Photo Tips and Stories (Page 23)

One of my primary goals for my time at Moraine Lake was to capture the warm light from the rising sun hitting just the top of the mountains with the amazing blue lake reflecting the same. The scene I was visualizing required a very clear sky to the east, allowing the sunlight to reach the mountain unimpeded/undiffused. The other important factor was wind – I needed there to be none of it. I had three mornings for everything to come together.
 
Capturing this scene of course meant being in place and ready to go before the sun rose. On the first morning, having never been there before, I not only needed to find the lake, but needed to hike to (find) and climb up the Rockpile (via a trail) followed by scouting – all in the dark. Well, in the dark but with the help of a super-bright SureFire Maximus Headlamp. As incredibly bright as that light is, I was not going to be lighting the distant mountains and it was a guess as to where the sunlit mountain peak reflections were going to fall in the lake.
 
I picked what seemed like a great position, with a distant glacier framed between the trees, some nice boulders in the foreground and the overall scene nicely framed and bookmarked with a pair of large evergreen trees. After setting up a Canon EOS 5Ds R with an EF 11-24mm f/4L Lens on my primary tripod, I set up a second 5Ds R with an EF 16-35mm f/4L IS Lens mounted on my travel tripod a short distance away. The plan was to go back and forth between the cameras, rapidly capturing multiple compositions with immediate redundancy available if a problem was encountered (it is called the Rockpile for a good reason and I had one very close call).
 
The weather proved ideal and everything was looking great until ... I realized that the mountain peak reflection was being cut off by the foreground. I immediately abandoned the carefully selected locations, running across the rocks with the primary camera setup to quickly find a better position. There was no time to waste because the sun line moves down the mountain very rapidly.
 
While I have a large number of images I like from my three mornings at Lake Moraine, this one, one of the first ones I captured on the first day, remains a favorite. The sun line had moved down the mountains slightly farther than I originally visualized, but ... I may actually prefer this version better. While simply having that preference adds to the satisfaction of achieving the goal, I really do think that I like this scene better. With more of the mountain in the still-very-warm sunlight, there is more desired color in the frame and more of the peaks are being lit than when the first light hit only a couple of the peaks.
 
This is an HDR image. Because, as I mentioned, the line of sunlight moves quickly down the mountain, it is important to capture the HDR frames in very quick succession in this situation. My preference is to use AEB (Auto Exposure Bracketing) with the camera in high speed burst mode. I used Live View to gain mirror lockup and used a locking remote release to complete to capture. Lock the release down and quickly go to the second camera. Quickly check the results, fine tune if needed and repeat.
 
For processing the HDR image, I used a combination of Photomatix (the best HDR software I've used) and manual blending in Photoshop.
 
While 4-5 hours of sleep three nights in a row is not a good habit from a physical or mental health standpoint, I'm sometimes willing to make that sacrifice for a good image. While that effort is not always rewarded with a great photograph, the disappointing efforts serve to make the successful ones even more special. Fortunately, disappointment didn't happen in this location.

A larger version of this image is available on BryanCarnathan.com, Flickr, Google+, Facebook and 500px. If reading from a news feed reader, click through to see the framed image.

The obvious reason to use high speed burst mode to photograph wildlife is because wildlife moves and you want to capture the ideal body position and behavior. Use your fastest frame rate to capture the frame with the perfect body/angle/leg/wing positions against the best possible background. When the wildlife is in fast action, that motion is obvious and further discussion is probably not warranted. But, the motion can be more subtle – I'll call it "micro-motion" – and micro-position differences matter.
 
One of the most frequent subtle wildlife motion issues I encounter is blinking and birds especially cause me grief in this regard. The bird may appear completely motionless, allowing you to take your time to set up for and capture the perfect shot. The image looks great on the LCD, but when you get home and load the images, you realize that the nictitating membrane is covering half of the eye (this is not technically "blinking", but the problem is similar). While this issue can sometimes be remedied in post processing, correction is challenging and time consuming even on the easiest repairs. If 5 or 10 images of the same scene had been captured in rapid succession, the odds are very good that at least one of them would have had a clear eye.
 
Another issue I find problematic is animals chewing their cud. Even when I'm aware that this is happening, it can be quite challenging to capture a single frame without the animal's fast-moving lower jaw in a strange and usually detracting position. Ear position is a similar issue. Certain ear positions are often preferred and since these features are often moving, a burst can help capture the optimal positions.
 
Sometimes it only takes a subtle movement to make a big difference in the desired catchlight in the subject's eye. One of the frames captured in a burst may have this key difference, giving that particular image the extra sparkle needed for greatness.
 
