Creative springtime approaches

Greetings to all my new outlook followers. Welcome aboard!

Green starts to appear in Northern Ontario in early to mid-May, along with the blackflies! The first blush of green in the aspens is always a delight and I make sure to get out with the camera to some of my favourite locales.

Looking up in an aspen woodland. f22, 1/160 @ 35 mm

When the sun is bright and the skies are blue I resort to backlighting to take advantage of the translucent green glow in the emerging leaves. I prefer soft overcast with these first spring colours but I have to ‘go with the flow’ and make the best of what mother nature offers me.

Trying to be creative I usually drift toward some interpretive techniques, most of which are ‘in camera’. I hope to communicate the essence of spring with these approaches- delicacy, freshness, transience to name a few.

One technique I like is to look for emerging leaves in smaller trees near the camera. Positioning them between me and the lens I then (manually) focus on background subjects such as these birch tree trunks. With a telephoto lens and shallow depth of field I created this image (below), all in one shot, in the camera.

Birch woodland. In-camera selective focus. f/4 @ 86 mm

Another in-camera technique I like to occasionally use is multiple exposure. I choose six to ten frames and with a wide aperture I expose 5/6 or 9/10 with varying degrees of ‘de-focus’. I have to deselect autofocus and manually change focus, sometimes accompanied with a bit of zooming.

Aspens on a hillside. In-camera 6 frames. 240 mm.

Birch woodland. In-camera multiple exposure. 10 frames 155 mm f4 manual focus.

Birch woodland. In-camera multiple exposure. 10 frames 155 mm f4 manual focus.

Finally, with stands of tree trunks like these aspens I move the camera slowly up or down or up and down during a long exposure. I obtain longer exposure times using low ISO, small apertures and a polarizing or neutral density filter. This photo was made @200 mm and 3 seconds.

Aspen woodland. 3 seconds @ f20, ISO 31.

The advantage to employing these techniques is that the photographer can make interesting, unique images close to home.

Falkland Islands part 1: Stanley to Volunteer Point

 

Countryside with rainbow

In December Brenda and I joined Joe and MaryAnn McDonlad plus three other participants for a two week wildlife tour of some of the Falkland Islands hotspots. The Falklands is a bucket-list destination for birders and bird photographers. There are 5 species of penguins plus elephant seals, sea lions and many other song birds. Many of the animals display Galapagos-like fearlessness, allowing close approaches, when done with patience and care. It’s been said that one does not need big glass for the bird photography but I brought my 600 Nikkor and used it a lot. It was heavy to carry to some of the colonies but not unbearable and it allowed me to capture tight portraits and bring in the smaller songbirds when necessary. The flexibility and lighter weight of a 150-600 could be an alternative but I have not yet compared such a lens to the 600 for sharpness and contrast.

Residential details in the town of Stanley- painted building walls and fences

The tour began in Stanley with a day trip to Volunteer Point, site of the largest king penguin colony in the Falklands, followed by a day trip to the less visited Cape Bougainville for macaroni penguins, rockhopper penguins, sea lions and king cormorants. Since we were in the Southern Hemisphere’s summer months the sun rose around 4:30 a.m. and set about 9:30 p.m. Late December brought long days and plenty of light.

King penguin (Aptenodytes patagonicus) Adult feeding juvenile

The Falklands are very British, bleak and windswept, perhaps similar to the British moorlands. Sheep farming is the dominant industry but tourism is important too, along with other ventures. The terrain is treeless with occasional rock outcrops and the dominant grass is called white grass, whose colour tends to mask the summer greens, furthering the appearance of bleakness. But the terrain is undulating and dotted with small ponds and crossed by occasional streams. Our inter-island FIGAS flights gave us excellent views of the island landscapes.

King penguin (Aptenodytes patagonicus). The colony

Getting to Volunteer point requires driving 4WD Rovers over a mix of paved and gravel roads (mostly gravel) followed by 10 miles (15 km or so) of slow, careful off-road driving over some very uneven terrain at times, about 2 1/2 hours from Stanley. The anticipation of seeing our first penguins made the final off-road portion of the day-trip excruciatingly drawn out- “Over there? That far still?”

King penguin (Aptenodytes patagonicus) The colony

We had about 4 hours with the animals at Volunteer Point but it was a very satisfying start. Joe and MaryAnn advised us to concentrate on the kings but how could you pass up the gentoos feeding their newborn chicks? Impossible.

