Outdoor Photographer - September 2022

SUPER-TELE PRIMES: NIKON’S COMPACT NEW 400MM SCENIC WILDLIFE TRAVEL SPORTS AUTUMN LANDSCAPES COMPOSE DETAILED Forest Scenes FALL FOLIAGE Close-Ups CREATE A Seasonal Portfolio OUTDOORPHOTOGRAPHER.COM WHEN TO USE B&W FOR FALL PHOTOS SEPTEMBER 2022



CONTENTS VOL. 38 NO. 7 | SEPTEMBER 2022 FEATURES 20 ORDER FROM CHAOS Insights for composing the intricate details of the autumn forest Text & Photography By Steven Friedman 30 DIVERSIFY YOUR FALL PORTFOLIO 10 tips to explore a variety of perspectives that cap- ture the season Text & Photography By Kurt Budliger 40 AUTUMN IN BLACK & WHITE Color photography is the obvious choice for fall foliage, but monochrome may be a more interesting interpretation for some scenes Text & Photography By QT Luong 50 THINKING SMALL Beyond the obvious grand vistas, learn to see more intimate scenes for endless creative possibilities Text & Photography By Eric Bennett PHOTOGRAPH BY ERIC BENNETT

30 COLUMNS TOP IMAGE: KURT BUDLIGER; BOTTOM IMAGE: AMY GULICK 16 16 THE BIG PICTURE Time in nature reveals 2 Outdoor Photographer outdoorphotographer.com forgotten truths Text & Photography By Amy Gulick DEPARTMENTS 4 COVER SHOT 7 IN THIS ISSUE 8 SHOWCASE 10 NEW GEAR & TECH 18 FAVORITE PLACES 60 CLASSES, TOURS & WORKSHOPS 10 62 BEHIND THE SHOT 64 LAST FRAME

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cover shot BE Photographer: Kurt Budliger outdoorphotographer.com INFORMED. Location: Green Mountains, Vermont Equipment: Nikon D850, AF-S NIK- OPERATIONS Sign up for the Imaging KOR 70-200mm f/4G ED VR Cheyenne Corliss Resource Newsletter for Situation: As a photography work- Operations Director shop leader and educator, I’m always in-depth coverage, encouraging my students to find new Tou Zong Her testing and reviews on perspectives—especially in popular and Senior Client Services & Media Analyst the newest cameras, often-photographed locations. Darren Cormier lenses and more. This is one of the most popular water- Client Services Associate inform falls in New England, and I’ve been pho- tographing it for well over 20 years since Amanda Joyce encourage moving to Vermont in 1999. I’ve made Accounting Director inspire images from every conceivable angle in an attempt to create something unique. Tina McDermott Sign up for free today at: Accounts Payable Associate imaging-resource.com/newsletter On this day, everything came together. I found myself with perfect conditions Wayne Tuggle to make the image I’d been envision- Accounts Receivable Associate ing for the past few years: soft overcast light, zero wind, optimal water flows and DIGITAL OPERATIONS peak autumn color in the surrounding Ryan Gillis yellow birches. During prior visits, the birches on either side of the waterfall Audience Development Analyst had not looked very pretty. Rather than Mike Decker turning the bright yellow you see pictured here, the leaves dried up and fell a bit Senior Digital Designer prematurely. David Glassman I knew I wanted a fresh and somewhat WordPress Developer elevated perspective on the falls, so I bushwhacked up the opposite side of the EXECUTIVE steep ravine where the falls are located. I Jeffrey C. Wolk used a 70-200mm lens at approximately Chairman & Chief Executive Officer 100mm to frame and isolate the cascade Courtney Whitaker between the surrounding trees. The tele- Chief Operating Officer photo perspective also compressed the Jason Pomerantz scene, further accentuating the frame of VP, Consumer Marketing bright yellow leaves. Matt Martinelli Content Director – Kurt Budliger NEWSSTAND DISTRIBUTION Weekly Retail Service In memory of Susan Fitzgerald, COO, 1966-2018 Corporate Headquarters Madavor Media, LLC 35 Braintree Hill Office Park Suite 101 Braintree, MA | 02184

outdoorphotographer.com Wes Pitts ART & PRODUCTION Editorial Director Scott Brandsgaard Senior Designer Kristan Ashworth Managing Editor SALES & MARKETING (617) 706-9110, Fax (617) 536-0102 George D. Lepp Field Editor Ed Feldman Director of Media Solutions COLUMNISTS Melissa Groo Bob Meth Amy Gulick Media Solutions Manager Dewitt Jones Ken Kaminesky [email protected] George D. Lepp William Neill Genny Breslin Media Solutions Manager CONTRIBUTING EDITORS Jason Bradley [email protected] Josh Miller Glenn Randall Andrea Palli Media Solutions Associate William Sawalich [email protected] PROFESSIONAL ADVISORS Michael Forsberg Client Services James Kay [email protected] Robert Glenn Ketchum Tommy Goodale Marc Muench Marketing Director Susan Norton Carly Noyce Dave Showalter Marketing Associate Chris Steppig Jaime Sweeney Marketing Associate Anthony Buzzeo SEO & Content Marketing Supervisor Patricia Gary Content Marketing Associate For information about available usages, license fees and award seals, contact Wright’s Media at [email protected]. PRINTED IN THE U.S.A. 2021 CAMERA OF THE YEAR Outdoor Photographer (ISSN: 0890-5304) – Vol. 38 No. 6 – is published monthly except bimonthly Jan./Feb., June/ July and Oct./Nov. by Madavor Media, LLC. Executive, editorial and advertising offices: 35 Braintree Hill Office Park, 2021 Suite 101, Braintree, MA 02184, 1-800-437-5828. Periodicals Postage Paid at Boston, MA, and additional mailing POP PHOTO offices. Single copy price—$7.99. Annual subscription in U.S., Possessions, APO/FPO—$15.97. Canada—$25.97; CAMERA of the YEAR other foreign—$30.97, including postage and taxes. Payable in U.S. funds. For orders, address changes and all other customer service, phone toll-free (800) 283-4410. Outside US: 760-496-7575. POSTMASTER: Send ALPHAUNIVERSE.COM/OP address changes to Outdoor Photographer, PO Box 460700, Escondido, CA 92046. OutdoorPhotographer@ pcspublink.com. Canada Post Publications Mail Class Agreement No. 1559788. Email us (editorial matters only) ©2022 Sony Electronics Inc. All rights reserved. Reproduction in [email protected] or visit our website at www.outdoorphotographer.com. Copyright ©2022 by whole or in part without written permission is prohibited. Madavor Media, LLC. No material may be reproduced without written permission. This publication is purchased with the understanding that information presented is from many sources for which there can be no warranty or responsibility by the publisher as to accuracy, originality or completeness. It is sold with the understanding that the publisher is not engaged in rendering product endorsements or providing instruction as a substitute for appropriate training by qualified sources. EDITORIAL SUBMISSIONS: Outdoor Photographer assumes no responsibility for solicited or unsolicited contributions and materials. We do not accept original transparencies or negatives. Otherwise, insurance for such materials, in transit or in our possession, must be the responsibility of the writer or photographer. Outdoor Photographer does not accept or agree to the conditions and stipulations printed on delivery memos, packing slips and related correspondence as they are presented without prior notice accompanying submission materials. Exceptions to this disclaimer of liability on the part of Outdoor Photographer must be prearranged, executed in writing and signed by both parties prior to the shipment of materials in question. All submissions must be accompanied by a self- addressed, stamped envelope (SASE) with sufficient postage to cover the cost of return. The class of mail and insurance coverage for returns will be determined by the amount provided for on the SASE. SUBSCRIBERS: Any obligation we owe to you, including delivery of your magazine, is contingent upon you providing us with your correct mailing address. If the Post Office notifies us that your magazine is undeliverable, we have no further obligation to you unless we receive a corrected address from you within two years of the Post Office notification. BACK ISSUES are available to order at magdogs.com/outdoor-photographer/ Outdoor Photographer is a registered trademark of Madavor Media, LLC. Copyright ©2022 Madavor Media, LLC. All rights reserved. Reproduction in whole or in part without permission is prohibited. To Subscribe Or For Subscription Questions: outdoorphotographer.com or (800) 283-4410 or email [email protected]