Did you ever have an image degraded by something passing through the frame? This is often a photobombing insect or bird that shows up at just the wrong time. While these can sometimes be removed in post processing, that is not always the case and even if removal is possible, the process may prove time consuming. Grasses blow in light wind, passing into out of ideal positions. Leaves on trees do the same. A frame burst may contain an image void of the undesired objects.
 
Speaking of the blowing, most wildlife photography takes place outdoors and there are many factors out here trying to reduce your image sharpness, including wind. Not every frame may be sharp, but an increased number of images brings an increased chance that sharp images are in the mix.
 
On occasion, I find that I need to merge two or more images from a burst to get the ideal subject framing. Especially when using a long telephoto lens not locked down on a tripod, I often get a modest variety of subject framing in a burst set. While the differences may not be big, I sometimes find it optimal to add a side of one frame to another image to provide the ideal framing or to expand the frame. This is an especially good option to use if the focal length is too long and the scene is being cropped too tightly.
 
Even when not moving fast, wildlife is often moving. Capturing just the right point in time can make a big difference in wildlife imagery and using the camera's burst mode may be all that is necessary to bump your image quality up a notch.
 
In this regard, a camera with a faster frame rate has an advantage over those with a slower rate. The Canon EOS 5D Mark IV used for this capture has a faster frame rate than any 5-Series predecessor, but the Canon EOS-1D X Mark II and Canon EOS 7D Mark II make the 5D IV seem slow.
 
Using a high frame rate-capable camera in high speed burst mode greatly increases the volume of photos captured. Be ready for this and be heavy handed when selecting down the keepers. It is OK to delete good images (and far better to have too many good images than missing the optimal one). You probably can't use them all – keep only the best.
 
Humor has a value in wildlife imagery and a high speed burst rate is advantageous for capturing humor. I photographed this pronghorn having a sit-down dinner (it was eating the green plant in front of it) in Grand Teton National Park in very heavy wind. This wind was so strong that I was having trouble keeping the animal in the 600mm frame. Yes, I had the hood on the lens, increasing the wind load, but it was raining lightly and rain was hitting the front lens element even with this giant hood in place. By using burst mode, I came away with a very satisfying set of sharp, well-framed keepers from this encounter, including this humorous one.
 
I can still hear him saying "Is that a Canon EF 600mm f/4L IS II Lens?!"

A larger version of this image is available on SmugMug, Flickr, Google+, Facebook and 500px. If reading from a news feed reader, click through to see the framed image.

Did I ever tell you that the Canon EF 200-400 f/4L IS Lens is really sharp? My daughter and I had one evening and one morning to photograph deer in Shenandoah National Park. The evening presented us with primarily darkness including dense fog and light rain (and wind), but the morning proved much nicer.
 
This decent-sized 7pt buck tending a doe amidst the short red saplings in Big Meadows was a grand find on this morning. We worked around the deer to get the morning sun at our backs and, as best as we could, stayed within ideal photo range of it for over an hour. The buck was very attentive to the doe and gave us some nice behavior images. In this image, the buck had been cleaning its back (see the ruffled fur?) and stopped to look at the doe.
 
I used the Canon EF 200-400mm f/4L IS Lens for this image. While my preference for wildlife photography is the look that the EF 600mm f/4L IS II Lens provides, the 200-400mm focal length range has proven more useful to me in this park, primarily because of the need to work in front of obstructions. Fortunately, image sharpness is something this zoom lens does not sacrifice. Take a look at this 100% crop from the ultra-high resolution EOS 5Ds R:
 

 
This image was captured at 400mm with a wide open f/4 aperture (to create as much background blur as possible). The RAW image was processed in DPP 4 using the Standard Picture Style with sharpness reduced to only "1". While the camera is extremely sharp, its resolution is unforgiving to lens quality. The 200-400 L is definitely 5Ds R-ready. It is simply a very impressive lens.

A larger version of this image is available on BryanCarnathan.com, Flickr, Google+, Facebook and 500px. If reading from a news feed reader, click through to see the framed image.

There are only a small handful of DSLR lenses that can take in a view this wide. Basically, excluding fisheye lenses, the Canon EF 11-24mm f/4L USM Lens or one of the three Sigma variants including the latest, the Sigma 12-24mm f/4 DG HSM Art Lens are your choices.
 
With the senate recessed for the holiday, I made a visit to this location to give the Sigma 12-24 Art a workout. The angle of views afforded by this lens are a blast to use and with the widest, I was able to capture a great deal of the French Renaissance architecture in the senate chamber.
 
While the 12mm angle of view was great to have, the bright lights were a bit of a problem from an exposure standpoint. But, they were very beautiful and I wanted to see some of the detail in them. Thus, an HDR technique was needed.
 
The primary image was captured at 2.5 seconds with a second image captured at .4 seconds (2 2/3 stops darker) to retain some of the detail in the lights. It can be very challenging to composite two images captured at such drastically different brightness while retaining a natural appearance, but here is a technique that proves rather easy.
 
