Excuses

October 20, 2013 in October 2013

I am too busy grading papers to have fun.

I am tired and need to sleep.

I have two dogs and can’t be gone for long.

Gas is $3.40 a gallon!

I need a better camera.

The government is closed for business.

The forecast says snow....

Before the Sun - North Shore of Lake Superior

What is is your excuse?

October is whine time. My month to cry about inclement weather and find a reason to play it safe. This October is no exception, but like every one before and those that lie ahead, I always manage to suppress the self doubt and find the time to shoot.

Reflection on Gooseberry River - Gooseberry Falls State Park, MN

I’ve finally come to the realization that the October excuses are more fabrication than reality. This amazing time of year should inspire creativity rather than suppress it. Could my paralysis be a fear of failure... a failure to maximize the opportunity... a failure to take an artistic risk?

These doubts never keep me home. While long weeks and rainy weekends might be a good excuse, the urge to create is greater than the desire for comfort. In the last two weeks I’ve been out in the rain, up at 4:00 a.m. and driven hundreds of miles in search of fall. My list of excuses is a mile wide, but the time to experience life is finite.

Sunrise at Tamarack - Tamarack Nature Center, White Bear Lake

In Search of Simplicity

October 06, 2013 in October 2013

It’s a funny thing how a style or pattern seems to creep into the subconscious of our art. I’m not certain if these things happen because of life’s circumstances, or in spite of world around us. Regardless of the cause, it appears that my photographs now seem to emphasize the simple over the complex.

*Leaf and Rock - Interstate State Park, WI*

These days, I find that I am overwhelmed by the endless inputs that bombard my inner peace. I abhor warehouse-styled stores, walk away from lines and seek the solitude of a quiet nook. Could it be that my art is the antonym for my life? Purposeful or not, I am now drawn to the simple patterns that I see through my lens each day.

*Corkscrew - Pine Point County Park, MN*

Photographically, my current work tends to emphasize the emptiness in a space rather than the complexity of a place. Strong compositional elements are supported by rich colors that lack much in the way of detail. While the subject may have been captured in sharp focus, the surroundings fall off into a soft glow. To produce these simple compositions, I will shoot at a wider aperture or position the background at a great distance from the subject. The end result is a shallow depth that draws attention to fewer points within the frame. For landscapes I will work with neutral density filters to force long exposures on windy days or around flowing water. The choice to filter a scene is more than a special effect; it is an attempt to focus on a singularity rather than world that supports it. This photography, its simplicity, is an antidote for a hurried life that leaves little time to cultivate an inner peace.

What’s in a Blur (In Search of Creativity)

August 25, 2013 in August 2013

I recently took a look at my neighbor / wedding photographer’s website (see http://brandonwerth.com) and thought to myself... “man that guy is so damn creative!” Being far removed from the portrait/wedding world, this type of photography seems as foreign to me as working with clay.

Green Violetear Hummingbird (Colibri thalassinus) - Savegre River, Costa RicaCanon 5D mark iii + Canon 300 f2.8IS L + Canon 2x mark iii — Green Violetear Hummingbird *(Colibri thalassinus)* - Savegre River, Costa Rica
Canon 5D mark iii + Canon 300 f2.8IS L + Canon 2x mark iii

Rather than art, I often describe my work as conservation photography or nature photojournalism. While I always strive to produce the best possible images, I know “creative” is not the first word that comes to mind. At times my work is technical, compelling or emotive, but the word creative is reserved for the artists of the world.