outdoorphotographer.com Ten National Parks For Fall Foliage Favorite national parks to find vibrant fall color—and it’s not just the parks you’d expect. By QT Luong The Big Picture Assignments Tip Of The Week Amy Gulick’s regular column explores Share your best shots in our weekly Available on our website—or delivered our connections to the natural world “Assignments” photo challenges. directly to your inbox—our “Tip of and the power of photography in Submit images that fit the week’s the Week” provides shooting and support of conservation efforts. theme—you may be our next processing techniques to sharpen your Assignment winner. photography skills. Sign up today. Connect With Us Newsletter Subscribe today for updates on Get the latest news and be inspired by great photos the latest features, how-to articles and photography from the Outdoor Photographer community. news. outdoorphotographer.com/newsletter 6 Outdoor Photographer outdoorphotographer.com

in this issue OO RR DD EE RR FF RR OO MM CC HH AA OO SS different this fall is to forego the grand vistas and seek out more intimate Insights for composing and capturing scenes. In “Thinking Small,” Eric Ben- the details of the autumn forest nett talks about his fascination with details that might be easily unnoticed Text & Photography By Steven Friedman in the context of autumn’s overwhelm- ing display. “Even though I don’t favor 20 Outdoor Photographer outdoorphotographer.com outdoorphotographer.com September 2022 21 these small scenes of fall leaves over any other kind of scene that I may come Autumn is a favorite season for find a compelling composition in the upon,” Bennet says, “I do find myself landscape photographers as natural disorder and then to wait for the pointing my camera down at the ground nature dons a resplendent show right light, color and weather—some- or getting in close with a macro lens of color, but the spectacle is beguiling. If times for days.” Defining and refining just as often as anything else. Studying you’re planning a trip for photography, one’s signature “look” as an artist takes a wide variety of characteristics like timing can be elusive, as the moment years of practice, to which Friedman design, pattern, shape, color and size, I of “peak color” in a given location is can attest. He talks about that process as can’t help but continually find new and often brief and varies from year to year. well as his technical approach to forest unique versions of this subject matter And while it’s easy to take good pho- photography in “Order From Chaos.” that renew my excitement.” tographs of fall landscapes, it’s much more difficult to make distinctive pho- Kurt Budliger lives and works in one Perhaps the most dramatic departure tographs—precisely because the subject of the country’s most iconic regions for from typical fall photography one could is so naturally photogenic. fall foliage, and as a result, has enjoyed make is to see beyond the colors entirely. the opportunity—and the challenge— “Creating photographs of autumn colors One way to create a more distin- to push himself creatively to document in black and white may sound like an guished collection of fall images is to fall color using a variety of perspectives absurd idea,” QT Luong concedes in his develop a personal style. Steven Fried- and techniques. In his feature, Budliger story “Autumn In Black & White.” But man’s body of work illustrates this idea shares 10 ways you can “Diversify Your the variety of colors are also an oppor- well. There’s a consistent aesthetic in Fall Portfolio,” along with advice for tunity to develop stunning images by his compositions, which are simultane- planning a photo adventure during this carefully translating the array of hues ously bustling and elaborate with detail mercurial season. As you’ll learn, timing into rich monochrome tonality. Digital yet structured and balanced. “At first, it for the best foliage is affected not only photography affords us the luxury of was difficult to get forest images that by region but also by elevation and even shooting in color and then developing pleased me,” Friedman admits. “After more specific conditions in each location. for black and white, so there’s nothing all, it’s an extraordinary challenge to to lose. Luong studies a selection of his Another way to create something monochrome fall photographs to offer inspiration and guidance for you to con- sider this alternative in your own work. “There is no reason you cannot have it both ways,” he concludes, “a seducing color image and a dynamic black-and- white photograph.” –Wes Pitts, Editor contributors Steven Friedman Kurt Budliger is a pro Eric Bennett has creates fine art for photographer and dedicated his life to collectors and galleries educator based in nature photography, and is also recognized Vermont, and founder writing and conservation as a master printer. and lead instructor at with the hope that he Friedman’s photographs are sold Green Mountain Photographic Work- can share the value that wilderness through a network of galleries and are shops. Natural landscapes—particu- has in its pure, unaltered state. His displayed in over 100 corporate larly ephemeral moments and intimate portfolio, tutorials, articles and new collections. See more of his work at scenes—are his main inspiration. See book, Conversations With Nature, can friedmanphoto.com. more of his work at kurtbudliger.com. be found on bennettfilm.com. outdoorphotographer.com September 2022 7

showcase Due to an unfortunate eligibility miscommunication, the previously announced Grand Prize-winning image in our Great Outdoors 2021 photo contest has been withdrawn. We have accordingly elevated the Second and Third Prize winners to Grand Prize and Second Prize, respectively, and have announced a new Third Prize winner. The new winning images are featured here. Grand Prize creatures who seemed oblivious to me or the camera. While keeping a distance, we watched as the babies Open Wide frolicked and realized how similar baby fox behavior is to that of a toddler with lots of energy—so sweet and By Conrad Peloquin innocent. While I am so happy that I was able to capture these two kits rolling around and practicing their ferocious- “We were scouting locations on San Juan Island for wildlife ness, I also feel humbled and fortunate to have witnessed photography when we came across a massive field loaded such a tremendous event in nature.” with fox dens, so many that you had to look down as you walked or you would soon find yourself in a world of trouble. Many of these dens seemed abandoned, but soon we spotted a mama fox and three of her kits emerge into the morning light. “We watched and photographed these beautiful 8 Outdoor Photographer outdoorphotographer.com

Third Prize Second Prize Lunar Horses Barren Valley Sunset By David Swindler By George Garcia “We got up extra early with a vision to capture the “Standing on a remote edge horses and riders with the of the North Rim of the full moon. We found the Grand Canyon, nearly 60 perfect spot and began to miles from the closest town, wait until the moon was in I watched the sun set in line the right place, but then the with the Colorado River. moon disappeared behind a Overwhelmed by the raw bank of thin clouds near the beauty and power of this horizon. We were afraid we place, I can only wonder might have lost it for good. what the first people to see Then the clouds started to this must have thought and color up, and the moon how they must have felt. The descended below the cloud name of this image reflects bank for one last appear- some attempt at that ance. It was a magical connection, as the Paiute moment and one we’ll all name for this place trans- remember for a long time!” lates to ‘dry or barren valley.’” outdoorphotographer.com September 2022 9

new gear & tech Super-Tele Primes For Mirrorless For wildlife photographers, super- Canon RF800mm F11 IS STM Canon RF1200mm F8 L IS USM telephoto lenses are the key to cap- Canon RF600mm F11 IS STM Canon RF800mm F5.6 L IS USM turing close-up, engaging compo- Canon RF600mm F4 L IS USM sitions of subjects safely and respectfully. Canon RF400mm F2.8 L IS USM Keeping your distance from wildlife is an Fujifilm XF200mmF2 R LM OIS WR important ethical consideration year-round but especially in fall as animals are busy preparing for the coming winter season. The advantages of prime lenses com- pared to zooms are generally better image quality and constant maximum apertures, but that performance comes at a price, not only in dollars but also in size and weight. The options for super-tele primes were once very limited and typically very expen- sive, but in recent years, lens makers have introduced more compact and more afford- able choices for mirrorless camera systems. Innovations in optical design, along with some compromises in maximum aper- ture, have allowed manufacturers to offer alternatives that are easier to buy—and to handle in the field. Here’s a look at the super-telephoto prime lenses available today for mirrorless systems. Canon Canon presently has the most super-tele prime options for mirrorless with six models, including the longest focal-length lens available, the RF- 1200mm F8 L IS USM. Known for their white lenses on the sidelines of sporting events worldwide, Canon continues its heritage of providing a substantial range of professional super-tele primes. But perhaps more noteworthy are the two fixed-aperture options that Canon developed for the EOS R system with enthusiast photographers in mind. While the fixed ƒ/11 aperture of the RF600mm F11 IS STM and RF800mm F11 IS STM is a limitation, the tradeoff gets you incredibly lightweight, compact and affordable super-tele lenses. Both feature a collapsible design that shrinks their length considerably for packing and extends when shooting. The RF600mm weighs just a hair over 2 pounds and is only 7.9 inches in length 10 Outdoor Photographer outdoorphotographer.com