First, stack the two images in Photoshop with the brighter image on top. Then add a layer mask to the top layer and select the layer mask. Select the brush tool, select black as the color and reduce the opacity to something low, such as 10%. Select a brush size appropriate for the area that needs detail added (areas too bright in the original exposure) and adjust the brush hardness as desired (softer may be better in this situation). Then paint the blown areas until just the right amount of detail shows through. The process is easy and the results appear natural.
 
When photographing a symmetrical scene such as this one, it is usually desirable to have the scene perfectly centered in the frame (for perfect balance) and to have the camera perfectly centered in the room (to avoid perspective-caused converging horizontal lines) and horizontally level (to keep horizontal lines parallel to the frame borders). As you can figure out from the resulting image dimensions, I cropped this image very slightly from the top left to perfect my capture. Note that no distortion correction was used. Even at 12mm, this lens is a good performer in this regard.

A larger version of this image is available on BryanCarnathan.com, Flickr, Google+, Facebook and 500px. If reading from a news feed reader, click through to see the framed image. If you find these tips useful, please share them in your circle of friends!

My favorite wildlife subject lighting comes from a low-in-the-sky sun behind me, but ... wildlife is not always (not often?) cooperative. In this case, the elk was in the shade while the incredibly-colorful background remained in direct sunlight of a setting sun.
 
When the subject is in the shade and the background is in direct sunlight, you are most likely going to have a different white balance for each. Usually, the sunlit background will be warmer in color than the shaded subject. However, that is a difference I sometimes welcome. Adjust the overall white balance for the subject and the background becomes especially warm/golden. This is often an ideal situation for fall foliage, making the colors especially vibrant.
 
For this image, I used an exposure that pushed the red channel nearly against the right side of the histogram (nearly R=255) and let the rest of the image fall where it may. I initially thought I would have a complete silhouette (totally black elk), but there was plenty of light remaining in the shade to work with. While I could have very significantly increased the brightness of the elk in this photo (and did use a +3 shadow adjustment), I chose to keep the animal dark to emphasize the outline.
 
A mature bull elk with a set of headgear this big is ... really big. Creating a very strong background blur while including most of or the entire animal in the frame requires a large sensor camera, a long telephoto lens and a wide aperture. The Canon EOS 5Ds R and EF 600mm f/4L IS II USM Lens at f/4 created what you see here.

A larger version of this image is available on SmugMug, Flickr, Google+, Facebook and 500px. If reading from a news feed reader, click through to see the framed image.

Wildlife photographers can spend many days or weeks working with the same subject at the same location and, due to ever-changing behaviors of their subjects, they can continuously capture unique images. Sports photographers have unique action at every game/meet/match/race/etc. at the same field/track/event location. Street photographer are always finding new entertainment at the same locations. Wedding, event and portrait photographers have a steady stream of new subjects coming through the same locations. But you, landscape (and cityscape) photographer, usually find the same subjects in the same positions each time you go back. However, you still have reasons for going back.
 
Basically, you most often go back in hopes that something might be different this time.
 
Perhaps you didn't get it right the first time. You didn't provide adequate depth of field or didn't focus to the right distance to keep everything in the image sharp. Or, perhaps you want to use a wider aperture lens to better define the primary subject. Perhaps the focal choice was not ideal and part of the scene was cropped too tightly. Maybe you were too close or too far away and didn't get the ideal perspective. You want to move up/down, left/right or closer/farther to get it right the next time.
 
You now have better skills. Closely aligned with getting it right this time are your improved photography skills. You are now better at reading a scene and better able to select the composition, perhaps including a foreground element or better aligning the background within the foreground framing.
 
You go back to work on your creativity. The more bored you become with photographing a scene, the more likely you are going to find a creative new way to photograph it.
 
You go back because you have better gear. While we sometimes think that camera and lens technology is not moving forward fast enough, what is available today is far better than what was available not long ago. Taking your new camera(s) and lens(es) to a past-visited favorite location is an easy recipe for bettering your portfolio. Your higher resolution, lower noise camera and sharper lens will create results that look better, especially at high resolution. Taking a circular polarizer filter, a neutral density filter, etc. that you did not originally have can make a huge difference in your repeat visit results.
 
You go back in hopes for better weather conditions. You hope for better skies, a better sunrise, a better sunset, better clouds, more/less fog, less (or possibly more) wind, warmer light, etc. Everyone loves a fiery sunrise or sunset and those don't happen every day – you might need to go back repeatedly to find these. Fog? Some locations have it with some regularity, but many others have it only occasionally.
 
