Autumn | Russ Bishop Photography | Nature Photo Blog

July 21, 2017July 22, 2017

The Value of Filters

Evening light on Watchman Peak above the Virgin River, Zion Canyon, Zion National Park, Utah — Evening light on Watchman Peak above the Virgin River, Zion National Park, Utah

Back in the days when I shot film filters were an indispensable part of my technique that enabled me to control the light, balance dynamic range, and give a little extra snap to every image. Well guess what? Fast forward to the digital age and the same still holds true.

It’s easy to get caught in the trap of saying “I’ll just fix it in post”, but the truth is filters are every bit as important in the digital age as they were in the days of film. Photography after all is about shaping and controlling light, and whether your image is preserved in celluloid or pixels there is still no substitute for capturing the best possible image up front.

Two filters that I consider essential are the graduated neutral density (GND) and the polarizer. The GND is available in several densities with both hard and soft transitions allowing you to ideally balance the contrast in the scene. This magical filter works best for landscapes where the foreground is in shadow and the background has direct light. Through the viewfinder washed out clouds suddenly become more defined and foreground subjects emerge from the shadows and retain their natural color. Positioning the filter takes a little practice so that the transition seamlessly blends into the horizon and is not obvious in the final image.

The polarizing filter blocks scattered light rays to remove reflections from water and foliage, and definitely spends more time on the front of my lens than any other. By turning the filter you can control the amount of polarized light reaching the lens, which has the added benefit of saturating colors, darkening skies and increasing overall contrast. In addition, the polarizer works like a neutral density filter to slow exposure times allowing for a silky effect when shooting flowing water.

There are many other excellent filters available, but these two are a great starting point for creating more dynamic images and saving considerable time at the computer.

October 25, 2016November 16, 2020

The Path Less Traveled

Fresh snow on fall aspens and pines, Inyo National Forest, California

There’s been an ongoing discussion in the photography world lately about art and originality, that of creating images that are not the photographer’s personal vision so much as an attempt to copy the work of others. In extreme cases some would argue this isn’t art at all, but rather a mechanized form of duplication. The unfortunate result is that many photographers are no longer willing to share information about specific locations, and those photographers involved in the practice are missing the opportunity to show the world their own unique vision.

This trend is ironic given that we’re a country born of rugged individualism, and photography above all is a form of personal expression. But it’s no surprise when we are surrounded by such a lack of creativity in society today – movie remakes of 70’s television shows; advertisements using surprisingly similar images; and politicians repeating the same words as if they are uniquely their own. Perhaps this lack of originality is due to tight deadlines and too little time in our fast-paced world, or simply a fear of the unknown.

Before I head off on a shoot (especially if it’s a location I’ve never been to before) I thoroughly research the area geographically and geologically, and I’ll also review images of the area as a reference point to get a sense of place. But then after immersing myself in the details at home, I use the travel time to clear my head and fine tune my receptors to soak in whatever the location may offer.

Instead of previsualizing, I prefer to see a place through a child’s eye as if I’m the first ever to experience it. I’ll often avoid the obvious viewpoint whenever possible in favor of an angle that combines the key elements of the scene in a fresh, new way. When that’s a challenge, I’ll try a different lens or shutter speed or perhaps just wait for the light or weather to change.

So dare to be different and embrace the unknown! Find your own unique vision in photography and in life – and enjoy the rewards of the path less traveled.

April 4, 2014October 30, 2015

Visual Abstraction

Bare trees, Yosemite National Park, California USA

As landscape photographers the natural world provides us with an unlimited source of subject matter and inspiration. Much of the time we choose to let nature dictate the scene, creating “straight photography” as Ansel Adams referred to it, by selecting a lens and exposure that will faithfully record the natural beauty we see before us.

Unfortunately conditions in the wild are not always ideal and often we’re forced to adjust our approach to image making. Flat light, wind, or a recent fire can all derail our idea of the perfect landscape. But, as I’ve mentioned previously, this is where we need to think outside the box and go with the flow creatively. The pure images might have to wait for another day, but the glass is half full. A whole new world of visual storytelling is waiting to happen for those willing to give their tripod the day off and think of their camera as a brush and canvas.

The term abstraction (from the Latin abs, meaning away from and trahere, meaning to draw) is the process of taking away or removing elements from something in order to reduce it to a set of essential characteristics. Merriam Webster defines abstraction as “art unconcerned with the literal depiction of things from the visible world”. In short, we want to know that it’s a tree or a flower, but beyond that we’re free to roam aesthetically.

Abstract photography is becoming increasingly popular these days as a form of self-expression. By imparting mood and feeling, in many ways abstracts provide a stronger emotional bond between an image and its audience than a straight image. Much like seeing the world through a new lens, the idea here is to intentionally create art and not document reality. Motion blurs, pans, and zooms at a slower shutter speed are typical techniques for creating natural abstracts, but the possibilities are endless.

The next time mother nature is being uncooperative and the straight photography is leaving you uninspired, take a detour and have fun with this liberating technique. Your inner child will thank you, and all you have to remember is that there are no rules and you can’t make any mistakes.

“Don’t shoot what it looks like. Shoot what it feels like.” -David Alan Harvey