when retracted and 10.6 inches when MAKE/MODEL LENGTH (IN.) WEIGHT (LBS.) PRICE extended. The RF800mm weighs 2.8 pounds and is 11.1 inches in length when retracted Canon RF400mm F2.8 L IS USM 14.4 6.4 $11,999 and 13.9 inches extended. Canon RF600mm F4 L IS USM 18.6 6.8 $12,999 These lenses are not only significantly smaller and lighter than their professional Canon RF600mm F11 IS STM 10.6 2.1 $699 siblings, they cost a small fraction of their price. For photographers whose budgets Canon RF800mm F5.6 L IS USM 17.0 6.9 $16,999 don’t allow for typical super-tele primes, these lenses from Canon are welcome Canon RF800mm F11 IS STM 13.9 2.8 $899 alternatives. Canon RF1200mm F8 L IS USM 21.1 7.4 $19,999 Fujifilm The X-Series from Fujifilm has been especially Fujifilm XF200mmF2 R LM OIS WR 8.1 5.0 $5,999 popular with travel and street photographers due to the compact size of the cameras and Nikon NIKKOR Z 400mm f/2.8 TC VR S 15.0 6.5 $13,999 less of an emphasis on telephoto lenses. The company is changing that niche perception, Nikon NIKKOR Z 400mm f/4.5 VR S 9.2 2.6 $3,249 though, appealing to wildlife and sports photographers with the recent introduction of Nikon NIKKOR Z 800mm f/6.3 VR S 15.2 5.3 $6,499 the 40 fps X-H2S flagship camera and FUJINON XF150-600mmF5.6-8 R LM OIS WR OM System M.Zuiko ED 300mm f4.0 IS PRO 8.9 2.8 $2,999 (229-914mm equivalent). Panasonic LUMIX G 200mm F2.8 13.0 2.2 $2,999 The only telephoto prime in the X-Series ASPH LEICA DG ELMARIT lineup at present is the XF200mmF2 R LM OIS WR. Equivalent to about 305mm, it’s on Sony FE 400mm F2.8 GM OSS 14.3 6.4 $11,999 the shorter side of super-tele, but a 1.4x teleconverter is included with the lens to Sony FE 600mm F4 GM OSS 17.8 6.7 $12,999 achieve approximately 430mm equivalent. BAR HARBOR & ACADIA NATIONAL PARK PICTURE PERFECT. SUNRISE TO SUNSET. Frame Your Next Maine Adventure. Stay with us. Family owned & w w w. f r a m e a c a d i a . c o m operated.

new gear & tech Nikon NIKKOR Z 400mm f/2.8 TC VR S Nikon Nikon NIKKOR Z 800mm Nikon currently offers three super-tele f/6.3 VR S primes for its Z mirrorless system. The newest is the NIKKOR Z 400mm f/4.5 Nikon NIKKOR Z 400mm VR S, a good example of the lighter f/4.5 VR S and more affordable options available today that balance performance and portability. The NIKKOR Z 400mm f/4.5 VR S weighs just 2.55 pounds— about 60 percent less than the NIKKOR Z 400mm f/2.8 TC VR S at 6.5 pounds. It’s also much shorter at 9.2 inches in length versus 15 inches with the larger ƒ/2.8 lens. The smaller, lighter design will make the lens much easier to shoot with handheld, and it includes built-in Vibration Reduction for up to 5.5 stops of image stabiliza- tion, or 6 stops when used with a Nikon Z 9 and that camera’s Synchro VR technology. The lens is priced at $3,249—that’s $10,750 less than the NIKKOR Z 400mm f/2.8 TC VR S. Nikon also offers the NIKKOR Z 800mm f/6.3 VR S. This lens uses a phase fresnel element to reduce size and weight. At 5.25 pounds, it’s about 50 percent lighter than the AF-S NIKKOR 800mm f/5.6E FL ED VR for DSLRs. OM System M.Zuiko ED 300mm f4.0 IS PRO Panasonic LUMIX G 200mm F2.8 ASPH LEICA DG ELMARIT Lens Plus 1.4X

Sony FE 400mm F2.8 GM OSS Sony FE 600mm F4 GM OSS OM System Introducing The smaller Micro Four Thirds sensor used in OM System (formerly Olym- Rogue Round Flash pus) cameras allows lens designs that are significantly lighter and more Magnetic Light Modifiers compact than those of full-frame and even APS-C sensor systems. One of for Round Flashes - components attach directly to flash (no extra mount for each flash!) our favorite super-tele lenses, and for Rectangular Speedlights - components attach with Rogue Flash Adapter maybe enough of a reason to buy into the system all by itself, the M.Zuiko Rogue Magnetic Modifiers Weigh Just 1-2 oz ED 300mm f4.0 IS PRO delivers the equivalent of a 600mm on a full-frame Flash Grid 45 20 Gel Kits Flash Diffuser Dome camera and is unmatched in terms of $29.95 $34.95 $39.95 size and weight for a lens of this magnification. If super-tele is a Kits for Round Flashes and Rectangular Speedlights necessity for your style of photogra- phy and you don’t want to spend the Rogue Round Flash Kit $99.95 - fits Godox v1, Geekoto GT250, Westcott FJ80 cost of a used car on camera gear, OM System may be your answer. Rogue Round Flash Kit + Rogue Flash Adapter (Small or Standard) Kit $129.95 - fits Panasonic round flashes and rectangular speedlights (Canon 600EX, Godox v860, Nikon SB700, Like OM System cameras, Panasonic’s LUMIX G series is built upon Micro Sony F60, and more) RogueFlash.com Four Thirds sensors. That means you can use lenses for these camera Image © Anthem in Art systems interchangeably. Panasonic’s only super-tele prime for the G series is the LUMIX G 200mm F2.8 ASPH LEICA DG ELMARIT Lens Plus 1.4X Teleconverter kit. The lens is equiva- lent to 400mm, and the included 1.4x teleconverter extends that out to 560mm. Sony Though Sony hasn’t introduced any budget-minded super-tele primes yet, it offers two professional-grade G Master options, the FE 400mm F2.8 GM OSS and FE 600mm F4 GM OSS. Both lenses feature built-in image stabilization that includes a mode optimized for following moving subjects. They’re also compatible with Sony’s 1.4x and 2x teleconverters and offer extensive weather sealing.

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the big picture A Wild Jolt Time in nature reveals forgotten truths Text & Photography By Amy Gulick Barnacled rocks and sun-bleached clam shells crunch Somewhere on a salmon stream in Alaska. underfoot as I pick my way over a tidal flat. The air is thick with salt and exposed seaweed. At the shoreline, the wild. Not seeing the forest for the fish or Earth as our home. towering spruce and hemlock trees stand as sentinels between Fences, roads, cities and walled borders further separate us forest and sea. I duck under a branch and enter a different word, inhaling the earthy aroma of wet wood. Gone is the bright light from knowing nature. When we venture into a wild place, we of open sky, replaced by a dripping green canopy. The screech often view wildlife from a vehicle or platform, reinforcing our of a bald eagle radiates from a tangle of moss-covered limbs separateness and dulling us with a false sense of security. Even overhead. Piles of bear scat dot a muddy trail. on foot, I peer at nature through a glass lens, strengthening my identity as a witness. And yet the strongest barrier we build Venturing deeper into the forest, I parallel a creek splashing is invisible, not physical. In our minds, we tell ourselves that with salmon. The trail takes a sharp turn to reveal a mother we don’t need nature. That we can live in manufactured envi- bear with two tiny wet cubs. I halt, and my heartbeat quickens. ronments run by the latest gadgetry. The mind is a powerful The mother and I exchange glances as one cub bawls and the thing, easily swayed and conditioned in its beliefs. other scampers close to her, and then the furry family vanishes into the forest. But the mind can also change. Sometimes it just needs a jolt. Farther on, I reach a roaring waterfall, a bottleneck in the creek where spawning salmon are jammed up and hungry bears are fattening up. A stench of blood, guts and rotting fish carcasses. Bears come and go, dashing into the creek for take-out salmon, and in the process deliver rich nutrients from the fish to the forest floor and into the roots of trees. I am witnessing an age-old cycle of nature—animals and plants, land and water, life and death. To witness: To see an event or have knowledge of an event from personal observation or experience. For a long time, this is how I viewed nature—as a witness, someone on the outside looking in, close but separate. And I viewed myself as someone who documents the goings-on of nature to help others understand its importance. But how can I convince others to care about nature if I consider myself apart from it and not a part of it? For many of us, this separation happened long ago, millen- nia before we were born. When we traded a hunter-gatherer nomadic way of life for a stationary agricultural way, we drove a wedge between us and the wild things. Nature was something to be conquered—forests felled, prairies plowed and mountains mined. We took what we wanted, not heeding the wisdom of 16 Outdoor Photographer outdoorphotographer.com