You go back because the timing is different or better. You may have better water flow, creating better waterfalls that give images a completely different look, one well worth the effort of a revisit. The seasons of the year provide a very different look to many locations. Spring brings bright green foliage and (usually) good water flow. Summer brings darker foliage and warmer weather (required for the snow to melt enough to access some areas). Late summer and fall brings amazing color to the trees in many areas. Winter brings snow, completely redecorating the landscape.
 
The timing of the visit also dictates the position of the celestial bodies. Go back when the sun, moon and/or stars (the milky way) are better aligned. Perhaps the sun shines between two mountain peaks at a certain time of the year. Perhaps you want to go back when the milky way is best aligned over a scene. The same applies to the moon with a specific desired phase and position.
 
Perhaps the scene has indeed changed and is no longer physically the same. While there are not usually macro changes occurring to landscape without a significant environmental disaster (such as a tornado, hurricane, fire, etc.), micro changes frequently happen. Trees fall, erosion occurs, sediment moves in streams during strong flows and fields have a different crop in rotation. If the scene is significantly altered, new images will be more current than those taken before the alteration. Before and after photos may be valued in this case.
 
Sometimes, you go back just because things can happen. Wildlife showing up can add a prize-winning element to any image.
 
If you are considering going back, the location is probably amazing and somewhere you love to be. That alone is a great reason to go back as just being there is awesome. There is no reason why the same location cannot be enjoyed time and time again. If you like the location that much, perhaps you want to share it with a friend or friends.
 
You go back because the location is a known entity. You know that it is repeatedly good for a quality image – an image worth sharing is sure to come out of the effort.
 
You go back for practice. If the location is relatively close to home, visiting the location to practice skills and technique prior to a big photo trip is a great idea. Unlike riding a bike, more like distance running, photography requires practice to stay in top shape. It also affords the opportunity to test the camera gear that will accompany you on the trip.
 
Again, a primary reason to go back is that something might be different this time and the reason that different is desirable is for, minimally, variation and, ideally, for bettering. Photographers are constantly striving to better what we have already done, to raise the bar, to take another step forward in our passion/profession.
 
The previous time I visited Oxbow Bend, Grand Teton National Park, was convenient, but not so well-timed for photography. It was mid-summer (not bad in itself). The sun was high and the leaves were green. The sky was forest fire-hazy. While my cameras and lenses were the best-available at the time, they were not as good as those I'm using today. While I was happy with my results at the time, they do not hold nearly as much value to me from a photographical perspective now.
 
Late this past year, I was blessed with a revisit to this very photogenic location. And, the results from my revisit were much higher grade in many accounts. Though I'm missing the moose that was in my first set of images (it was so small in the frame that I didn't know it was even there until reviewing the images back at home), but my late summer (photographer's fall in this location), early morning timing for the second visit to Oxbow Bend combined with my now-current camera gear and 9-year-upgraded skillset turned in much better results this time around. I'm sharing one of my favorites with you today.

What about you? Where do you want to revisit and why?

A larger version of this image is available on SmugMug, Flickr, Google+, Facebook and 500px. If reading from a news feed reader, click through to see the framed image.

Wildlife photographers can spend many days or weeks working with the same subject at the same location and, due to ever-changing behaviors of their subjects, they can continuously capture unique images. Sports photographers have unique action at every game/meet/match/race/etc. at the same field/track/event location. Street photographer are always finding new entertainment at the same locations. Wedding, event and portrait photographers have a steady stream of new subjects coming through the same locations. But you, landscape (and cityscape) photographer, usually find the same subjects in the same positions each time you go back. However, you still have reasons for going back.
 
Basically, you most often go back in hopes that something might be different this time.
 
Perhaps you didn't get it right the first time. You didn't provide adequate depth of field or didn't focus to the right distance to keep everything in the image sharp. Or, perhaps you want to use a wider aperture lens to better define the primary subject. Perhaps the focal choice was not ideal and part of the scene was cropped too tightly. Maybe you were too close or too far away and didn't get the ideal perspective. You want to move up/down, left/right or closer/farther to get it right the next time.
 
You now have better skills. Closely aligned with getting it right this time are your improved photography skills. You are now better at reading a scene and better able to select the composition, perhaps including a foreground element or better aligning the background within the foreground framing.
 
You go back to work on your creativity. The more bored you become with photographing a scene, the more likely you are going to find a creative new way to photograph it.
 
You go back because you have better gear. While we sometimes think that camera and lens technology is not moving forward fast enough, what is available today is far better than what was available not long ago. Taking your new camera(s) and lens(es) to a past-visited favorite location is an easy recipe for bettering your portfolio. Your higher resolution, lower noise camera and sharper lens will create results that look better, especially at high resolution. Taking a circular polarizer filter, a neutral density filter, etc. that you did not originally have can make a huge difference in your repeat visit results.
 