Flying Capuchin (Cebus capucinus) - Hacienda Baru, Costa Rica — Flying Capuchin *(Cebus capucinus)* - Hacienda Baru, Costa Rica

To break my current photo-funk, I’ve been on the hunt for creative nature photographs. I know it when I see them, and sadly, this is not what I observe in most of my work. While searching for inspiring photographs of nature, I’ve found many self-described creatives and creativity in post-processing, but the real artists in my discipline seem far and few between. The well-known humanitarian and photo-educator David duChemin is at the precipice of creativity with his portraiture and recent works in nature, but the one I find most compelling is Nick Brandt. Call it retro, but Brandt continues to shoot large negative black & white film while the rest of us toil with our pixels and memory cards. The structure of his images are evocative and expressive in a way that few can extract from their nature and wildlife subjects. There is a depth and emptiness to his images, yet each is filled with the essence of its subject. I call this work creative because Brandt manages to combine the key moment with brilliant technical skills that makes for much more than a journalistic representation of time. I can stare at his pictures for hours.

Lapa Lapa Lapa (Ara macao) - Rio Quatro, Costa Rica — Lapa Lapa Lapa *(Ara macao)* - Rio Quatro, Costa Rica

So, what’s with all the burry pics in the blog, you ask?

During every prolonged shoot, I will break from my tendency towards technical perfection and try to escape from my self-imposed constraints. While I won’t be so bold to call any of these images creative, I might describe each as a purposeful attempt at making art from a bit of nature.

Flying Banana (Ramphastos swainsonii) - Hacienda Baru, Costa Rica — Flying Banana *(Ramphastos swainsonii)* - Hacienda Baru, Costa Rica

Costa Rica 2013 - Nesting and the Importance of Perseverance

August 04, 2013 in August 2013

When asked how we find so much wildlife and produce so many unique pictures, my answer is unintentionally flippant. Simply put, our photographic outcomes are the product of practice and perseverance. We take many pictures, shoot most weekends, edit ruthlessly, and learn from our mistakes. After working all week to pay for the photography addiction, I look forward to sunrise Saturdays or Sundays with the intent of producing something new within the boundaries of my home range. This is the practice; it is the investment we make that prepares us for the fleeting moments.

When traveling, we don’t travel like tourists. It’s not about seeing it all, it’s about making the most of the opportunity. We are “nesters.” We plan ahead, strategically select a few places to stay, and we study the patterns in these novel locations.

We are patient and we persevere. After eight trips to Costa Rica, we have become more thoughtful and intentional when making pictures. Repetition is the key to our success. Rather than spray and pray, we’re on the trail early and make return visits to wildlife and landscape hotspots throughout the day. This type of forethought, patience and knowledge is attainable to those willing to nest. The longer we stay, the more we learn, and the greater our productivity.

The quetzal images posted were produced because we knew how to use our gear, learned where the birds would feed, and invested the time to revisit a likely roost. While we photographed many individual quetzals during our prolonged visit to the Savegre Hotel, these two pictures were made as we departed the lodge. Shot during our fifth and final day at this location, these images exemplify what is possible when you create the time to nest and are willing to persevere.

All images Canon 5D mark iii and Canon 300mm f2.8L IS + Canon 2x mark iii converter

I Call it Shangri-La - Selva Verde Primary Forest, Costa RicaCanon 5D Mark III + Canon 17-40mm f4.0L @ 19mm / f16 — *I Call it Shangri-La - Selva Verde Primary Forest, Costa Rica*
*Canon 5D Mark III + Canon 17-40mm f4.0L @ 19mm / f16*

Where is your Shangri-La?

July 27, 2013 in July 2013

Synonymous with an earthly paradise

Shangri-La was first described by James Hilton in his 1933 novel Lost Horizon.

The Himalayan utopia, as described by Hilton, lies trapped between mountainous peaks, and is a place where happiness and youth are maintained in perpetuity.

I have seen Shangri-La.

Hidden to most, this magical landscape reveals itself to those who embrace their wanderlust. A place where the land touches the sky and light scatters about, Shangri-La is only visible to the early risers, compulsive hikers, and the dreamers of the world. Located somewhere on this planet I’ve been there before and I have no doubt that I’ll be there again.