My jolt came on that salmon stream. Standing along the bank nose sniff the salmon-scented air. The same air that breathes with one eye pressed against the viewfinder and the other eye opened for bears, I witnessed the spectacle before me as an life into me. As both of us stood on the stream watching fish onlooker on the edge. Focused on the salmon, I tried again and again to freeze a leaping fish in my frame. Hours vaporized, return home to die, my true nature—the one that’s always like the spray of the waterfall rising into the forest. And then I felt something. A powerful sense that I was not alone. connected to the bears, salmon, trees, humanity—awoke from Looking up from the camera, I was startled to see a bear next the domesticated dream. OP to me along the stream—too close for comfort. I kept my wits and thought about what to do next. Reach for my bear spray? Amy Gulick is a founding fellow of the International League Back up? Say something? I did nothing. The bear stared into of Conservation Photographers. Her books include Salmon the water. I could hear him breathe, see his ears twitch and in the Trees: Life in Alaska’s Tongass Rain Forest and The Salmon Way: An Alaska State of Mind, both winners of Nauti- lus and Independent Publisher Book Awards. See more of her work at amygulick.com. outdoorphotographer.com September 2022 17

favorite places ARIZONA Workman Creek Sierra Ancha Wilderness Area, Tonto National Forest, Arizona Text & Photography By Peter Coskun Location Workman Creek is situated in the Sierra Ancha Wilderness Area of Arizona, northeast of Phoenix in the Tonto National Forest. This is one of the more remote sections of Arizona. The range boasts a spectacular variety of incredible scenery if you venture deep into its wilderness, which includes a handful of spectacular cliff dwellings. However, one doesn’t need to venture too deep to find stunning scenery. The area offers wonderful camping, wildlife viewing and hiking opportunities. Workman Creek itself has a handful of day-use sites that make great starting points for exploration. You also have the benefit of not needing a high-clearance vehicle and four-wheel drive (unless visiting the upper falls), so any vehicle should be able to make it there. Always check road conditions beforehand for a safe measure. Weather The area is unique in that it transforms with each season—including fall and winter, which many don’t expect in Arizona. In the fall, the daytime temperatures can be quite mild, with chilly afternoons. Late spring and summer can be extremely warm, and winters can be extremely cold. Snow isn’t uncommon in winter and can pile up during heavy storms. Snow can severely limit your location options as the roads are dirt and may be impassible or completely closed off when wet or snow-covered. Photo Experience Sierra Ancha can be an incredibly photogenic area at any time of the year. Subjects range from grand vistas to intimate creekside forest scenes full of life and color. In the spring, the vegetation is a beau- tiful vivid green, and there’s always a chance of wildflowers along the creek’s edge. During fall, the maples and sycamores transform into a rainbow of reds, yellows and rusty oranges that contrast with the blue skies and cascades of water along the creek. This is also black bear habitat, and while it may not be super com- mon to see one, their presence is noted along the trails with scat and tree scratches. Other wildlife you may encounter in the area includes mule deer, elk, bighorn sheep and various avian species. There’s no shortage of photographic opportunities here, and you can and will likely use focal lengths ranging from wide angle to super telephoto. OP See more of Peter Coskun’s work at pjcphotography.com. 18 Outdoor Photographer outdoorphotographer.com

Best Times an early winter storm contrasting with the autumn colors, Spring and fall are the most photogenic seasons to visit the which is something I hope to capture someday. area, with fall offering a more pleasant and unique experi- ence in Arizona. Unlike most areas of fall color, where the Contact: United States Forest Service, fs.usda.gov/ peak color tends to be late September and early October, peak color here is usually closer to early November. It’s attmain/tonto. always a possibility, depending on overall conditions, that ➤ Canon EOS 5D Mark IV, Sigma 24-105mm F4 DG OS this can come early or even later in the season. Although the occurrence is quite rare, you can even have the potential of HSM | Art at 24mm, B+W 10-stop ND filter, Fotopro Global Elite Series TL-74CL tripod, Fotopro LG-9R ball head. Expo- sure: 25 sec., ƒ/8, ISO 200. by mobilism outdoorphotographer.commSoepbteilmisbemr 2.0o2r2g19

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OO MM CC HH AA OO SS by mobilism Insights for composing the intricate details of the autumn forest Text & Photography By Steven Friedman outdoorphotographer.commSoepbteimlisbemr 2.0o2r2g21

F or the last 30 years, I have been To manage the distances and eleva- disorder and then to wait for the right photographing landscapes. I tion, I initially carried gear that was as light, color and weather—sometimes started out documenting the light as possible. In those early years, for days. hikes that my wife, Joni, and I spent time looking for images sim- I took, at times hiking over 20 ilar to what other photographers had Stalking The Image miles with 3,000 or 4,000 feet captured. I photographed the sunrises When I began to create fine art images, of elevation gain. The focus was on and sunsets from typical viewpoints, I was shooting film with a Horseman the adventure, hiking and being in but I never found these photographs panoramic camera. Each lens with this nature in remote places that few very satisfying. camera has a viewfinder. My go-to lens people experience. The camera at the time was the Schneider 180mm. was along for the trip to docu- In time, my approach changed, and The viewfinder proved an invaluable ment what we saw. At that time, I I eventually found my own path. I was tool to help me find order in the chaos was shooting film, of course, and drawn back into remote areas, long- of the forest. I would hike with the I remember the excitement when ing to create compelling and unique viewfinder in my hand. Whenever I the slides were developed, and I images. The forest, with its beauty and came across a scene that was compel- laid them out on a light table to chaos, became a natural place for me ling, I pulled out the viewfinder to see examine the images. to be and craft my images. When asked if I could find a powerful composition. about my photography now, I say that I’m a tree photographer. Forests are so layered, it often takes days of hiking and scouting to discover At first, it was difficult to get forest a composition that is worth pursuing. images that pleased me. After all, it’s When I look through the viewfinder, an extraordinary challenge to find a I always ask myself if the scene can compelling composition in the natural 22bOyumtdooobr Pihliostomgrapher outdoorphotographer.com mobilism.org

translate into a fine art print and if I climate factors. One year, I was in Col- Above: Fog Dreams. Uncompahgre would be happy to hang it in our home. orado photographing aspen trees when National Forest, Colorado. I never considered shooting something the peak color was over two weeks late. ➤ Phase One XF IQ3 100MP, Schnei- just because I thought it would sell. It’s To ensure I get the conditions I want, I der Kreuznach LS 110mm f/2.8. Expo- always about the final print. generally give myself three weeks for sure: 1/30 sec., ƒ/16, ISO 400. important shoots or major overseas trips. My approach is one of “stalking I tend to photograph into the peak of Opposite: Autumn Fog Serenity. the image.” I pre-plan my landscape color as I prefer healthier leaves. Great Smoky Mountains National images, scout locations and figure out Park, Tennessee. the best light for the composition. I Because I photograph intimate ➤ Phase One XF IQ4 150MP, Schnei- visualize how the scene will look in the scenes, I look for the color I want by der Kreuznach LS 150mm f/2.8. Expo- optimal light I think it needs. I return shifting my position in the forest. Just sure: 0.6 sec., ƒ/16, ISO 400. again and again until I’m happy with over a ridge, for example, the hues may the right conditions for a capture. be completely different. Sometimes Previous page: Brilliant Disguise. the period just after peak color is also Cherokee National Forest, It is rare for me to shoot a random fruitful for finding compositions. There Tennessee. image, one without thorough prepara- is less clutter in the forest once the ➤ Phase One XF IQ4 150MP, tion. I usually research the areas that I leaves start to fall. Schneider Kreuznach LS 150mm f/2.8. plan to photograph. I explore images Exposure: 1/15 sec., ƒ/16, ISO 400. online and figure out where I want to Finding Perspectives hike to get the type of images that inter- With A Viewing Card outdoorphotographer.commSoepbteimlisbemr 2.0o2r2g23 est me. When photographing autumn My advice to photographers who want colors, the dates for peak color vary con- to improve their compositional skills siderably depending on the weather and by mobilism

