As soon as a Great Blue Heron flew into the space shared by the Woodstork and the Anhinga, tensions rose. The Woodstork had enough, and sent a clear message to the Anhinga, “Back off. I need some space!”
The Woodstork and the Anhinga got along really well on the lakeside… until they didn’t.
December greetings! I’m back in Florida with my camera pointed at the wildlife and tropical landscape. On a recent morning, I spotted this Woodstork and Anhinga foraging along the water’s edge, and I watched for awhile to observe their interactions.
The Woodstork yawned, and I wondered if birds (like dogs) yawn to express anxiety. My imagination is often thinking like a storyteller, and these words came to my mind: “And the Woodstork said to the Anhinga…” I wondered what he would have said?
Last year at this time, I was looking forward to a couple’s trip to Sedona, Arizona. While I have only been there four times in my life, Sedona is one of my favorite places. I just love to hike there and admire the ever-changing views of the sunlight on the red rock. Catching a glimpse of Oak Creek at the same time makes me feel even more serene and balanced.
I have included this image in my Landscape Photography calendar for 2021. These calendars will be available soon for holiday gift giving. Send me a message if you are interested in buying one, and I will reserve one for you.
Walking the neighborhood on a perfect autumn afternoon, I spotted ferns leaning over an old split-rail fence. The fern was fresh, while the wood was rotting. How would this scene appear in an infrared image?
Having converted a Sony mirrorless camera (a6300) to “Infared and SuperColor,” I’m now learning how to process these odd images. When you capture an image with infared light and visible light only 590 nanometers and up, you get some unique color effects, so you need to adjust white balance, swap blue and red, set white and black points, adjust the tonality of each color and adjust hue and saturation. While that sounds like a ridiculous amount of work, the process becomes interesting because you learn about what each individual color (red, green and blue) is doing and how each individual color looks as it interacts with the others.
While you may or may not find that color study interesting, you will probably like the creative possibilities in the different results one can achieve. Here are some examples:
Sitting on the ground beside the garden wall, I noticed some purple plants reaching upwards and the pink ones reaching out. In the gap, I noticed the short garden wall. What I had was a squirrel’s eye view.
While admiring the flowers’ vibrant colors, I thought about gratitude.
This white Cleome stands out so beautifully in Erika’s garden. I love the delicacy of this flower and also how tall, complex and balanced it looks. If someone described me this way, I would be happy.
When I was making this photograph, I looked for a simple background, so the Cleome would take center stage. I think the yellow coneflowers, shown out of focus in the background do a nice job as “best supporting actors.”
I nudged myself to get out in the backyard and experiment with some flower photography today. Summer 2020 should be the summer of experimentation, right? I played with long exposures and spinning the camera while pressing the shutter. My favorite image was this one of my hydrangea plant that preserved the outlines of the leaves.
If you want to try this method, you need to set the camera to manual and dial in a long exposure like a third of a second. To achieve a correct exposure, you will need to stop down the lens (to perhaps f/11 or f/16), and set a low ISO (such as 100). The settings will vary for you based on the available light. Focusing is still important. Once you have achieved a good exposure with shutter speed, aperture and ISO, it’s time to play.
Looking through my archives for color photographs that would make a satisfying black and white image made me realize that “seeing in black and white” will make me a better photographer. Any consistently successful photographer will pre-visualize the image before image capture. For starters, one evaluates dynamic range, depth of field, light quality, composition, timing of the action and whether the subject is meaningful.
To choose a good subject for black and white photography there are more factors to evaluate: tonal range and contrast, simplicity, shape, texture, interest. I like my black and white images to be strong. The image has to be eye catching and hold the viewer’s interest without the help of color. I admit, I’m a photographer who loves color, so this challenge is fun for me!
This photograph of a mother Bison and her calf grazing on top of the hillside made the cut for a color to black and white candidate. In my judgement, it has simplicity, large repeating shapes, texture in the fur, wide tonal range and plenty of interest — from the unusual wildlife sighting to the eye contact and tongue in mid-air.