Category: Visual Creativity

It Has Come To Me; I Must Become a Mother

It Has Come To Me; I Must Become a Mother

It has come to me; I must become a mother to seven or eight young juvenile Merriam’s chipmunks. Their mothers are gone, passed into the fourth world–never again to suckle these seven or eight youngsters.  Was it my fault, yes and no!  Am I to blame? I ask myself?

The answer is that the mothers are gone, and I now must take the responsibility to keep these youngsters alive. Assigning blame isn’t going to keep these little guys and girls alive. Get them to adulthood, and foraging on their own.  So they too, can grow up and raise young ones of their own. That’s now my mission.

Ah, Rolling In The Dirt, Chipmunk Style

My friend Randy knows the situation; the task is a bit daunting. I must get them to be independent, but they are going to be dependent on me for a while. It is going to be a step by step process. Tame them, no! Really lead them, to the direction of being wild and able to live on their own.

I know that I am being a bit cryptic and mysterious.  I have my reasons, and they are good ones. If you want the whole or full story, you’ll have to contact me personally.

Merriam's Chipmunk On One Leg

I leave you with a couple images of Chipmunks being Chipmunks. I never cease to marvel at these little dynamos of energy. Their antics always seem to make me happy, and if I am a bit depressed they always lift my spirits. Yet, now too, I realize that even they have moments of dependency, of fright, and loneliness.

Merriam's Chipmunk Kisses Oak Branch
I am also recognizing individual personalities too. I know that some are going to make it with no problem; others are going to present a great challenge!

A mother must give the type of love that each require. All seven or eight aren’t the same; they are individuals! Not only must I be a loving mother, but a smart one too…

Sticking His Nose Into EverythingMerriam's Chipmunk Perched On A Dead Branch

A story from the Ramrod Ranch, a series of wildlife adventures…

And the Last Chipmunk Word…

Last Word

Addendum

The first, absolutely the first thing I did when I arrived at the Ramrod Ranch was to go to the bird feed. It’s all in a large garbage can. I have a plastic cup that I use to scoop it out with, so I filled this large plastic cup and headed over to the chipmunk corner, laying out the feed for them. They have been living on the thistle seed, and I put out a large pile for them. I figured that they would be starving… I was right they were!

But this mother was too late for two of them; I found one laying dead close to the area where I left out the seed. I put out a lot of seed before I left, was it not enough? Did I make a mistake? Or was this little chipmunk just too weak to survive. Later in the day, I found another dead chipmunk close by, they were so young. They just did not make it.

Sorrow was in my heart, I had failed two young lives. However, my spirits were buoyed by the flourishing four others who scamper down and came to eat the feed I had left. At least four made it, so far, not sure where the other two are, I know that last time I had counted at least seven. Maybe, the other two were off on their own; I heard at least one down by the barn when I came back from the blind midday and finished photographing.

It was a warm spring day, temperature in the low eighties, tomorrow promise to be another slightly warmer day at the Ramrod Ranch! Even with the sad deaths of the two little chipmunks, and a slight bout with heat stroke, I still had an incredible day observing all the bird life at the ramrod ranch… I just couldn’t stay sad, for all the other life up lifted my spirits!!! Nature and life just fortify the soul and sooth the heart every time. I feel like I am in heaven every moment I spend in nature…

PS: You can guarantee I am going to drink more water tomorrow, and I’ll definitely wear my baseball cap. I really need to find a type of hat that I can photograph with and that will protect me from the hot rays of the sun…

 

The Final Chapter

A week later I was relaxing in the yard one late afternoon, when a chipmunk came hopping down the yard to the base of the big oak tree by the cabin.  It started feeding on some of the grasses around this oak tree. Yet, its movements were kind of slow and not chipmunk like at all. When, it turned toward me, I could see a strange glow in its eye.  At first, I thought it might be just the light. I got up and I took several pictures of it, and then I checked the back of my camera and the images still showed this strange glow.  I didn’t use flash so that could not be it.