when photographing the chaos of a mobilism.org forest is to make a “viewing card.” Simply use a rectangle of matte board and cut a hole to the dimensions of your camera’s sensor. I am currently using a larger medium format Phase One 150-megapixel camera, so I cut a shape of 6x4.5 centimeters to match the sensor size in this camera. I also make a second viewing card with a panoramic shape for a 1-to-3 aspect ratio panorama. The advantage of a viewing card is saving time. You don’t have to set up your gear and then discover your composition is weak. When hiking in the woods, I hold the viewing card up against the scene to see if there is an interesting image. I search for a spot in the forest where subject, forms and light come together to make an image that appeals to me. I find it’s often a matter of moving the card just a few inches to make the image more compelling. I try to eliminate the trunks of trees that over- lap. You want the trees to be separate. The goal is to de-clutter the chaos of the forest in your framing. I look for shapes, textures and patterns that make the composition stronger and cleaner. It’s not easy and takes patience, but in time you become more efficient. You will notice that I rarely include the sky because the viewer’s eye inevi- tably moves from the forest to the sky. After all, your eye always goes to the brightest area first. You want the viewer to stay in the forest and experience the composition of the forest and its detail and not wander out of the scene. I use longer lenses than typical land- scape photographers. My most-used lens at the moment is a medium for- mat Schneider Kreuznach LS 150mm f/2.8 (95mm in 35mm-equivalent). This longer focal length allows me to focus on a segment of the forest and isolate it. I want to bring the viewer Golden Autumn Fog. Great Smoky Mountains National Park, Tennessee. ➤ Phase One XF IQ3 100MP, Schneider Kreuznach LS 110mm f/2.8. Exposure: 2 secs., ƒ/16, ISO 400. 24bOyumtdooobr Pihliostomgrapher outdoorphotographer.com

by mobilism outdoorphotographer.commSoepbteimlisbemr 2.0o2r2g25

Maple Season. Great Smoky to an intimate part of the forest, and I like to photograph using hyperfocal Mountains National Park, Tennessee. longer lenses allow me to achieve that. focus, which allows both the nearest I’m careful when using the live view tree trunks and those deep in the forest ➤ Phase One XF IQ4 150MP, on the camera to check all the edges of to be sharp. It gives a 3D feeling to the Schneider Kreuznach LS 110mm f/2.8. the composition to eliminate problems image, allowing the viewer to feel as Exposure: 1/10 sec., ƒ16, ISO 400. such as cutting a tree in half. I may though they can walk into the forest reposition the tripod if I cut off a tree with me. or to improve the balance of the image. This is not always easy with longer Light & Focus lenses. Sometimes you need to be far When photographing the forest, my enough away from the trees to get the preference is for an overcast or dawn distance to make hyperfocal focus or dusk light when there are no harsh work. I use the markings on the lens shadows or contrast. When the sun fil- to find the point of perfect focus when ters into the forest, it hypes the con- both the close tree trunks and the far trast. I prefer the viewer to experience trees are sharp with my selected aper- the detail and subtlety of the design ture. Using a digital camera, you can and pattern in the image. I also enjoy easily do this by checking in live view foggy days. The fog helps to simplify when taking the image or when review- the scene and create a strong compo- ing images after the image capture. sition. I work hard to make sure luck plays a minimal role in my approach. I don’t focus stack my images. I have found it complicates the process of how I work, and the movement of leaves 26bOyumtdooobr Pihliostomgrapher outdoorphotographer.com mobilism.org

or branches makes it difficult. I prefer slightly higher to stop the motion in Oaks and Fire Oaks in the Fog. the purity of the one-image capture. the leaves as “insurance” that I get the Wasatch Mountains, Utah. Not cropping after the fact is a central shot. It is important to know that in ➤ Hasselblad H4D-50, Hasselblad HC aspect of my approach. However, I do a large print, a section of the scene 100mm f/2.2. Exposure: 1.8 sec., use stitching to make a panoramic for- that includes motion is disturbing to ƒ/13, ISO 50. mat when required. the viewer. I don’t mind a leaf moving and not being pin sharp, but a branch outdoorphotographer.commSoepbteimlisbemr 2.0o2r2g27 The biggest challenge by far with moving is not acceptable. I have an my subject matter is that the leaves in autumn image that took me three trips a forest tend to move with the slightest to the East Coast over 10 years to get breeze. This was extremely frustrating an image without movement. when I was originally photographing with Fujichrome Velvia 50 film. Now- Shoot To Print adays, being able to use a higher ISO setting while maintaining image quality All my artistic and technical decisions has made it easier. Using hyperfocal are aimed at the final print, something I focus at ƒ/11 or ƒ/16 requires longer call “shoot to print.” What many people exposures, so this improvement in don’t realize is that every decision in the image quality at higher ISOs is crucial. field has an impact on the final print. The goal of my photography is not to produce The other complication is my desire a JPEG for a website but a large print to shoot panoramic forest images that for a gallery. require stitching to get the panoramic format. I routinely use 800 ISO or The selection of exposure, subject by mobilism

Radiant Dancing Forest. White matter and light all influence how I and 240mm. And yes, I carry all but River National Forest, Colorado. am going to capture an image for the one of these lenses at one time. My optimal print. I have gone back to a wife carries the other lens, water, food ➤ Hasselblad H4D-50, Hasselblad location year after year, waiting for and bear spray. HC 100mm f/2.2 lens. Exposure: 5 the right light, stillness and color to sec., ƒ/16, ISO 50. get a certain image. It’s a lot of work, I find that the images from this and it takes dedication and vision to camera allow me to make very large find a compelling image in a stand of prints that are film-like. What I mean trees. In my opinion, portraying detail by this is that the prints have a sharp in a subtle way is the key to creating but smooth feel and incredible detail. a compelling fine art landscape pho- I want the viewer to put their nose up tograph of trees. to the print and see the fine detail and smoothness of the color. Twelve years ago, I switched from shooting film panoramic images with High-resolution cameras are ideal for the Horseman to using a Hasselblad my intimate landscape photographs. We 50-megapixel camera. For the past recently printed one of the panoramas eight years, I have been photograph- at 60x180 inches. The detail is excep- ing with the Phase One XF system, tional. Viewers could see the veins in currently with the IQ4 150MP camera the leaves and cobwebs in the forest. using the Schneider Blue Ring lenses Just amazing. My work is sold at even of the following focal lengths: 35mm, larger sizes of over 40 feet. 45mm, 55mm, 80mm, 110mm, 150mm In processing the images, the adjust- ments I make are minor and in keeping 28bOyumtdooobr Pihliostomgrapher outdoorphotographer.com mobilism.org

with my purist approach. I believe in composition flaws and lighting issues— Woodland Mosaic and Fog. Great getting the image right in-camera. The Smoky Mountains National Park, raw images are processed using Cap- will be magnified in a large print. North Carolina. ture One, where basic color balance and minor adjustments are done. I use Forest photography is one of the most ➤ Phase One XF IQ3 100MP, Photoshop to refine the image by burn- Schneider Kreuznach LS 150mm ing and dodging. challenging genres of landscape pho- ƒ/3.5 AF. Exposure: 1/4 sec., ƒ/12, ISO 400. Knowing what makes for a good print tography. It requires an unwavering is something that takes time and prac- tice to understand. It’s the little things commitment, deep understanding of the that make a print great. It’s an art in itself to learn how to look at a print place, careful examination of the scene, and improve it through color balance or burning and dodging. I am a stickler for a thoughtful and sophisticated compo- getting the correct color balance, and there is no photograph that doesn’t ben- sition, and immaculate capture tech- efit from a bit of burning and dodging. nique. Today, even after 30 years spent My process takes a great deal of ded- ication and patience from the image among trees admiring their beauty and capture to the final print. Any flaw in the capture process—lack of sharpness, grace, I am still excited when I look blown highlights, blocked-up shadows, through my viewfinder. What better time to face this chal- lenge than during the fall season? The forest is at its best—grand, graceful and full of color. It is up to you to find its beauty and capture it in your own special way. OP See more of Steve Friedman’s work at friedmanphoto.com. outdoorphotographer.com September 2022 29

