My first geese photos of the year.  

The ice has been melting along the river all week long and I wondered if the pond up on Duck Range had melted enough for the geese to return.

The days have been warm, but the nights were staying at freezing or near freezing. However, in spite of the day’s constant drizzle of cool rain I was curious to see if there were geese on the pond and if there were any goslings yet.

I suspected I was early, but grabbed my camera, put the ISO up to 800, then mounted my 150-600mm on it, tossed the beanbag on the front seat of my car and headed out up the road to see.

I slowed down just before getting to the pond and rolled my window down. Hmmm, there is a hint that I am from a past generation. I haven’t seen a car that one must actually turn a crank to “roll down” a window in years. Anyway I pressed the switch and the window slowly and quietly sank out of sight.

I drove very slow hoping I wouldn’t disturb the geese. Ha, fat chance! From the rise above the pond there began a loud racket of honking sound. There went my attempt at sneaking up on the anything near that pond. I’ll have to check my Honda’s manual to see if there is a stealth mode.

The pond was filled with ducks and geese, but no ducklings or goslings yet.

I photographed the three sentinels before they could find cover. Then drove past and turned around so I could stop and shoot from the cover of my car.

Much of the pond still had a smooth cover of ice and there were more than one kind of duck paddling along the edge or just standing enjoying the slight drizzle that had been going all day.

I photographed the ducks and what geese I could see on the pond and tried to get some good photos of the geese that noisily flew off.   I didn’t do badly, but I think some of the avid bird photographers I know in Kamloops would have been better prepared than I was when the pond exploded with splashing water and flapping feathers.

I stayed for a while and the pond calmed down and became quiet giving me at least a chance to photograph the ducks and geese that finally decided to ignore me.

Those that read my articles about trying to photograph the pond’s geese last year will remember my disappointment because they were nesting and feeding on the opposite side of the hill. This was my first trip to the pond to photograph the geese and I am determined to get some good shots this year and plan on a weekly visit.

I left the beanbag in my car just in case.

Photography is an art of finding something interesting.  

Gosh, the first day of spring (has passed) and the temperature is climbing.

I stood out on my porch looking at the melting snow along the walkway to the driveway thinking that winter seems to have come and gone in a rush this year.

It was a lazy day for me and I really didn’t want to do anything except have another cup of coffee and maybe snooze on my chair listening to music. However, I do like pointing my camera at things and this would probably be my last chance to photograph things poking out of the snow. And if this year is like most I expect the cool spring rains will be pounding on my roof in short order.

So, as hard as it was I ignored the waiting coffee grinder and went off get my camera.

My latest acquisition is a 300mm lens. I like that focal length and have had several since the first Pentax I owned back in the 1970s. This latest lens came with a 1.4 telextender that gave me a 450mm of reach.

I have a longer 150-600mm lens, but the 300mm takes up less room in a bag or on my car’s seat, it focuses very fast and is just darned fun to use.

Although I sometimes photograph wide landscape vistas my preference is tight close shots. It’s the intimate, close cropped “parts” of a scenic that catch my eye. So after making sure I had an empty memory card and charged battery I mounted the 300mm lens on my camera and set off to see if I could make some interesting photographs of things resting on, or poking out of the snow.

By the time I drove down the road the sun was high in a bright blue cloudless sky. My choice was to head up into the hills or down to the river. But I wondered if the small pond was still frozen over so I went up.

The pond was frozen without a footprint or even a lonely bird in the tall lifeless reeds that circle the pond. I was disappointed, but as it has for the past 40 years, this rural place where I live, always offers something that catches my eye. The long lens was the perfect tool to isolate and exclude as I focused on the remains of a tree poking out of the snow. That broken and rotted stump in a desert of white snow was crossed with neat long thin shadows that made up for the boring pond.

I stopped to photograph what was left of an old log building that once might have been for storage or maybe living quarters for some ranch hand. When I first drove down what was then a bumpy dirt road many years ago it still had a glass window and roof, but now only the decaying log walls remained.

I drove around getting out of the car and trudging through the wet snow trying to photograph subjects I have photographed before in a new way.

I often wonder what the people in the cars think when they, once again as they have many times before, pass me pointing my camera at some subject. Most are not photographers, making the things I am photographing of little interest to them.

It always seems new to me. A bit familiar for sure, but this was the first time I photographed anything in my neighbourhood with this particular lens.