You go back in hopes for better weather conditions. You hope for better skies, a better sunrise, a better sunset, better clouds, more/less fog, less (or possibly more) wind, warmer light, etc. Everyone loves a fiery sunrise or sunset and those don't happen every day – you might need to go back repeatedly to find these. Fog? Some locations have it with some regularity, but many others have it only occasionally.
 
You go back because the timing is different or better. You may have better water flow, creating better waterfalls that give images a completely different look, one well worth the effort of a revisit. The seasons of the year provide a very different look to many locations. Spring brings bright green foliage and (usually) good water flow. Summer brings darker foliage and warmer weather (required for the snow to melt enough to access some areas). Late summer and fall brings amazing color to the trees in many areas. Winter brings snow, completely redecorating the landscape.
 
The timing of the visit also dictates the position of the celestial bodies. Go back when the sun, moon and/or stars (the milky way) are better aligned. Perhaps the sun shines between two mountain peaks at a certain time of the year. Perhaps you want to go back when the milky way is best aligned over a scene. The same applies to the moon with a specific desired phase and position.
 
Perhaps the scene has indeed changed and is no longer physically the same. While there are not usually macro changes occurring to landscape without a significant environmental disaster (such as a tornado, hurricane, fire, etc.), micro changes frequently happen. Trees fall, erosion occurs, sediment moves in streams during strong flows and fields have a different crop in rotation. If the scene is significantly altered, new images will be more current than those taken before the alteration. Before and after photos may be valued in this case.
 
Sometimes, you go back just because things can happen. Wildlife showing up can add a prize-winning element to any image.
 
If you are considering going back, the location is probably amazing and somewhere you love to be. That alone is a great reason to go back as just being there is awesome. There is no reason why the same location cannot be enjoyed time and time again. If you like the location that much, perhaps you want to share it with a friend or friends.
 
You go back because the location is a known entity. You know that it is repeatedly good for a quality image – an image worth sharing is sure to come out of the effort.
 
You go back for practice. If the location is relatively close to home, visiting the location to practice skills and technique prior to a big photo trip is a great idea. Unlike riding a bike, more like distance running, photography requires practice to stay in top shape. It also affords the opportunity to test the camera gear that will accompany you on the trip.
 
Again, a primary reason to go back is that something might be different this time and the reason that different is desirable is for, minimally, variation and, ideally, for bettering. Photographers are constantly striving to better what we have already done, to raise the bar, to take another step forward in our passion/profession.
 
The previous time I visited Oxbow Bend, Grand Teton National Park, was convenient, but not so well-timed for photography. It was mid-summer (not bad in itself). The sun was high and the leaves were green. The sky was forest fire-hazy. While my cameras and lenses were the best-available at the time, they were not as good as those I'm using today. I was happy with my results at the time, but they do not hold nearly as much value to me from a photographical perspective now.
 
Recently, I was blessed with a revisit to this very photogenic location. And, the results from my revisit were much higher grade in many accounts. Though I'm missing the moose that was in my first set of images (it was so small in the frame that I didn't know it was even there until reviewing the images back at home), but my late summer (photographer's fall in this location), early morning timing for the second visit to Oxbow Bend combined with my now-current camera gear and 9-year-upgraded skillset turned in much better results this time around. I'm sharing one of my favorites with you today.

A larger version of this image is available on SmugMug, Flickr, Google+, Facebook and 500px. If reading from a news feed reader, click through to see the framed image.

You have 20 minutes to capture a complete set of homecoming pictures. And, there is a complication. Actually, three of them. A palomino horse, a blue roan (black) horse and a dog are to be included in most of the photos. And, one of the horses "needs" to be bridal-less for a segment of the shoot.
 
It was a crazy day (I know, that is not unusual), but high on one daughter's priority list was getting pictures of herself dressed up for homecoming. Having been through this scenario before, I knew what to expect. Primarily, there would be no time remaining for those pictures. I also knew about the desire to include the animals, but the specifics had not yet been communicated to me (even though I had asked).
 
Oh, I forgot to mention – it was lightly raining and with horses involved, the shoot was of course outdoors. Looking on the bright side, the heavy cloud cover made lighting easy with no harsh shadows and a reasonable level of dynamic range in the scene which included a black dress along with the black horse. Also positive is that with animals in the picture, the subject always seems to find it easier to smile naturally.
 
None of the subjects remained completely still at any point, meaning that my timing, framing, focus distance, etc. was always being challenged. In the end, I "borrowed" 10 minutes from the next-scheduled homecoming event and came away with an adequate number of keeper-grade photos. And, I thought that I would share one of them with you today.
 