Gentoo penguin (Psygoscelis papua) with newborn chicks

For a fuller portfolio of images please visit my 500px page and click on the Volunteer Point Gallery https://500px.com/don_johnston/galleries/falkland-island-part-1

King penguin (Aptenodytes patagonicus) Marching to the sea

Backyard Animals- Summer 2017

In the spirit of celebrating photography done close to home I offer a small selection of animal subjects photographed in and around our backyard this summer and early fall. Producing quality images from such close proximity to the house does depend on a number of factors, many of which can be controlled by the photographer.

Eastern chipmunk (Tamias striatus) Eating a wild blueberry. I placed a piece of old log on my deck rail and offered a few blueberries.

I always have my cameras ready and easily accessible when we notice a photo opportunity. Battery charged, memory card formatted, lens attached, tripod ready for action. These encounters are often fleeting.

Horned clubtail dragonfly (Arigomphus cornutus) Female preying on another dragonfly. After noticing the subject I grabbed my 200 micro on a tripod and approached slowly. I had about 10 minutes.

It’s important to provide habitat for local critters. Things like feeders (when bears are not around), butterfly gardens, trees and shrubs for cover are important. Also important is good local knowledge of animals and their habits. Having a solid naturalist background gives the nature/wildlife photographer an advantage.

Red squirrel (Tamiasciurus hudsonicus) Foraging in spring maple tree

Large milkweed bug (Oncopeltus fasciatus) Mating pair on a milkweed leaf. The milkweed patch is a hive of ecological activity.

I sometimes create natural perches or settings for animals like chipmunks and frogs. Some natural treats like blueberries help coax them to the preferred spot.

Wood frog (Lithobates sylvaticus or Rana sylvatica). Sitting in some dried leaves I collected.

Most important is having great spotters like my wife Brenda. She noticed the sharp-shinned hawk flying into the tree with its prey. My son Matthew spotted the very well camouflaged wood frog near our garden.

Sharp-shinned hawk (Accipiter striatus) Eating a songbird it had captured.

And of course, luck plays an important role. While I was waiting for the chipmunk to climb up to the log for some blueberries I noticed a deer fawn approaching the back yard from the bush behind. It stayed out on our lawn, eating some grass and bouncing around for a good half hour before it wandered off.

White-tailed deer (Odocoileus virginianus). Curious fawn visiting our rural backyard.

While trying to photograph chickadees eating pine seeds (again spotted by Brenda!) I noticed a pair of ruffed grouse eyeing each other in the margins of our driveway. They worked their way down towards me, oblivious to my presence.

Black capped chickadee (Poecile atricapillus) Foraging for seeds in red pine tree cones

Red squirrel (Tamiasciurus hudsonicus) Foraging for pine cones in a red pine

Ruffed grouse (Bonasa umbellus) Two individuals confronting one another in early autumn.

Bad Light- There is no such thing

Jay Maisel, in his book Light, Gesture and Color, presents many compelling images made in ‘Bad Light’. Mr. Maisel’s contention is that there is no bad light in photography, only vision and opportunity.

Nature and landscape photographers usually do not care for high, hard, midday light although there are always backlighting opportunities and blue skies. This is especially true in the forest where the combination of trees and light present huge ranges in tonal contrast, that at times overwhelms the sophisticated modern DSLR sensor.

Autumn foliage on Vancouver Island, Sooke, BC- straight shot

Such was the case for this picture (above). While touring on  Vancouver Island I stopped for the backlit red and green foliage and used a polarizer to try and tone down some of the highlights glinting off the leaves. In post processing I was able to tone down highlights and reveal some detail in the shadows but the straight image is still very contrasty and pedestrian.

Thinking ahead I decided to make duplicate images partially and completely out of focus. I thought I could combine each one later with the ‘straight shot’. This is a digital version of the Orton effect, pioneered in the slide film days by Vancouver Island photographer Michael Orton.

Autumn foliage on Vancouver Island, Sooke, BC- Combination-1

Autumn foliage on Vancouver Island, Sooke, BC- defocused-1

This can be done in camera too, certainly with Nikon DSLRs, but the drag and drop approach for two images is very easy to accomplish in Photoshop. Once combined, I adjusted the opacity slider in the layers window to reveal about 50% of the focused image. I think the results are keepers! What do you think?