30 Outdoor Photographer outdoorphotographer.com

Diversify Your Fall Portfolio 10 tips to explore a variety of perspectives that capture the season Text & Photography By Kurt Budliger outdoorphotographer.com September 2022 31

As I am a Vermont-based pho- October and early November. Macro images are a key component tographer, it probably won’t To increase your odds of success to a well-rounded portfolio and should come as a surprise to find not be overlooked in favor of the grand out that my absolute favorite when planning your trip, know that landscape exclusively. Part of really time of year for outdoor photography higher latitudes change color earlier experiencing autumn and telling the is autumn. While New England has a than lower latitudes. So, in the north- story of a place is to go deeper, which reputation for some of the country’s ern hemisphere, if there isn’t good color often means slowing down and noticing most varied and vivid fall color, and yet where you are, go north. If it’s past smaller details and patterns. rightly so, there are many other loca- peak, head south. tions throughout the U.S. and abroad I recommend filling the frame with that boast incredible autumn displays. Similarly, higher elevations change repeating patterns and contrasting color sooner than lower elevations. If shapes and colors to create close-ups I’ve had the pleasure of photograph- there isn’t good color yet where you with maximum visual appeal. Shoot ing fall color across the west, New are, go up into the mountains. Con- right after a light rain for colorful England and even in the southern hemi- versely, if it’s past peak at higher eleva- leaves covered in luminous water drops sphere. When it comes to chasing fall tions, then head down into the valleys. or early in the morning after a cold color, it simply does not last nearly night has coated the leaves in frost. long enough to satiate my appetite for The upper canopy, or top of the forest, making images, and it’s a very long changes color sooner than the under- wait before we see the vibrant autumn story. When the tops of forest trees are at color return. peak, the hillsides are extremely color- ful; however, when you go into the forest Timing Your Trip to shoot streams, for example, it can still No matter where you find yourself look rather green since most of what chasing the changing leaves, there are you’re seeing near the forest floor is a few things to keep in mind that will understory and likely hasn’t turned yet. I go a long way to increasing your odds actually like to shoot forest streams and of capturing some great color. Trying waterfalls after the traditional peak color to time so-called “peak” color in any has passed. At that point, the understory given location is almost futile. There begins to get very colorful, and you get are so many variables that affect when the added bonus of canopy leaves fall- and how leaves turn that you’ll drive ing to the forest floor, providing even yourself crazy trying to predict exactly more color. when peak color is going to happen. If you put too high an expectation on Finally, wetland trees usually turn ear- capturing it, you’re more likely than not lier than trees without wet feet. So, if you to be let down. are early and there isn’t great color where you are, find some wetlands nearby. I’ve been photographing my home state of Vermont, arguably one of the Once you’ve figured out where and country’s best fall foliage hot spots, for when to chase autumn color, try these 10 well over 20 years, and I can honestly tips to create a variety of compositions to say that peak color can vary by as much return home with a portfolio that captures as two to three weeks from year to year. the season from many perspectives. This obviously can make planning a trip somewhat problematic. For example, in 1Shoot Some Close-Ups 2020, the color came on quite early and Fall is a great time to focus on the didn’t last very long, while the previous smaller scenes beneath our feet. As three years had been at least a week or autumn leaves begin to fall, it’s time to more later than the historical average. point the camera straight down and fill For the most part, there is usually great the frame with interesting colors and color during the first week of October patterns. The beauty of close-up com- in northern New England and much of positions is that we don’t need to travel the Rocky Mountain West. The coast of very far from home, if at all, to make Maine is a little later, usually the sec- them. They are literally all around us. ond and third week of October. And the southwest and southeastern portions of Focusing on these little gems is also a the U.S. are usually very good in late great idea for extending your productive shooting time once the light gets harsh after sunrise. Simply find a little shade to work in or make your own by setting up a canopy or diffuser to soften the light. 32 Outdoor Photographer outdoorphotographer.com

2Dark Backgrounds You can also photograph backlit trees Above: Dark backgrounds help Help Colors Pop against a shaded background to create colors pop. Acadia National Park, Forest photography is difficult and an even brighter pop of color. Maine. can be quite intimidating for beginners and experts alike. One way to create Using a longer telephoto focal length Previous page: Shoot some close-up orderly images in dense forest scenes is great for isolating small portions of shots to capture fall’s interesting is to find a way to simplify competing the forest or groups of trees. This also details. Acadia National Park, Maine. elements. Seek out backgrounds that allows you more working distance and help to showcase your main subjects, the ability to place your subjects against such as dark or shadowed backgrounds the most pleasing dark backgrounds. that hide some of the scene while creat- ing a tonal contrast that makes vibrant 3Look Up autumn color pop. Look for trees or If you want variety in your portfo- groups of trees at the edge of the forest lio, then you’ve got to try differ- on overcast days since the light there ent angles. Often this can be achieved will be brighter than in the background. by pushing yourself to change your camera position or perspective from outdoorphotographer.com September 2022 33



Opposite top: Look up for a different angle on the scene. Telluride, Colorado. Opposite bottom: Drone shots can add an interesting perspective. Green Mountains, Vermont. Right: Fall colors aren’t just in the trees. A great variety of plants put on a show in autumn. Acadia National Park, Maine. what is comfortable, not only physi- cally but creatively. One of my favorite compositions to make in autumn is looking straight up from the forest floor with a wide- angle lens. The wide-angle lens distor- tion and keystoning effect of shooting up give the illusion that all the tree trunks are converging into the middle of the frame and provide a lot of visual energy. I think these kinds of shots are best done in aspen groves since all the trunks are relatively straight and often of uniform size and color. It’s also best to try this perspective on a blue-sky day rather than when it’s overcast. The bright blue sky provides a wonderful color contrast with autumn foliage and an additional pop of color and visual energy. I usually try to avoid including an overcast sky in my landscapes since it’s not very pretty. 4Deploy A Drone a spot you’d never be able to access deciduous trees. However, there are a Speaking of altering one’s per- on foot to make unique images of even greater variety of plants that put on a spective, drones, or, as I like to oft-photographed locations and scenes. colorful show in the fall. In many arc- call them, flying camera machines, do tic and subarctic environments, tundra this in spades. I was reluctant to add a Given the limited dynamic range in the plants like dwarf willow, sedges and drone to my photographic kit a few years typical drone camera’s sensor, I recom- blueberry turn varying shades of yellow ago because I do find them a tad obnox- mend bracketing your images to ensure and red in autumn. Here, the autumn ious and intrusive. However, if they are you’ve got enough tonal range covered. display is a carpet of vibrant color as used responsibly and courteously, the You simply cannot push the files in post far as the eye can see. In the northeast, benefits far outweigh the drawbacks. as much as you can images from modern particularly Maine and at higher eleva- interchangeable-lens cameras. tions, the blueberry bushes turn scarlet There are myriad new views to be had red in the fall. In fact, it’s critical when when flying a drone. I love the straight- 5Fall Colors Aren’t photographing these vibrant reds to down perspective on the autumn land- Just In The Trees check the RGB histogram because it is scape and kaleidoscope of colors in Trees are the most obvious very easy to clip the red channel and the forest canopy. The perspective is sources of fall color, particularly so interesting and unique. But I also like using the drone to compose images with foregrounds, midgrounds and backgrounds, much the same as when using my traditional camera. The drone allows you to get even just 30 or 50 feet off the ground and perhaps out to outdoorphotographer.com September 2022 35