So yes, new.

I know I’ll be back photographing everything again when it rains or maybe when the grass begins to grow or when there are geese in the pond or anytime I am in the mood.

I know I have included this quote from American photographer Elliott Erwitt before but it just seems to fit.

“To me, photography is an art of observation. It’s about finding something interesting in an ordinary place… I’ve found it has little to do with the things you see and everything to do with the way you see them.”

The Canadian Pacific Railroad Holiday train 

 

Every year the CPR holiday train chugs its colourful way across Canada from east to      west. The train makes stops at cities along the route where there are crowds of people waiting.

Those of us in rural Canada might miss assembly with all the festivities in the city, but we get to watch and, in my case, photograph that brightly lighted Christmas train as it winds its way through the wooded Canadian countryside.

As I drove from my home down to the river valley to again photograph the Holiday train I passed people waiting in their cars parked in the area between the little Pritchard store and the train tracks just off the highway.

I have tried that location in the past, but it’s so close to the train that the only shots are on an angle. And to make it worse this time, a long freight train was waiting in the perfect position to block the view of the train after only a couple minutes.

My favourite place to photograph the train is from across the river. I drove past my neighbours, crossed the bridge and stopped along the river and walked out on the wide beach to set my tripod up.

I like the long wide view across the Thompson River that even using my 70-200mm lens lets me photograph the whole train at 70mm or just a few cars at 200mm.

That beach location allows me to capture that locomotive and it’s bright boxcars in a scenic view.

The train usually passes through Pritchard when there still is enough light to see the train. I saw a few pictures that were taken after it stopped in Kamloops 30 minutes later, and they only showed neon lights with an empty black background.

I chose an ISO of 800 when I first got there and took a few test shots. I walked around to choose a nice flat place where I didn’t have to stand in the mud. Gosh, mid December and no ice.

I will say that, although I had a better location than those on the other side of the river, I envied the fact that those waiting at the Pritchard store had hills that blocked the unpleasant, cold wind that blew at me across the flat wide river.

I joined by my friends and their children out on the beach. Jo had her stocking hat pulled down over her face and was crouching with her camera trying to get out of the wind.

I covered my ears and set up my tripod as I watched her 3 and 4 year olds running around on the muddy beach, oblivious to the cold, as they excitedly waiting for the train.

They had been to town earlier in the day to meet Santa and now running on the beach and seeing the brightly lite Holiday train was like the icing on the cake.

By the time the train came I had to push my ISO up to 1600. I was using my tripod, but with the all movement I decided the higher ISO would let me keep my shutter at a safer speed.

I think this will be the last photos of Christmas lights for this year. As always, it’s been fun. There isn’t any snow yet, but the snow will come soon I am sure, and I’ll be out again with my camera to make some pictures of that white playground.

I can hardly wait for the snow. But for now I’ll wish a very Merry Christmas and a Happy Holiday to all of you.

 

 

 

 

 

 

 

 

 

Photographing a November garden   

 

For years I have made sure to wander my garden with my camera in every season.

I know most photographers are only interested in the bloom of spring or glorious colours or fall, but to me it’s as much how the yearly changes shape the plants as it is the colourful presentation of spring and fall.

I like to walk around the garden that hides my home from the country road that borders my property. Spring, summer, fall or winter. I enjoy it.

It was on a late afternoon just after 4PM. I walked out on my porch to listen to the coyotes serenading the neighbourhood. Or maybe they were complaining loudly that the wet cold weather was making it hard to find food that normally scurries in the meadows.

Friends have commented that it must be nice to live away from the noise of the hustling city. However, at that moment it wasn’t only the coyotes that were disturbing my supposedly quiet rural life. Three roosters, fourteen chickens and five ducks were all making sure I knew they were as important as the coyotes in their forest home.

As I lazily kicked some fir tree branches out of my path I thought about how the cold plants looked interesting and decided to get my camera.

I mounted my 200mm macro on my camera and attached the ring flash and walked along the little pond to take some pictures. After about five not-so-sharp captures I chastised myself for being lazy and returned to my house to grab a tripod.

A photographer I met that worked for a couple magazines once asked me, “What is the difference between using a tripod and not using a tripod?   “The shot with the tripod is the one the editor chooses for the cover.”   I am not sure if that’s always true, but I am sure using a tripod (and a flash) when photographing plants and gardens give me more keepers.