Autumn foliage on Vancouver Island, Sooke, BC- Combination-2

Autumn foliage on Vancouver Island, Sooke, BC- defocused-2

Street Photography with a Tripod

I’m a bit out of my element in an urban environment but as generalist photographer I do not shy away from such settings if I have the opportunity. Such was the case when I joined two friends for a street photography workshop in Central Havana with Dan Callis.

Malecón (officially Avenida de Maceo) Seawall with fishermen silhouetted against the Vedado neighbourhood. 1/15@f20

Malecón (officially Avenida de Maceo) Seawall with fishermen silhouetted against the Vedado neighbourhood. 1/15@f20

Street photogrphy in central Havana- Calle Escobar with dawn streetlights

Street photography in Central Havana- Calle Escobar with dawn streetlights. ½ s@f5 ISO 1600

Iglesia San Francisco de Paul - Stained glass interior

Iglesia San Francisco de Paul – Stained glass interior 1/30@f16 ISO 200

Street photogrphy in central Havana-

As morning progressed, doors opened to building interiors. 1 s@f16 ISO 400.

I was the only one in the group who used a tripod for the majority of the work that week but I thought I was able to acquire unique images that would not be easy or possible if I was handholding the camera. Certainly with image stabilization and better quality at higher ISOs handholding has become more the norm.

Street photogrphy in Old Havana- reflections in a water puddle

Street photography in Old Havana- reflections in a water puddle. 1/80@f18 ISO 400

Street photogrphy in central Havana- Painted wall detail

Painted wall detail 1/4s@f16 ISO 125

While having the camera mounted to my tripod (Gitzo carbon fiber) added some weight, reduced mobility when working a subject and made me more conspicuous in the street I still felt it was the right approach for me. I carried accessories and lenses in my trusty photo vest and felt pretty comfortable for the week in the streets of Havana. It was a fantastic experience, full of colour, atmosphere and friendly people.

Bicycle taxi and colourful building, panning with camera. ½ s@f16 ISO 100

Bicycle taxi and colourful building, panning with camera. ½ s@f16 ISO 100

Here are some of the advantages to using a tripod in the streets:

  1. Once I picked my spot for composition I could ‘fade into’ the background and wait for situations to develop. That could be as simple as waiting for someone to walk into the composition or wait for distracting elements like people or vehicles to move on. While I was initially conspicuous the local people quickly ignored my presence and I could photograph the scene using a cable release so I would remain inconspicuous.
  2. By precisely framing the composition I could make more than one exposure as people moved if I thought it would be better to be able to clone them out in a composite image.
  3. I was able to work at lower ISOs and at longer exposures, in the shadows, in interiors, at night and early morning.
  4. I could set up my composition and wait for peak moments of activity.
A lady peeking through a curtain and security fence. 0.6 s@f11 ISO 800

A lady peeking through a curtain and security fence. 0.6 s@f11 ISO 800

Trained dog on the Obispo promenade with passersby. 1.6 s@f22 ISO 100.

Trained dog on the Obispo promenade with passersby. 1.6 s@f22 ISO 100.

I waited for passersby with umbrellas to walk through this scene. 1/10 s@f16 ISO 800

I waited for passersby with umbrellas to walk through this scene. 1/10 s@f16 ISO 800

Revolutionary wall art with blurred pedestrian. 1/13 s@f18 ISO 640

Revolutionary wall art with blurred pedestrian. 1/13 s@f18 ISO 640

Wall mural on Calle Neptuno with pedestrians cloned out (composite of 3 exposures)

Wall mural on Calle Neptuno with pedestrians cloned out (composite of 2 exposures)

Maybe I missed some spontaneous shots but I think I got photos that fit my style that otherwise would not have been able to capture hand-held. The tripod is not just a useful tool for obtaining sharp images, it is also a useful compositional tool.

Straight Shots

Marsh marigold (Caltha palustris) growing at the edge of small river, with sunlit highlights from the river water.

Marsh marigold (Caltha palustris) growing at the edge of small river, with sunlit highlights from the river water.

I love making abstract, interpretive, impressionistic images with my camera. It’s satisfying to be able to create these types of  images, straight out of the camera. They are less documentary and in some cases inspire ‘what is it?’ comments. These images emphasize colour, texture, shape and line. They convey feelings of delicacy, fragility, lightness and euphoria or spirituality. It is possible to achieve these types of images without the use of image altering computer software. All it takes is careful observation and imagination along with a good knowledge of how the camera captures images.