For low light outdoor portraits with a variety of subject framing required, the Canon EF 70-200mm f/2.8L IS II USM Lens was my choice. It was a rather easy choice for me to make. It has only good portrait focal lengths in it and a nice range of them. The wide max aperture was ready for the low light levels and that this wide aperture was available over the entire focal length range, meant that I could lock in an exposure and, as long as the light levels did not change, all images would have identical brightness. While a right-on exposure was my intent, any adjustments needed could be globally applied for very fast post processing. The wide aperture combined with the telephoto focal length range created a nice background blur, making the subjects stand out in the scene. Being weather sealed made the light rain a non-issue. The Canon EOS 5Ds R behind this lens allowed me to shoot with framing slightly loose if I needed to, with cropped images still having very high resolution remaining.
 
As the animals were not overly cooperative, I tried to work with the positions that were available at any given time. Of course, the handler's position was partially dictated by the animal's position and ... there was a constant challenge to keep the subjects in attractive and complementary positions while keeping the background aligned in a pleasing manner. We didn't quite get the left hand position right, but all things considered, it was good enough.
 
Notice the low-to-the-ground camera position? There had been a long drought and the grass was thin with lots of brown spots showing. By shooting from low to the ground, the grass appeared thicker with a better-colored foreground being the result. As I was shooting downhill slightly, the low camera position was also complementary to the subjects.
 
After we finished, Brittany's hair was flat (due to the light rain), over two inches of her heels were covered in mud (shoes sunk into the grass) and the dress was dirty (the horse gets the blame for this one), but ... she made it to the big event and the photos I sent her later that evening made her day. So, all was good in the end.

A larger version of this image is available on Flickr, Google+, Facebook and 500px. If reading from a news feed reader, click through to see the framed image.

There are few churches with a view comparable to that from The Chapel of the Transfiguration in Grand Teton National Park. I'm thinking that this view would be a strong distraction from the sermon.
 
The next time you visit Grand Teton National Park, make sure that The Chapel of the Transfiguration is on your to-photograph list. It is as attractive outside as it is inside. Morning is the best time of the day to photograph at this location as the tall mountains go dark when the sun sets behind them. A visit timed for the right week (late September) results in brilliantly colored aspen trees for the mid-ground layer of interest (though the aspens are only barely visible in this image).
 
Obviously, I went inside to capture this photo. My goal was to see the mountains through the window while capturing most of the interior of this little log-constructed church. My preference was to see the mountain peaks in the window and this meant a low shooting position at the back of the sanctuary was required. That position seemed to work well for the rest of the scene, so I went with it.
 
Though a steady stream of people were coming through the little church, there were enough breaks that patiently waiting was all that was needed to capture a wide range of exposures. Because the dynamic range was extreme, the wide range of exposures were required. I later used a manual HDR technique to composite several of those images into a balanced final result.
 
The Canon EOS 5Ds R and EF 16-35mm f/4L IS USM Lens were the perfect combination for this photo.

A larger version of this image is available on SmugMug, Flickr, Google+, Facebook and 500px. If reading from a news feed reader, click through to see the framed image.

My day trip to Ricketts Glen was carefully planned. A pair of calls to the park office gave me redundant information. Both individuals indicated that the leaves in the falls ravines were going to be peak and one said that the water flow was good (that was necessary for waterfalls of course). This information aligned perfectly with the weather forecast calling for very light wind (enabling flora to remain still for long exposures), heavy cloud cover (keeps lighting low and free of harsh shadows) and light rain likely throughout the day (keeps the crowds at home, out of the frame and provides saturated colors).
 
After driving 1.5 hours in the fog, I arrived to find ... no wind. The leaves were indeed peak, but they were peak at the top of the mountain – not down in the deep falls ravines. The fog cleared to a mostly sunny sky and my opinion of a good water flow differs greatly from the person I talked to.
 
Fortunately, there are always great photo opportunities in this park. And, after photographing in the early morning shade for over an hour, the clouds eventually came and were present for a number of hours, creating good light.
 
Especially high up in the falls trails, there were some good leaves, but ... many of them were on the ground. However, the ground can be a great place to photograph leaves, especially when they are wet from a stream they have fallen into or nearby. During the fall, especially late in the local fall foliage season, look for colorful leaves on the ground that can be worked into an image.
 
Don't forget to use a circular polarizer filter to reduce glare and increase saturation of these leaves. The Canon EF 16-35mm f/2.8L III USM Lens was the only lens I used this day. I didn't need a focal length that it didn't contain and the image quality coming from this lens is very impressive.

Fall, my favorite photography season, has just arrived in the northern hemisphere. Just as photographers consider the bookmarks of daylight to be the golden hours, I have a set of golden weeks of the year, bookmarking the leaf season. The beautiful bright light green new foliage (and abundant water flow) of late spring marks one of them. The other is marked by the changing leaf color of late summer/early fall and this one is easily my favorite.

