I have been blathering on and on about backgrounds lately, so I promise this will be the last blog on this topic. At least for awhile! To follow up my previous post about dynamic background, this one focuses on those images that work best with a static background, such as the image above. There are lots of ways to approach this, so read on to learn more!
While strategies for photographing one animal may differ from another animal, a consideration that seems to be consistent in wildlife photography is background. For this topic, I use butterflies and dragonflies as examples. Why? Well, background almost always involves foliage with these attractive subjects. This can be quite a challenge especially if the foliage is dense with shadows and highlights and various shapes and colors. But maybe, just maybe we can create a pleasing image that takes advantage of the busy backgound. Read on and learn how!
For its colorful wings, the butterfly is a popular subject and there are many locations to photograph these beautiful creatures. Living in Miami, I have access to a butterfly conservatory that I visit frequently during the summer months when I am not camping in the Everglades. The conservatory is a relatively small space crammed with dense foliage and the air is alive with hundreds of flitting butterflies. To say it is visual overload is an understatement! So how can a photographer make sense of the scene and capture an image of a butterfly? Read on!
OOF = out-of-focus. Most often it is mentioned in reference to either A) background or what is behind the subject, or B), something in the foreground that partially covers the subject and really shouldn't be there (i.e., errant branch). OOF background is ideal most of the time as it allows the subject to stand out. But what about OOF foreground? Should we always try to avoid it? I say not and in fact, OOF foreground may add interest to a composition. Want to learn more about this creative technique? Read on!
You couldn't ask for two birds more different from each other than the brown pelican and great white egret. Yet each spring, the two species share a very crowded nesting location in the Everglades. I often paddle my canoe to the rookery, and from one spot, photograph both brown and white birds. Obtaining the correct exposure on those beautiful feathers is always a priority in bird photography. So how do I manage doing this when I have two very different birds? Read on and find out how to capture dark birds and white birds in one sitting.
The wonderful thing about living in water-abundant Florida, wading birds are just about anywhere. Quite often, we find very accessible locations where there is an abundance of birds. Sometimes however, these locations make photographing very challenging because of the tight surroundings. So what do you do when you want to photograph birds in less than ideal places? Read on!
The Everglades is a winter home to many migrating birds. In the gulf waters, the most obvious one is the very large American white pelican. Most of the time, when you see one, you see several hundred. Rarely will you spot a white pelican gone solo. Almost always the case, when I photograph white pelicans, I am photographing a crowd of them huddled on a sand bar. Up close it is a spectacle of bright white and brilliant orange beaks and legs, which can be very challenging to capture well. So how do I photograph a crowd of large white birds? Read on!
I frequently paddle my canoe deep into the backcountry Everglades, often requiring several miles of traveling in one day from one camp location to another. Sometimes, I am in my canoe from 7 am until 4 pm. While paddling, one of my favorite experiences is coming upon birds wading in shallow waters, dive-bombing the water, roosting in trees or flying above. No matter how tired I feel from paddling, I never get tired of photographing the birds. So how do I manage to capture them while traveling by canoe and with less than ideal weather conditions? Read on!
It is finally that time of year when I begin my camping trips in the Everglades. This is how my photography began. What began as merely a way to record my trips, eventually grew into a passion and my art. So how do I prepare for a photography/camping trip? Read on!
Being in a canoe, I am naturally surrounded by water. Intrigued with how reflections are disturbed by the movement of the boat and paddle, I decided several years ago to incorporate this effect into my waterscape images. To do that, I use my canoe. How is this done? Read on!
If you looked through my galleries, you may notice that many of my images are vertically composed. This is contrary to tradition, especially in waterscape or landscape photography. So why do I do it? Read on and find out!
This image titled "Gulls & Cormorants 1" is one of my most popular ones and can be found in the gallery "silhouettes". I often get questions about how I got this shot and those similar to it. I always start by saying, "This was one of the easiest shots I ever got!". Want to know more? Read on!
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