The ring-flash creates a smooth direct light that is very different from the flash mounted top of the camera. There is a sparkle to the subjects.

I always use a flash for plants.

I begin by metering the ambient light as if I were about to photograph the flower without a flash. Then I stop the aperture down to under expose the picture. In the low, bright November light I wanted to darken everything but my subject.

Sure one could open the aperture to reduce the depth-of-field and soften the background. But the closer the lens is to the subject when doing a macro or close-up photograph the less the field of focus in front of and behind the subject will be anyway.

I want as much sharpness as I can get around the flower. So instead of relying on the aperture to separate my subject from a busy background, I reduce the ambient light.

My ring-flash is set to manual so all I need to do is experiment with flash distance. I move forward and back to give the plant the light I want.

The ring-flash has a diffuser and I use a 200mm macro lens. The magnification is the same as with a 50mm or 105mm macro. I just get to be further away and that distance is more effective for the ring-flash.

There isn’t much more relaxing photography than garden photography because the subjects usually cooperate.

December has just overtaken me and I have no doubt that festive Canadian month will bring a totally different garden to photograph.

 

Outdoors flash photographer’s workshop        

Last August I wrote about setting up an outdoors studio in the meadow on the south side of my home for my friend Joleen McAvany. Readers will remember that Jo wanted to do a “Disney Princess” session with some of her friends.

Jo posted her studio-like photographs from that day online. Her photos were so successful that I decided to offer another how-to workshop.

I limited participation to four interested photographers and Jo easily talked two of her friends into braving the cool October day to be our models.

I like flash and never pass by an opportunity to introduce photographers that normally would only use flash in dimly lighted rooms, to the advantage of employing flash in the daylight.

Jo and I set up both a white canvas backdrop and a painted blue/grey canvas backdrop. I had purchased the painted canvas, but the white canvas was formally a large painters ground cloth spattered with paint that I got for free.

I attached several older 1970 vintage flashes on light stands with umbrellas. All were connected to wireless receivers and I gave a trigger to each photographer.

My lecture was about balancing the light from the flash with the ambient light. The key light (main light) that modeled the features of our ever-patient subjects, Morgan and Cora came from the flashes, not the sun.

Jo gave a posing demo using a 60mm, then a 70-180mm and finally a 400mm lens as she positioned each model in turn. Then after showing everyone how effective the long lenses were, and how easily it is to control the flashes, I positioned each depending on the light.

I then let the attending photographers experiment and learn as I showed them how great their photos could be using flash in the daylight.

Most had seen some of Jo’s “Princess” photos and I reminded them that she had originally asked me, “can I do this out-of-doors and still create flattering studio kind of light portraits?”

Now I have introduced four more photographers to using flash as a creative tool instead of just something that brightens a dimly lighted room or gives a flat light on some subject’s face that is standing in the shade.

I am left wondering if they will start using flash. It is so easy to be lazy and leave the flash at home on a sunny day. However, the resulting photographs where one controls the light and is able to place it to flatter and model a subjects face should be enough to convince any serious photographer.

I would like to think I was successful in convincing those four photographers that adding the light from a flash will make their photographs stand out among photographers that depend on the inconsistent light from the sun.

Note: Photos by Joleen McAvany

 

 

 

 

 

 

 

 

 

 

 

 

 

 

October photographer’s drive through Wells Grey Park   

 

 

 

My friend Jo and I decided to test out a big 400mm lens that came in to my shop.

I had brought it home to test and had tried couple shots in my yard, but decided it needed distance subjects for a realistic workout.

Jo had stopped by one evening and after a couple glasses of wine I flippantly said, “if we took it to Wells Grey Park we might find some bears”.

I was joking. Jo always tells me she would be afraid if she saw a bear wandering in the woods where we live. However, in an uncharacteristic comment she took a sip of her wine and said, “can we do that?”

A week later we drove into the wilderness park and Jo had that big six-pound lens attached to her Nikon D800. We had began by stopping at Spahats Creek Falls 400mm lens for some wide angle shots, then wandered around a long deserted homestead and were heading to Helmkin Falls when we spotted the bears.