I gathered some food (bird seed), and gently walked over to it. I placed the food right in front of it, stepped back and watched it for a while. Eventually, the young chipmunk began eating the bird seed in front of it. The movements still were slow. I went back to my chair and watched it for a while. It seemed to get disinterested in the food. Then, it tried to climb up the trunk of the big oak tree next to the cabin, but it didn’t make it too high, and almost felled back to the ground, like it didn’t have enough energy to make it up the tree trunk. On the ground not long after, it squeezed between the cabin boards and went underneath the cabin. This is the last time I saw it.

After reviewing the images and thinking about its slow mechanical actions, I realized that the chipmunk was blind. That’s what was accounting for that unusual glow in its eyes. It never did see me as I placed the bird seed inches from its body.

I talked to my doctor about a week later and she said that one of the affects of starvation could be blindness, not enough nutrients for proper eye function.

I am sure this little chipmunk did not make it…very sad!

The good news is that the four remaining juvenile chipmunks hanging around the corner by the bathroom door and on top of the old jerky cage seem to be doing well. Each week I left some bird seed for them. Then, as the weeks passed by, they seem to be foraging on their own, and venturing out from this little corner. I began to see and hear them down by the barn.

As the photography workshops began, the chipmunks disbursed and headed out for a life of their own. I was a little sad, because I didn’t have to feed them any longer, and they weren’t hanging around in their little corner any more where I could see them regularly. Yet, I felt happy too; for now four chipmunks were living on their own now, with the chance to grow up and have babies of their own…

So go life, and the saga of my little chipmunks!

Selective Focus

Selective Focus

A camera’s vision is not quite like ours. As a photographer you need to see the world as a camera see it. One of the differences is that the eye focuses constantly, and we see everything in focus from near too far. With a small aperture selection like f22 and a wide-angle lens, you can almost get the focus of the human eye, where everything is sharp and in focus. This focusing is good for landscape photography, where you usually want to see all elements of an image sharp from foreground to background.

Another way is to use selective focus: emphasizing a particular part of an image, making the subject of the image stand out; singing its visual song. This is a powerful technique to draw the viewer’s eye to the subject, where the photographer wants the viewer’s eye to go. The eye is drawn to the sharp focused subject surrounded by the blur area containing the rest of the image. This seeing is as the camera sees not as the human eye sees. Controlling the aperture size is the key to controlling the depth of field and selecting the focus area–what’s sharp and not sharp within the image.

Here is an example of selective focus; I entered this image in my camera club recently. This cheetah image was taken at the San Diego Wild Animal Park.

I did not use a small aperture like f22 to render the whole portrait of the cheetah sharp. I used instead an aperture of f5.6, so my depth of field with my 600 mm lens and with 1.4 tele converter was shallow, leaving the neck and parts of the shoulder slightly soft. This makes the alert cheetah’s face and eyes seem very sharp, more so because the rest of the body is slightly soft. The story and impact of the image is the face, the alert expression, and those penetrating eyes. Penetrating eyes that look into the soul of the animal! With selective focus, these features are emphasized to the viewer. Subtle in its effect, but nonetheless greatly contributes to the overall success of the image.

Also, it should be noted that this image was taken after sunset late in the evening, so I needed to use a large aperture and a high ISO of 800, just to obtain the proper exposure… My camera was on a tripod and with the animal not moving; I had a choice of using a sharper aperture, and slower shutter speed. My goal for the image was to focus on the face and the great intense stare. Choosing an aperture with a small and shallower depth of field gave me the critical focus on the face, very slightly blurring the neck and shoulders, making the face really stand out and sing.

Why not make the neck blurrier? That would make the face stand out more. I think if you did that; it would make a face on a blurry body (a post it or cut out look), and the blurriness would attract the eye and away from the face you want the viewer to see. A completely burly neck doesn’t work well for this type of animal portrait.

Why not make the image completely sharp? Well, yes, for a nature interpretation, you might want a completely sharp image. I believe this makes the image more a record shot, rather than an artistic presentation.

This selective focus technique is used a lot in macro photography, flower photography, and many other types of image making as well. The uses are endless, so make sure you apply this technique to your photography.

PS: This image won best of show at my camera club’s week night competition…

What type of images sell? What do customers want?