Read our Fall Photography Tips for ideas and inspiration, select a great location, pack some great gear and go capture some portfolio-grade imagery! Whether that foliage is the primary subject or a backdrop to another subject, we are in the golden weeks.

A larger version of this image is available on SmugMug, Flickr, Google+, Facebook and 500px. If reading from a news feed reader, click through to see the framed image. If you find these tips useful, please share them in your circle of friends!

There are few landscape photography locations more popular than Oxbow Bend, near Moran in Grand Teton National Park. This location is especially favored during the week or two in late summer when the aspen trees take on their brilliant fall colors. However, on a calm morning with interesting clouds in the sky, those colors are just icing on the cake.
 
When the wind dies down, most often early and late in the day, the Oxbow Bend area of the Snake River becomes glassy and only the jumping fish and feeding ducks remain to mar the mirror-like surface of the water. The highlight of this location is Mount Moran along with the other nearby mountain peaks and a telephoto lens best emphasizes distant mountains. I took a few telephoto pics here, but ... I couldn't resist framing the scene wider, including the reflections of the photogenic clouds present on this great morning.
 
I always say that a great landscape scene can be made greater by reflecting it and I think this theory holds true at Oxbow Bend. Within this theory, vertically centering the top edge of a large reflecting surface (such as a body of water) usually works very well.
 
Even though there are many dozens of photographers targeting Oxbow Bend at sunrise, there is plenty of room for everyone to find a good shooting location. Schedule your presence here for mid-late September (this image was captured on the 19th) if you want the yellow aspens in your frame.

I'll likely feel compelled to share a few more images captured at this location on this morning.

A larger version of this image is available on SmugMug, Flickr, Google+, Facebook and 500px. If reading from a news feed reader, click through to see the framed image.

Pronghorn were on my to-photograph list for my time in Grand Teton National Park and I had some success in this pursuit.
 
Upon arriving at the park, I made a scouting drive around the main loop and then drove through Antelope Flats where a large heard of bison roams and pronghorn are frequently found. In this last section of the drive, a line of short trees in brilliant red and orange fall colors caught my attention. I made a mental note about working these trees into an image, perhaps as a background to a bison or pronghorn portrait.
 
The next morning, the buck pictured here and I spent some quality time together. It didn't care that I was there and I was mostly moving away from it to maintain my distance. The pronghorn was walking and feeding in what appeared to be a random route. After about 30 minutes and over a mile covered, this buck crossed the road and unbelievably walked right up into the beautiful red and orange trees I had been admiring. I was of course seeing what could unfold in front of me and made sure that I was in place to capture the visualized image.
 
Pronghorn are most typically seen with grass and sage surroundings, so capturing one in front of fall foliage was unique for me.
 
The Canon EOS 5D Mark IV performed splendidly behind the EF 600mm f/4L IS II USM Lens and another favorite image joined my collection.
 
The 5D IV's increased resolution over the 5D III was appreciated in this situation. While the entire frame looked nice, I decided that modest cropping would greater-emphasize the beautifully colored animal.
 
I very much appreciated the 5D IV's fast 7 fps high speed continuous frame rate as I was able to select an image with both good body position and good alignment with the background. The animal was in constant motion, so AI Servo AF mode was selected with a single point selected and held on the eye or base of the horns. I rapidly changed the selected AF point to match the animal's current position (this is often a challenge).
 
With heavy cloud cover yielding a varying amount of light, a relatively neutral-brightness subject/scene and my focus being on getting a well-framed shot, I gave the camera the job of determining the brightness. Although I utilized the camera's AE capabilities, I still used manual mode so that I could choose the aperture (wide open f/4 for maximum light and background blur) and shutter speed (I adjusted this as needed to keep the subject sharp). The Auto ISO setting took care of the brightness (I adjusted this image +.13 EV in post).
 
Note that I was using a monopod instead of a tripod in this situation due to the faster setup and height adjustment it afforded as I worked fast while maintaining good position with the pronghorn. The downside of this strategy was the challenge of keeping the animal in the frame due to very strong winds I was shooting in. This large lens catches a lot of wind.
 
A tripod would have better kept the lens in place and made the job easier (if I could have set it up in time). However, this better support would not have resolved the issue as the tripod head would not have been tightened due to the animal being in constant motion and the wind would have remained an issue. Removing the large lens hood could have helped greatly, but I was shooting in rain some of the time and even the huge hood was not deep enough to keep all of the rain off of the front lens element.
 
Grand Teton National Park is a very popular photo destination – for more than one good reason. The wildlife is one of those reasons and I was able to check off the pronghorn line item on my to-photograph list during this trip.

A larger version of this image is available on SmugMug, Flickr, Google+, Facebook, 500px and Instagram. If reading from a news feed reader, click through to see the framed image.