Here are some recent images that illustrate some techniques I like to employ. I include some tips and advice to help you produce your own interpretive images, straight from your camera.

  1. Shallow depth of field- I begin by setting the lens to f4 or so (wider aperture) with the intention of selectively focusing on my subject. I scout the composition  while handholding the camera to give freedom of movement and then when I find the angle and focus point I desire I mount the camera back on a tripod for a more careful composition. This is often called ‘selective focus’ because something will be in focus while much of the subject will be rendered as out of focus colourful blobs.
Birch trees in spring. Selective focus. f 5.6 210 mm

Birch trees in spring. Selective focus. f 5.6 210 mm

One subject I tried this spring was a birch woodland with emerging (backlit) leaves in birch saplings nearer the camera. I was fortunate to finally notice an excellent example below me as I stood on a hillside rock outcrop. My original intention was to climb the hill and photograph emerging foliage in distant trees on a hillside. I still photographed that hillside but I spent most of my time on the hill photographing the birch tree trunks and fresh new leaves.

Birch trees in spring. Selective focus. f 5.6 320 mm

Birch trees in spring. Selective focus. f 5.6 320 mm

This technique also works well for flowers especially with the camera set low to the ground and a focus point set on more distant blossoms. You can even try it with super telephoto lenses!

Texas wildflowers, telephoto lens, selective focus 300 mm @ f7.1

Texas wildflowers, telephoto lens, selective focus 300 mm @ f7.1

Texas wildflowers, 80-400 @ 280 mm f8.

Texas wildflowers, 80-400 @ 280 mm f8.

  1. Macro lens painting- This is a technique I tried after reading a posting from US photographer and photography educator Janice Sullivan. The technique employs long exposures (5 seconds or so), the camera hand-held on colourful subjects such as garden flowers. I started the exposure on a blossom and then pointed the camera at nearby colourful displays, all in the same exposure.
Macro lens painting in a flower garden. 5 seconds @ f18, 105 mm

Macro lens painting in a flower garden. 5 seconds @ f18, 105 mm

Macro lens painting in a flower garden. 5 seconds @ f18, 105 mm

Macro lens painting in a flower garden. 5 seconds @ f18, 105 mm

  1. Camera movement/panning- This is a tried and true technique for creating impressionistic images of subjects like woodlands. I use it extensively in spring and fall. For the images below I moved the camera up and down during a lengthy (5 second or so) exposure while I was photographing a pine woodland in fog. The vertical lines certainly suggest I should use a vertical composition but I often do this horizontally to include more Vertical lines- tree trunks. Telephotos work best but I have tried this technique with wide-angle lenses too with interesting perspective results.
Red pine woodland in morning fog- camera movement, 5 seconds, f20, 125 mm

Red pine woodland in morning fog- camera movement, 125 mm, 5 seconds @ f20

 

Red pine tree trunks in morning fog- camera movement, 3 seconds, f20, 34 mm

Red pine tree trunks in morning fog- camera movement, 34 mm, 3 seconds @ f20

  1. Natural distortions- I often like to photograph the reflective surfaces of lakes and ponds, in spring, summer and fall, concentrating on the gentle distortions of the reflected shoreline features created by the water. In the examples below however, I was stuck in my car, waiting out a thunderstorm. I left the wipers off and decided to photograph the distorted autumn woodland through the rain-soaked windshield. I hand-held and used my 105 mm macro. Focusing on either the subject or the windshield yielded different results and these can be evaluated immediately by reviewing images in the camera monitor. That’s the beauty of digital photography- being able to see the results in real time so adjustments or refinements can be made!
  2. White birch tree woodland in autumn colour at Lake Laurentian Conservation area as seen through a rain-soaked windshield. 105 mm lens f 3.5

    White birch tree woodland in autumn colour at Lake Laurentian Conservation area as seen through a rain-soaked windshield. 105 mm lens f 3.5

     

    White birch tree woodland in autumn colour at Lake Laurentian Conservation area as seen through a rain-soaked windshield. 105 mm lens f 3.5

    White birch tree woodland in autumn colour at Lake Laurentian Conservation area as seen through a rain-soaked windshield. 105 mm lens f 3.5

     

Utah’s ‘Big Five’ in Winter

Fountains of Bellagio with the Paris Hotel and Eiffel Tower, Las Vegas, Nevada, USA

Fountains of Bellagio with the Paris Hotel and Eiffel Tower, Las Vegas, Nevada, USA

For the second time in three years Brenda and I travelled to Las Vegas to watch international curling- the Continental Cup of Curling that pits 6 North American teams against 6 World teams over the course of 4 days. It’s similar to a Ryder Cup/President’s Cup (golf) in this case featuring Olympic level teams at the Orleans Arena.