Black & White Conversion with Topaz B&W Effects II

About the Picture --- This image was first conceived in 2011. I visited this valley during an intense hike through primary rainforest protected and owned by the Selva Verde Lodge and Preserve. Following an early morning ascent that included a precarious swinging bridge, hognose viper, steep switchbacks and bushwhacking up a mountainous slope, we arrived at the valley after sunrise. While I took many pictures that morning, I was forced to use HDR processing to reconstruct the image that disappeared as fast as the sun rose.

We returned to the Selva Verde Lodge in July 2013. Knowing that my intended photo required us to beat the sun, we began our 2013 hike to Shangri-La at 5:00 a.m. On this day the atmospherics were kind as rain clouds hung in the valley while the sun climbed the mountainous slopes. With the sun to my right and thick clouds in the foreground, I decided to use this dying tree as a way anchor my landscape. While I like what I’ve produced, I still don’t think I’ve made “The Shot” that lingers in my mind... I guess this means I’ll have to make plans to return to this Central American Shangri-La.

Road to Nowhere - Near Milan, MNCanon 5D Mark iii + Canon 17-40L — *Road to Nowhere - Near Milan, MN*
*Canon 5D Mark iii + Canon 17-40L*

Shooting the Prairie (I)

June 27, 2013 in June 2013

Often referred to as “flyover country” this nation’s midsection is a rare destination for travelers, adventurers and photographers. The Rockies, Sierras, and Appalachians compete with the coasts for nature enthusiasts, and should anyone be interested in visiting the middle, they are likely to search for a good fishing hole or forest trail. Unlike the allure of the African savanna, North America’s grasslands are the ignored step child to the ecotourist.

Eye of the Storm - Lac Qui Parle State Park, MN

Canon 5D Mark iii + Canon 17-40L

Maybe it’s due to proximity or a nostalgic reflection on my research with monarch butterflies, but I seem to be drawn to the prairies of middle America. A frequent visitor to North and South Dakota’s Badlands and lover of road-trips to nowhere, I have been quietly documenting grassland species and landscapes between Minnesota and Montana. This unplanned personal project now represents a significant percent of my image-portfolio, and continues to be an important photographic subject. Representing less than three percent of its original distribution throughout the midwest, North America’s grasslands are an endangered ecosystem.

Photographing a sea of grass can be a challenge to the most accomplished photographer. More than any other location, the prairie requires a deliberate study of composition and light prior to squeezing the shutter. To make the mundane interesting, try to leverage the turbulent weather of spring and summer, the contrasting lines between habitat and farms, or the pastels of dawn and dusk in your photographs. To make the infinite intimate, seek converging lines and search for a focal point to anchor the viewer.

Minnesota River Sunset - Lac Qui Parle State Park, MNCanon 5D Mark iii + Canon 17-40L — *Minnesota River Sunset - Lac Qui Parle State Park, MN*
*Canon 5D Mark iii + Canon 17-40L*

The formula, (Being There + Serendipity = Art) has served me well in the past, however I can not claim that this accurately describes my efforts on the prairie. Here, repetition and forethought are essential components for generating compelling images. For each picture presented in this post, I scouted the location and planned to be present in the “right” light. While I doubt that any one image was truly previsualized, I knew that if I put myself in the right place at the right time, I’d increase the chance of making a keeper.

In The Right Light

June 10, 2013 in June 2013

A dark roast is the only thing that looks good at 3:30 a.m.; so when I left my home for Schaefer Prairie twenty-minutes later, a strong cup of joe was my most valued traveling companion. On this Saturday morning, I was breaking with tradition. It was “the day after,” but I wasn’t sleeping in. The academic year ended on Friday, and the day after is reserved for mindlessness. Foolishly, I accepted an assignment to photograph the “Birds and Blooms” event at Schaefer Prairie Preserve, and I wasn’t about to let mental fatigue stand in the way. I pointed the Cooper due west and drove one hundred and twenty miles in a sleepless stupor.

I committed to the project because I love a prairie sunrise. The sea of grass reminds me of safaris in Africa and feeds my imagined conception of pre-settlement North America. The American prairie is one of many threatened ecosystems. Fragmented by farms and urban development, less than three percent of indigenous grasslands remain. On this morning I chose to document a restored habitat instead of sleep. So, it is with great irony that I post this image of Taraxacum, the dandelion.

