Yosemite | Russ Bishop Photography | Nature Photo Blog

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

October 13, 2011August 23, 2016

High and Wild

Climbers on the classic traverse of Matthes Crest, Yosemite National Park, California

Exploring the high peaks of the Sierra Nevada Mountains of California is a magical experience. The Range of Light, as John Muir affectionately called it, is essentially in my backyard (just a few hours drive away) and I try to make the most of it throughout the year. Winter is a fantastic time to discover the vast solitude that awaits the backcountry skier, late spring and summer provide ample opportunity to backpack to secluded lakes and hidden valleys, and autumn, my favorite time of year, is perfect for sharing the lofty summits with good friends.

Many of the peaks in the range average over 13,000 feet and the views stretch far and wide. Photography in the crisp, clear alpine air needs no polarizing filter to faithfully reproduce the deep indigo hue that looks as if it must have been tweaked in Photoshop. My go-to lens in these high and wild places is the Nikkor 16mm, which has a wide field of view, provides maximum depth of field with extremely close focusing, and is very compact making it especially easy to climb with.

Climbing photography is challenging as vantage points are often limited and safety always comes first. But the heightened sense of awareness that is a requirement when scaling the peaks has a dual benefit – that of visual clarity. Great shots have a way of presenting themselves, and capturing those images is often just a matter of living in the moment.

March 20, 2011November 6, 2015

Marathon Mentality

Climbers on the summit of Tenaya Peak, Yosemite National Park, California

Watching the LA Marathon today (on a cold, soggy morning in Southern California) got me thinking about the correlation between endurance sports and photography and the rewards involved when going the distance. Coming back from a remote shoot with successful imagery involves many factors that all need to come together and often requires the same discipline used in running a marathon. Call it hang time or as I prefer “marathon mentality”, it’s a willingness to stay just a little longer, travel just a little further, or even endure some discomfort – then expect the unexpected.

After racing many marathons over the past 15 years I began to see a connection between the investment and return for both my photography and racing. Both require the obvious advanced preparation and planning, photo equipment needs to function properly in extremes of temperature and often with rough handling just as the body must be conditioned to endure the effects of running 26 miles. But once at a location or a race the mental process of being “in the moment”, in a heightened sense of awareness for extended periods, is often just as important and can be the difference between success and failure.

I’m always amazed at the multitude of reasons why people run marathons, but the one thing they all have in common is a desire to push themselves further than they have ever gone before. In the same vein, your photography can be taken to the next level simply by tuning your senses to absorb all that is around you and a willingness to exercise your own marathon mentality.