lose details in the scarlet leaves. I find a leading line: a diagonal, arc or S curve. Above: Play with depth of field to I often must underexpose vibrant reds Our brains tend to follow these shapes or create interesting framing. San Juan by as much as a stop to retain detail. lines intuitively, so it is important to find Mountains, Colorado. a perspective in which the line actually 6Compose In Layers leads the viewer somewhere you’d like Opposite top: Create depth by As we know, photographs are them to go in the scene. composing with leading lines two-dimensional representations and layers of interest. San Juan of a three-dimensional world. It is there- 7 Use Reflections To Mountains, Colorado. fore important to create the illusion Reveal Fall Color of depth to keep the viewer engaged Another effective approach to Opposite bottom: Use reflections and provide a sense of visual flow and capturing stunning autumn hues is to to reveal fall color. Acadia National energy in the image. Since we only have photograph reflections. I usually like to Park, Maine. two dimensions to work with, we must find and photograph reflections when it’s use composition to create that illusion. bright and sunny, and I might not other- 1/60 sec. and 1/160 sec. to capture the wise find something productive to shoot ripples with a fair amount of sharpness One of my favorite techniques to create because the light might be too harsh. and detail while also creating a bit of an depth is to utilize a dominant and inter- abstract or impressionist vibe. Take a lot esting foreground element to help put the Look for the best reflections around of frames at varying speeds to find one viewer into the scene. Break the com- bodies of water or portions of streams that is the most compositionally pleasing. position into three zones: foreground, that are in shade opposite colorful trees midground and background. Ideally, your directly illuminated by the sun. When 8Play With Depth Of Field foreground element or shape leads to shooting reflections on the surface of mov- It’s a fallacy that everything in the or links to the midground and then on ing water, like along a stream, try varying frame of a landscape photograph to the background to further enhance a your shutter speed to achieve differing needs to be in sharp focus from front to sense of depth. amounts of detail or motion blur. For back. I personally love to use shallow reflections on a rippled surface of a pond depth of field to create images that have One foreground element that can be or lake, I like a shutter speed of between a soft, ethereal and more evocative or used to great effect in creating depth is mysterious mood. outdoorphotographer.com September 2022 37

Try motion blurs. San Juan A favorite method for achieving this intentionally moving the camera during Mountains, Colorado. look is to shoot through some fore- the exposure. This is referred to as Inten- ground vegetation at a wider aperture tional Camera Movement, or ICM. (like ƒ/4) and often using a medium telephoto zoom lens. The idea is to I like to use the technique when I’m focus beyond the closer colorful photographing a group of trees with a leaves or vegetation, for example, to very graphic pattern of trunks. It works create a wash of colorful blur that ide- best when the trunks are either a brighter ally frames the main elements. Some tonality than the background, as in the experimentation is key; just be sure case with aspens or white birches, for that the out-of-focus portions of the example, or when the trunks are darker frame aren’t distracting. The idea is than the background. You’ll probably to complement the sharper elements find that a shutter speed of around 1/8 within the image without making it sec. to 1/30 sec. works the best. No look like a mistake in focus. need to use a tripod since the blur is the whole point, and it’s a little easier I also find that a brighter or more to move the camera while handholding. “high key” subject or exposure in soft Set your camera to continuous shooting light helps accentuate the aesthetic and and during the exposure, simply move mood a little better. it up and down, tracing the vertical- ity of the tree trunks. You’ll find that 9Try Motion Blurs keeping the trunks relatively straight Another favorite technique for will help anchor the composition and making abstract and ethereal create visual harmony. fall images is to embrace blur by If you don’t like what you are getting, 38 Outdoor Photographer outdoorphotographer.com

vary some aspect of the technique. Try your images. I like to photograph Include moving water to add energy a faster or slower shutter speed, or try to your photographs. Acadia moving the camera faster or slower streams in late autumn, once the can- National Park, Maine. during the exposure. You can also try rotating the camera or zooming the lens opy above has peaked and leaves start in or out during the exposure to create an even more abstract presentation of to litter the stream banks for an added the subject. splash of color. Wet days, either during 10Include Moving Water To Add Energy or just after a bit of rain, will ensure One of my all-time favorite subjects in nature to photograph is the most vibrant autumn colors, both flowing water. There is no shortage of small creeks, streams and cascades to in the vegetation as well as the rocks explore with your camera, and, best of all, the images you make will likely be in and along the stream bed. more unique than the ones of iconic hotspots that everyone photographs. Don’t forget to use your polarizer The key is to get out and explore. when shooting flowing water in fall. The Incorporating moving water, espe- cially flowing water that creates a polarizer will remove the glare or shine leading line of sorts, is a great way to infuse a boost of visual energy into from not only the surface of the water and rocks but, more importantly, from the surface of the leaves, allowing the colors to appear more vibrant and sat- urated. Try shooting not only wide-an- gle scenes that utilize a dominant fore- ground but also smaller vignettes with colorful leaves on rocks or reflected colors in the flow itself. OP See more of Kurt Budliger’s work at kurtbudliger.com. outdoorphotographer.com September 2022 39

Figure 1. Smith Springs, Guadalupe Mountains National Park, Texas. 40 Outdoor Photographer outdoorphotographer.com

Autumn In Black & White Color photography is the obvious choice for fall foliage, but monochrome may be a more interesting interpretation for some scenes Text & Photography By QT Luong outdoorphotographer.com September 2022 41

Figure 2. Horseshoe Park, Rocky Mountain National Park, Colorado. C reating photographs of autumn col- white in post-processing. You stick open new avenues of creativity and ors in black and white may sound to color for capture. While browsing achieve worthwhile artistic goals. Fall like an absurd idea. Besides the through your archive, you can safely try colors are often so prominent that they paradox, isn’t black-and-white out black and white using software. Sev- get in the way of noticing other attri- photography best deployed in eral offerings include sophisticated tools butes of the subject, such as shapes, pat- those instances where the subject for translating colors into tones with a terns and textures. Sometimes, the pho- lacks strong colors? And isn’t black and level of control exceeding what the most tograph is more about those attributes white’s ability to exaggerate drama— proficient darkroom practitioner could than about the color, and eliminating unfettered by the need to present a muster with a black-and-white film. By color puts back the emphasis on them. realistic rendition of the subject—more utilizing all the color information, you In a fall foliage scene, it can be the case suitable for bold and moody scenes with can adjust the brightness and contrast of that everything is so colorful that noth- dynamic light? Photographs centered the black-and-white image by mobiliz- ing stands out. Converting the image to around fall foliage tend to be of forest ing the luminance of each of the colors black and white can favorably trade a settings, which are often understated in the scene. variegated but uniform color palette for and soft. And finally, wouldn’t you be a more dynamic set of grayscale tones simply missing out? As a case in point, all the images that with amplified contrast. Although the illustrate this article were originally cap- resulting image does not directly exhibit Thankfully, in the digital age, the lat- tured on color slide film, scanned in any of the brilliant foliage colors, it still ter is the least of our concerns. There is color and then converted to black and critically depends on them to create its no need to set out in the field to create white using a Black & White adjustment symphony of tones. black-and-white photographs. It’s not layer in Adobe Photoshop. These are even necessary to conceive of black- fairly typical fall color compositions Emphasizing Shapes & Textures and-white photographs in the field. but presenting them in black and white Guadalupe National Park in west Texas When working in digital, there is no offers a different take. (Figure 1) is not a location most think practical technical advantage in cap- about when chasing fall color, but if you turing images in black and white over As a result of your experimentations, have missed most of the season, it is an converting color images to black and you may find that transforming those natural scenes to black and white can 42 Outdoor Photographer outdoorphotographer.com

Figure 3. Kaibab Plateau, North Rim, Grand Canyon National Park, Arizona.