Pest to lawn-lovers across United States, the dandelion is a perfect model of evolutionary success. Adapted to disturbed habitats, the forb blooms fast, and can produce from 54 to 172 seeds per flower head. One estimate suggests that as many as 240,000,000 seeds are produced per acre of dandelion ( http://fyi.uwex.edu/weedsci/2002/11/12/dandelion/ ). It was during the final stretch of my drive to Schaefer Prairie that I began to feel the photographer’s panic. The light was brilliant and I wasn’t on site. I was listening to the pings of gravel striking the undercarriage of the Mini, when I decided to slam on the breaks. This wasn’t the prairie, but the light was too good to pass up... I ran with the lens mounted to the tripod, lied prone on the edge of a farm field and shot into the dawn’s haze. In the end I seemed to have confirmed an oft uttered statement in photography, “almost anything looks good in the right light.”

Old Cider - Stillwater, MNCanon 5D mark iii + 17-40mm f4.0L & 3-stop B+W ND — *Old Cider - Stillwater, MN*
*Canon 5D mark iii + 17-40mm f4.0L & 3-stop B+W ND*

Go with the Flow

May 26, 2013 in May 2013

We've adopted another puppy and with this comes the duality that accompanies every major decision. The fun of jostling a belly with stumpy legs is tempered by sleep deprivation and zero dark-thirty walks. The older dog, Sequoia, must endure the annoyance of puppy teeth in order to eventually have a worthy playmate. Dichotomies are at the root of so many of life's experiences. When we embrace the dichotomy we begin to see with greater clarity.

To produce this photograph I needed to balance my vision with the limits of my circumstance. The light was changing rapidly as heavy winds moved the clouds aloft. The streaky sky was quickly becoming overcast, and the tree I sought to photograph was trembling in the breeze. Rather than fight nature, I let the conditions dictate the process. I must have encircled the tree a dozen times before settling on this vantage point. The apple blossoms were in full bloom, but the wind foiled any attempt to make them my focus. The path of least resistance was to embrace the situation. It was here, before the composition was set, that I knew the image would be black and white photograph. I added a 3-stop neutral density filter to my 17-40mm lens and zoomed to maximize the size and texture of the trunk. I waited for a massive gust of wind and shot a one-second exposure to capture the rustling of leaves. With windows facing into the apple orchard, I embraced the dichotomy and captured this familiar place in a new way.

Lake Kabetogama - Voyageurs NPCanon 1Ds II + Canon 70-200 f4.0L — *Lake Kabetogama - Voyageurs NP*
*Canon 1Ds II + Canon 70-200 f4.0L*

Impressionism

April 05, 2013 in April 2013

During my Project 101 series I suggested 101 tips for making nature photographs. While none of my ideas were revolutionary, I tried to challenge set paradigms for image making and offer suggestions that might spark the inner creative. The articulation of my process was a great reflective exercise that continues to influence my own photography.

Sol Duc River - Olympic NPNikon D100 + Nikkor 50mm f1.4 — *Sol Duc River - Olympic NP*
*Nikon D100 + Nikkor 50mm f1.4*

I find picture making to be an intensely personal experience, as it often exposes a sensitivity to the world that I tend to suppress in my public life. With this in mind, I will use the next five posts to share some work that I rarely show. These pictures exhibit purposeful imperfections of technique in order to suggest something a bit more. The “it” in each image is less significant that the whole that is displayed. More than anything, these pictures are more about light, shadow and pattern than anything else.

*Canon 5D Mark iii + Canon 300mm f2.8L IS*

Winter Diary (Post IV)

March 07, 2013 in March 2013

Fallen

The pattern caught my eye while photographing swans. I realized that it was an oak leaf that persevered on a frozen lake. Crazy that something so light could be etched into the winter's sediments of Snow.

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