In the forest town of Clearwater, just before the park, I talked to a local that mentioned there had been a sow and two cubs hanging around a large meadow on the way to the park’s entrance, so we were watching and as we turned a corner there were cars parked on the roadside. And there in a farmer’s mowed field were the three bears.

I stopped, placed my beanbag on Jo’s open door and stepped back as she rested that big lens 400mm f3.5 on it and began pressing her camera’s shutter.

After that exhilarating event we drove on into the park.

We couldn’t have chosen a better day. The temperature was cool enough for a light jacket and the fall colours were inviting so we stopped and stopped and stopped again to take pictures.

The park is a favourite of hikers, boaters, trucks towing large trailers for overnight camping and for anyone, like Jo and I that want to do roadside photography.

Like most photographers, we over packed. We had our cameras, tripods, lots of lenses, a bag of filters, two flashes, extra memory cards and enough food for two or three days.

We didn’t eat very much of the food, use the filters, flashes or tripods and had no need to mount a flash on either of our cameras. I only used my 24-70mm and other than when she photographed the bears with that 400mm Jo stayed with her 20-40mm. But although the need never arose for us to employ that trunk full of equipment we were well prepared.

October is my favourite time of year for scenic photography and as last year at this time, Wells Gray Park is always on my list for fall nature photos.

When the shadows grew and the temperature began to drop we knew it was time to head home. Clearwater to our homes in Pritchard is about two hours and for us that meant two hours of talking about the photos we took, photos we plan to take and places we want to go with our cameras.

I looked for a quote to end with and found this by the most famous scenic photographer of them all, Ansel Adams.

Everybody now has a camera, whether it is a professional instrument or just part of a phone. Landscape photography is a pastime enjoyed by more and more. Getting it right is not an issue. It is difficult to make a mistake with the sophisticated technology we now have. Making a personal and creative image is a far greater challenge.

 

 

 

 

 

 

 

What is the best lens for scenic photography?    

With all its colours fall is creeping into onto the hills in my part of British Columbia photographers are grabbing their cameras, tripods and jackets to wander out to record the beauty.

This past week a young couple visiting my Kamloops shop asked my opinion of the best lens to take along on their next excursion to photograph BC’s inspiring landscapes.

That’s a good question, especially from those new to photography that are spending hard earned money on pricy modern lenses. Personally, I like versatility and convenience, and there are a lot of great zoom lenses available for someone that doesn’t want to carry a heavy bag.

I might suggest lenses like 16-85mm, 24-70mm, or even 18-200mm. Gosh, there are so many lightweight and easy to carry choices. However, instead of recommending a particular lens for scenic photography, I’d rather think about perspective.

My decision after stepping out of the car to photograph some grand vista would be whether I wanted a wide angel or a telephoto. A wide-angle lens has a curved front surface allowing for a wider view. A telephoto has a flatter front surface and a narrower view.

For example, using a 18mm focal length lens when photographing along a fence will make the first post big and the succeeding posts smaller and smaller. Whereas, a 200mm focal length will give a tightly compressed view, and distances between the fencepost in the foreground and those further back won’t seem as distant as with the wider lens.

In a more practical example, when one is photographing a boat on the lake shore with mountains in the background a long focal length like the 200mm will be compress everything in the final image with no subject gaining significance over another. Yet, an18mm lens will make the boat large, and mountains in the background small and distant. Both may be good photographs of that scene, just different interpretations.

The most appropriate lens depends on the perspective and how the photographer wants to interpret the final image, and because the focal length adjusts the visual relationships of the objects within the picture, one must think about the image front to back and how much of the scenic is important as a wide, or a narrow final image.

It comes down to the personal vision of the photographer and what he or she wants to say about the landscape. Famous photographer, Ansel Adams said, “problem solve for the final photograph”.

Like Adams, photographers should be thinking about how the final photograph will be used and how to accomplish that.

If one thinks of a photograph as a series of problems to be solved there will be a smooth transition from initial idea to final print. For example one could begin by thinking about the subject and its environment. What is the background and how will that affect the subject? What is in the foreground that will interfere with that subject?

I don’t believe that there is one lens that can be termed a “scenic or landscape” lens. Any lens might be used as long as it meets the photographer’s vision. That might be to include a wide vista with a wide-angle lens, or on the other hand, a tighter cropped image created with a telephoto lens might be visually more powerful. The choice of lens for scenics comes down to what the photographer wants the viewer to feel and see.