Mesa Arch in winter, with morning fog, Canyonlands National Park, Utah, USA

Mesa Arch in winter, with morning fog, Canyonlands National Park, Utah, USA

Snowy landscape at Green River overlook, Canyonlands Nationa Park, Utah, USA

Snowy landscape at Green River overlook, Canyonlands Nationa Park, Utah, USA

Driving that far, I decided to combine the Vegas visit with some winter photography in State and National Parks nearby. There are 5 famous National Parks in the state of Utah. We towed our trailer with the intention of camping in parks like Zion and Capitol Reef which keep campgrpunds open during the winter. I was under no illusion that it could be cold and snowy and this year’s El Nino seemed to ensure that notion by amplifying winter in that part of the continent. Ontario, on the other hand, was experiencing a mild winter- the first first brown Christmas I have experienced in a long time, but the west seemed to be getting its share of snow and cold temperatures.

Balanced Rock with fresh snow, Arches National Park, Utah, USA

Balanced Rock with fresh snow, Arches National Park, Utah, USA

Turret Arch, Arches National Park, Utah, USA

Turret Arch, Arches National Park, Utah, USA

As a photographer I was looking forward to seeing the fabled red rock canyonlands of Utah with snow and winter conditions. After all, it is a high desert, with little precipitation and the region has been photographed extensivley over the years during the more tourist friendly seasons, so I was hoping for some unique images. It was our first visit in twenty five years (!) and I was not disappointed. Arches, Canyonlands, Bryce, Zion and Capitol Reef were blanketed with fresh or recent snowfalls. Some of the trails and viewpoints were icy and slippery but a pair of slip on ice grips made the footing safer.

Hoodoos and winter snow from Inspiration Point at dawn, Bryce Canyon National Park, Utah, USA

Hoodoos and winter snow from Inspiration Point at dawn, Bryce Canyon National Park, Utah, USA

Hoodoos with winter snow and ice fog at dawn, from Sunset Point, Bryce Canyon National Park, Utah, USA

Hoodoos with winter snow and ice fog at dawn, from Sunset Point, Bryce Canyon National Park, Utah, USA

The snow and cold temperatures drove us into motels at times especially at Bryce Canyon when one of California’s winter storms moved east and dumped about 40 cm of fresh snow, driven by a howling wind. At its peak the weather resembled the worst of what we can get in January in Northern Ontario. But the roads are well maintained in Utah. The only exception was the main park road in Bryce, closed temporaily past the first couple of viewpoints. The park service did an excellent job under the prevailing conditions, maintaining the road in to Sunset Point and even snow-blowing the viewpoint paths.

Alpenglow in Zion Canyon-Towers of the Virgin, Zion National Park, Utah, USA

Alpenglow in Zion Canyon-Towers of the Virgin, Zion National Park, Utah, USA

Ice formations along the Pine River with Zion Canyon wall reflections in open water, Zion National Park, Utah, USA

Ice formations along the Pine River with Zion Canyon alpenglow reflections in open water, Zion National Park, Utah, USA

The Big 5 National Parks of Utah were not our only ports of call. For more images of the parks and other locales in the Grand Staircase please visit these galleries on my 500px site. https://500px.com/don_johnston/galleries/utah-s-big-five-in-winter and https://500px.com/don_johnston/galleries/red-rock-country-winter-2016.

Snow dusted canyon walls in the Capitol Gorge, Capitol Reef National Park, Utah, USA

Snow dusted canyon walls in the Capitol Gorge, Capitol Reef National Park, Utah, USA

Recent snow in the high desert featuring Twin Rocks, Capitol Reef National Park, Utah, USA

Recent snow in the high desert featuring Twin Rocks, Capitol Reef National Park, Utah, USA

 

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