What type of images sell? What do customers want?
& Other Thoughts

In a recent reply to my blog post “Dare To Be Different” (http://wp.me/p1iYnC-5y) a photographer asked the following questions:

“BRUCE, I love the shots, but when I show my “dare to be different” shots to my audience of friends, they seem to prefer the tried and true “basic” images. For example, I have this wonderful red hawk photo that I cropped to show off its head. When I showed it to a group of friends, they all wanted to see the body too. Another example: A flower with the stamen off-center (aligned with the rule of thirds), my friends wanted to see the flower smack dab in the middle of the frame. “
“I found it fascinating that photographers like images with that more artsy quality, but people who might buy the photo want to see basic crops, full subjects, and middle alignment. Anyone else experience this disconnect?”*

My longer reply for this blog post:

I would have to see your images to make a more informed personal comment. However, I think intuitively people respond to a great image, because on an emotional level it speaks to them and connects to them personally. They might not be able to explain why in a way the so-called “art critics” would, but they know when they like an image.

I believe record shots, images without strong subjects, busy images with clutter, images that show too much, images that don’t have artistry and superior composition, and just plain poorly technically executed images, in the long run will not consistently sell.

Generally, when you cropped an animal, bird, or person, you need to avoid cropping just a little so to avoid a subject that looks funny or strange without the rest of the body part. If you crop bold, then, the viewer assumes that the photographer wanted to show the subject in this way. Then, it wasn’t a mistake, or sloppy technique by the photographer.

Also, there is a glut in wildlife portraits on the market nowadays; the new marketable trend is to shoot wildlife with wide-angle lenses, and show the animal in its habitat and with a grand scenic background. Wildlife portraits need to be stunning. Wildlife images need to show note worthy behavior, a rare species or less documented one helps too. Specializing, becoming a provider of certain imagery that few have is also more marketable. Story telling is a premium, a must, essential for high level commercial success.

In regards to composition, center placed subjects can work; a round flower with the petals flowing outward like spokes of a wheel as an example. Although, generally off placed subjects, with rule of third principal, often are stronger and more dynamic. But there are no hard or fast rules regarding composition, photography isn’t an exact science; there is lots of subjectivity. What one person may like another won’t. This aspect of photography is what makes it so interesting. Everyone sees the world a little bit differently; visually it would be very tiring if this weren’t so.

Content matters. Content and its visual arrangement is style. I believe that establishing a style is important. The goal should be mastering the craft and art of photography so your vision is discernible; your images recognizable. Yet, an artist is never satisfied: always growing and learning—improving.

From the visual impact of image, the viewer can recognize the artist, the best photographers work is recognizable; Ansel Adams, David Muench, Elliot Porter come to mind—there are many, many more of course. From recognition comes success, although, I always thought that anyone who bought one of my images, no matter how big or small, took a little of me, my soul, and my heart with them along with my image.

As nature photographer, I take pictures that please me, satisfying myself. If someone else likes the image great, if they want to buy it, all the better. The point is I don’t take pictures to please an audience. If I become a better photographer, improve my skill, clearly establish my style, have a pure vision, then I’ll be successful! First and most importantly to myself, secondly, and in a humble grateful way, others will recognize the merit of my work. Maybe, this is overly idealistic, but it’s what I believe…

All the best following your passion, hopefully this message helps and inspires you.

Here is a shot I have been trying to get for years, California quail chicks lined up at the edge of my ranch pond in soft diffused lighting I like so much. Very pictorial, with the help of some post-processing, showing some implied behavior and that cute factor that always endears us humans to babies.

This image exemplifies my photographic style of getting in close, and a vision of showing nature and wildlife in an extraordinary manner–letting nature’s beauty shine, and its spirit show.

*Question Quoted from Ilene Hoffman, LinkedIn Adobe Lightroom group member,  her blog is at http://ilenesmachine.net

Dare To Be Different

Photography is about seeing, identifying, and capturing a subject out of the chaos of ordinary visual clutter… Here in Yosemite I was trying to be different, and not just take the iconic shot. Not place my tripod in the same spot as thousands of others, and avoid creating a commonplace Yosemite image seen many times before.

