweaks” offered by Nik Software, I think that I was able to revive this image quite a bit.
I suspect that someday, I will work on it again with newer technology… but then again… maybe not.
Read more about Jack on his website here, and learn about his workshops here.
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