Wildlife is unpredictable – and too often lives up to the "wild" in its name. Getting warm light from a very late day sun to hit an animal directly from behind your back (shadow pointed to the subject) with a good background is challenging. Having the animal be an incredibly-large bull elk and the background be maple trees in peak red fall color definitely increases the image value to me. Having the broadside bull scratch itself with its antlers, aligning the shoulders within a green portion of the background, the antlers within the glowing red section of tree and the head in front of the brightest background (high contrast draws the viewer's eye) was more than I thought to pray for.
 
This huge 9x8 bull elk had been bedded in the sage and grass. The sun was setting rapidly and while I captured many images of the head and antlers rising above the obstructions, I really wanted a full (or nearly full) body image in this setting. Fortunately, that happened. I was in a great position when the elk stood up. However, the bull's head, looking forward, was in the shade of trees on the horizon behind me. The back scratch was precisely what I needed to leave only the legs in the shadows, completing the image.
 
While I prefer to use completely manual settings, the light falling on the subjects was changing frequently and the shots were often being captured in haste. So, I opted to use manual mode with Auto ISO for much of my elk photography on this trip. The color of the elk bodies and their environment was neutral enough in brightness that, at most, only a small amount of exposure compensation was needed. In this case, I exposed this image 1/2 stop brighter than needed. The 5Ds R did not have any trouble recovering the red channel pixels that exceeded a 255 RGB value. This brightness adjustment left just a tiny patch of red pixels retaining 255 values, though even more headroom is available.
 
Based on the movement of the elk at the time of capture, ranging from standing (often looking at me) to running away, this exposure method meant that I could simply roll the top dial to select the shutter speed I needed for the scenario (to keep the image sharp) while keeping the ISO as low as possible. If only one elk was in the frame, the aperture was nearly always intended to be set at f/4, so don't read anything into my f/4.5 actually used aperture for this image. I must have inadvertently (sounds much better than "user error") adjusted the rear control dial at some point during the action. Bull elk are huge and at the distance required to keep the entire elk in the frame, f/4 was still not shallow enough to completely erase the background in most scenarios encountered.
 
The 600 f/4 is a large and heavy lens. Using it without support is asking for a shoulder injury. While a tripod with a gimbal head is the ideal support for this lens, I find a strong monopod (with twist-locks for quietness) to be much faster to setup and adjust. This speed is very important for positioning in wildlife photography as the subject seldom stays in place for very long. Setting up fast and quietly can mean the difference between getting a great shot and getting no shot.
 
As you may have guessed, I have recently returned from a photography trip. This one was a 10-day wildlife and landscape adventure to Idaho and Wyoming. As usual, the trip was exhausting but amazing. The in-the-field experience is not only great fun, but also extremely important in fully understanding how gear works in the situations it is designed to be used in.
 
This trip featured the new Canon EOS 5D Mark IV DSLR camera that arrived just prior to my leaving. I rotated the 5D IV and a pair of Canon EOS 5Ds R bodies between the primary lenses I was using at the time, namely the EF 100-400mm L IS II and EF 600mm L IS II for elk and other wildlife. The 5Ds R happened to be behind the 600 on this day and the resulting image is incredibly detailed, but I would not have been disappointed to have had the 5D IV behind this lens at this time. It too is a great camera. My 5D IV is quickly approaching 10k frames and completion of its review remains a very high priority.

Question: Would you like this image better in a square/1:1 aspect ratio?

A larger version of this image is available on SmugMug, Flickr, Google+, Facebook, 500px and Instagram. If reading from a news feed reader, click through to see the framed image.

Lake Louise, referred to as the "Jewel of Banff National Park" is high on most of the park visitors' must-see lists. Fortunately, for many at least, is that it is easily accessible including large parking lots just a short walk away. Unfortunately, it is so popular that these lots fill up early and the easy-to-access side of the lake becomes very crowded even early in the day.
 
Photographing this lake wasn't my highest priority, but I did want some decent photos of it. After spending the early morning at Moraine Lake, I headed over to Lake Louise at roughly 8:30 AM. While there were plenty of people here already, the crowd was considerably thinner than later times of the day (the icy boardwalk also helped thin the summer crowd). The crowd was thin enough that I was able to capture a clear view of the foreground rocks and the glacier-fed lake still looked like glass (prior to the lake filling with canoes and the wind picking up). The beautiful mountains reflected where the lake was shaded and a glowing turquoise color showed where the lake was directly illuminated by the sun.
 
While I captured a variety of images, I found the round rocks at the edge of the lake to make a nice foreground and selected a red-toned rock as the standout. Once again, the 11mm field of view proved very useful.
 
Note that this is an HDR image.

A larger version of this image is available on SmugMug, Flickr, Google+, Facebook, 500px and Instagram. If reading from a news feed reader, click through to see the framed image.