Figure 4. Forest near Windigo, Isle Royale National Park, Michigan. excellent choice since the color lasts American West are generally dominated More than 90 percent of visitors to until mid-November due to the southern by aspen trees, and Rocky Mountain Grand Canyon National Park head to latitude. Despite the aridity of the sur- National Park (Figure 2) is no exception. the South Rim. The North Rim (Figure rounding desert, hidden water sources While aspen in fall foliage are always a 3) is almost a different park, with a much deep in incised canyons sustain a won- striking sight, in that particular scene, quieter atmosphere. It is 1,000 feet higher drous variety of deciduous trees whose it is their brightness in the landscape than the South Rim and wet enough that fall colors rival even New England. that makes them so noticeable rather the ponderosa pine forest that dominates than their hue, an acid shade of yellow both rims is intertwined with stands of The great photographer Alex Webb adjacent to green. That hue didn’t pro- aspen. I noticed the vertical pattern of wrote that, “Color is emotion.” Indeed, vide much color contrast against the their graceful rectilinear white trunks the colors often present in fall foli- surrounding greens. I magnified the and their fuzzy light foliage standing out age elicit strong emotions that may focus on the pattern of horizontal lay- against the dark greens of the evergreens be beyond the point you are trying to ers of the photograph by eliminating the on a steep hillside. In my conversion to convey in a photograph. I was mostly distraction of color and instead created black and white, I darkened the conifer’s attracted to the lyrical lines of the interest through a complete range of greens so they would recede. Adjusting twisted dark trunks set against the grays, which is often the key to a suc- the tones of the yellow leaves, I made bright foliage. When I made the photo- cessful black-and-white photograph. sure to hold them back midway between graph, recognizing that what caught my That approach worked well because the darks of the conifers and the whites of attention was not primarily the leaves, each of the layers exhibited a block of the trunks so that the tones of the trunks I did not photograph during a lull but fairly consistent tone. I translated the would remain much brighter. They stand instead during a breeze that blurred them yellows of the turned aspens into bright out more against the aspen leaves than in a bit. Converting the image to black and values and the light greens of the not- the color version, creating a three-tone white, with the distraction of the joyful yet-turned aspens into medium grays, composition that exactly corresponded yellow colors and emotionally intense both contrasting with the darker tones to the patterns. red colors gone, allowed the shape of of the conifers. A simple desaturation the trunks to take center stage. would not have produced that effect. The color version of this forest floor close-up in Michigan (Figure 4) exhibits The fall foliage displays of the 44 Outdoor Photographer outdoorphotographer.com

Figure 5. Ottawa National Forest, Wisconsin. an exquisite color palette, but it can still your trip later than fall foliage peak or if of the prime locations to observe fall feel like a documentation of a subject a strong overnight storm has stripped all foliage on the East Coast. Most visitors that appears common, even if the image the branches bare, don’t despair, since equate Shenandoah National Park (Fig- was made in an uncommon place—Isle fallen leaves can also offer great oppor- ure 6) with its 105-mile Skyline Drive Royale National Park, the most remote tunities for dynamic black-and-white and overlooks. However, leaving the and least-visited national park in the photographs at all scales, from expan- car to hike down a trail along a poeti- continental United States. Sometimes, sive forest views to close-ups. cally named river revealed a multitude by just being in such places, you begin of cascading streams invisible from the to notice little things that you may have The scene in Ottawa National For- road. Although the scene of a creek and otherwise passed. The black-and-white est, Wisconsin, could be found in many mossy boulders would be beautiful in all version feels more like an artistic inter- places (Figure 5). What makes the pho- seasons, the fallen leaves added another pretation, different from our everyday tograph dramatic is the contrast between measure of interest. As they are brighter perception, and therefore more mys- the dark surface of the pond and the than the rocks and moss, they created terious. The composition borders on bright spots of the leaves, especially an eye-catching polka-dot texture all the chaotic, but without eye-catching the fallen leaves that create texture in over the image. color to grab a viewer’s attention, there the pond. Although I had used a polar- is less information to sort out, and we izing filter to darken the pond surface, With enhanced contrast and no color see more clearly the intriguing graphic the color version did not display much to detract from the tones, the conversion expression of the shapes, both opposite contrast and looked a little flat. In the emphasized this texture. Harsh light is and repeated. black-and-white version, I was able to often beneficial for black-and-white increase that contrast considerably with- photographs because it creates height- Amplifying Natural out making the image look unnatural. As ened contrast. However, when photo- Tonal Contrast a black-and-white photograph is, by its graphing a forest scene, harsh light is nature, a departure from reality, there difficult to work with because it tends to When one thinks about fall foliage pho- is more latitude for interpreting a scene create bright spots in unwanted places, tography, the subjects that come to mind with aggressive processing. and the shadows often break organic are trees, close or far. If you have timed shapes. In general, to photograph such The Appalachian Mountains are one outdoorphotographer.com September 2022 45

Park’s canyons are home to lush deciduous vegetation (Figure 7). On the way to the famed Subway, I hiked past a unique 6-inch-wide crack that channels most of the flow of the Left Fork of the North Creek. Leaves turn color because the disappearance of the chlorophyll pigments reveals the other pigments. With fewer pigments overall, fallen leaves have a lighter tone. In a color photograph, their brightness can be dis- tracting, particularly when they are almost bleached of color. However, the leaves energized the black-and-white version by adding focal points with high contrast and a sense of depth as they recede in size from the bottom of the image to its top. Figure 6. Hogcamp Branch of the Rose Using Color To Create River, Shenandoah National Park, Virginia. Tonal Contrast intimate forest scenes, soft light is more in soft light, you rely on natural tonal Like most of the entire Upper favorable. This applies even more so in contrast to provide a starting point that Midwest, Voyageurs National black and white when we don’t have the can be emphasized by a black-and-white Park is a quiet destination with benefit of color continuity to delineate conversion. fall foliage displays equal to and separate subjects. Photographing the better-known locations An oasis in the desert, Zion National further east. One of the main attractions of photographing fall foliage scenes is that, with the right timing before the peak, you can capture a varied color palette that can include anything from greens to yellows, oranges, reds and purples. At first, it may seem that those images would not work as well in black and white. Color contrast in fall foli- age can be strong, whereas grayscale contrast may not be there, causing elements to blend and resulting in a life- less photograph with weak separation. For instance, in this close-up of the branches and leaves, the contrast between the complemen- tary reds and greens is striking in color (Figure 8a). However, with a straight- forward conversion to black and white 46 Outdoor Photographer outdoorphotographer.com

Figure 7. Left Fork of the North Creek, Zion National Park, Utah. outdoorphotographer.com September 2022 47

Figure 8a. Original color capture, Figure 8b. Simple black-and- Voyageurs National Park, Minnesota. white conversion achieved with basic desaturation. (desaturate), there is little separation in to use colored filters. They affect the (Figure 8c). This type of contrast adjust- the grayscale between the red leaves and way colors are translated to black and ment is possible to create only in the fall the green leaves, as they have a similar white. Each filter lets through its color of since in spring and summer, the vege- tone in black and white (Figure 8b). light and blocks, to some degree, other tation is a fairly uniform hue of green. Generally speaking, color contrast is colors. For instance, a red filter lets reds Using this approach, you are fully taking easier to find than tonal contrast, which through and blocks most greens and advantage of colors in the fall for your could be one of the reasons that color blues, resulting in reds being rendered black-and-white photographs. photographers appear to be more pro- in light tones and greens in dark tones. ductive in the fields than black-and- When you work in digital, I recommend There is no reason you cannot have it white photographers in terms of the using a RAW format, which captures both ways: a seducing color image and a number of photographs captured. With- a full-color image, and then perform dynamic black-and-white photograph. OP out added tonal contrast, the resulting your conversion to black and white in image would still hold interest thanks processing, where you can make adjust- QT Luong’s Treasured Lands, a winner to the dark linear branches standing out ments in a finer and more flexible way of 12 national and international book against the foliage’s exuberant texture, than is possible with filters. awards, a quarter-century in the mak- but we can do better and recapture the ing, features detailed comments from color contrast as tonal contrast. In the example, I mapped the red leaves a photographer’s point of view on 450 to light tones, making red leaves glow, locations within the 63 U.S. national When using black-and-white film, a while the green leaves were mapped to parks. Visit treasuredlandsbook.com. workaround to this problem has been darker grays, adding depth to the image 48 Outdoor Photographer outdoorphotographer.com