I am not the first to try do this for sure, but I think that the dark ice flows of the river on the top of the image, lead into the falls, giving a painterly feeling that the river flows into the falls, when actually the water from the falls flow into the river.

It’s this black shaded river with the chunky ice flows, that lead down into the falls reflected in the river that give this image it’s unique ironic symmetry. The black color is caused by the pine trees along the river; their shadows darkening that specific top image portion of the river. Even the bottom ice flow contributes to the overall success by framing the bottom portion, keeping the viewer’s eye in the photograph.

The pine trees shadowing the river, the ice flows in the perfect places, and the reflected falls in a clear space within the river, all at this one moment in my mind’s eye come together to produce a image with power and beauty.

“Strive to make a photo more like a painting, and a painting more like a photograph!”

Dare to be different!

Separate your image making from the crowds of other photographers, think about a unique viewpoint, a method that’s different, a different lens choice, an atypical composition, and/or an unusual technique–a wide angle lens for wildlife and/or a telephoto lens for landscape, as examples.

Also, think about what you are trying to communicate with your photography. What are you saying with each image you make? How do the various elements within your image contribute and emphasize your visual message? Does your image tell a story? Does it speak a visual language that moves the viewer’s heart?

Following these ideas and thoughts will improve your photography, stretch your photographic eye, and most importantly stimulated your right brain to new visual heights.

“An Abstract that captures the essence of Yosemite”, commented a fellow camera club member upon seeing this image that dared to be different.

Here is another Yosemite image where I dare to be different: Yosemite’s snow covered cliffs through the black oak limbs, contrasting the solid white cold granite walls, with the dark living tree trunks and branches.

Graduated Neutral Density Filters

Upper Yosemite Falls from the Swinging Bridge—sky exposure reduced with a 3 stop graduated neutral density filter.

Graduated Neutral Density Filters

Graduated Neutral Density Filters are an essential and indispensable tool for the Landscape photographer.

These filters come in rectangle sheets with gray color on the top portion to clear on the bottom portion of the filter, with an area of less dense gray in the middle.  Their purpose is to hold back the brighter areas of an image like the sky, reducing the dynamic range of the image. Since the eye can see a considerably greater range of light than can be recorded by a digital sensor, or film, particularly slide film, these filters help reduce the range of light bringing detail to the shadow areas.

Ring type graduated neutral density filers with a half portion gray are not very useful for most situations, since they do not allow placement of the transition.  With the rectangle sheet type and a filter holder you can slide the transition to the desired place within the image. Even hand holding the filter you still can place the shaded area precisely where you want; this is not possible with the ring type filter which only has center placement—half and half portions, half grey and half clear.

A scene with great contrast and dynamic range, the dilemma is what do you expose for, the highlights or the shadows. A typical scene at sunset or sunrise, where the sky is very bright, expose for the sky, the shadows are typically very dark and hold very little detail.  The graduated neutral density filter can equalize or reduce the range of exposure, so highlight areas are not blow out when exposing for the shadows, conversely shadows aren’t black and devote of detail when exposing for the highlight areas.

These filters come in various degrees of strength, referring to how dark is the gray section of the filter, and how much light is blocked. This measurement is called stops, i.e. two stops or three stops, with three stops being darker or holding back more light than a two stop filter. Neutral Density filters also have another measurement term referring to how gradual the gray area of the filter fades to clear. For hard stop filter, the area of demarcation is sharp with little or no faded area. Soft stop filters have a much greater area of fade from gray to clear; a much greater transition area for a softer blending effect.

Overall, graduated neutral density filters greatly help in reducing the range of light, allowing detail, color, and texture in both the highlights and shadow area within an image.

Many manufacturers make these types of filters including Cokin, Tiffin, and Singh Ray. With many variations and intensities, hard and soft stops, reverse type where the gray density is in the middle section of the filter.

The larger “P” size filter can also be used as a complete neutral density filter to reduce harsh light areas as well as darkening light colors, increasing color intensity and saturation.

Remember; when that grand scenic with a wide range of light is in front of your lens do not forget this indispensable filter.

Of course, in today’s digital world, you can create the same graduated neutral density effect digitally, that’s worth a whole another post.