Final Publication Clara Soderberg

PDP WINTER 2020

PETERSEN’S DIGITAL PHOTOGRAPHY GUIDE

Outdoor & Adventure Photography Presented by David Shaw How to capture people you meet along the way

Capture black and white in the wild

Photographing the Aurora Borealis

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PDP PETERSENS DIGITAL PHOTOGRAPHY Publisher Ron Leach Editorial Director George Schaub editorial@shutterbug.com Contributing Editor David Shaw Associate Editor Cynthia Boylan Art Director (Richard K. Leach ) Clara Söderberg Associate Art Director Mary McDonel

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EDITORS NOTE There is a small group of photographers who earn their living by working in the wild places of the world and capture images that show us the power and the glory of nature in its most raw and challenging form. They brave the elements and obstacles to get these images.

Often having to struggle with adverse conditions that would test the best of us in our efforts to make startling and exciting images. David Shaw is one of them, and we are very pleased to be able to showcase his work and go behind the scenes with him to discover his tools, techniques and—perhaps most importantly—his point of view about his work and the world.

In this issue, David takes us along as he heads into the frozen areas at the top and bottom of the world, the jungles along the Equator and into the backcountry where nature is unspoiled—or at the least untrammeled by summer crowds. He shares important tips on packing and the type of gear that best suits the work and how he keeps (often delicate) photographic equipment safe from the intruding elements.

Gear, however, is only one aspect of the challenges one faces in these environments. As important is the attitude and state of mind he brings to the work, and his respect for and admiration of what is around him.

He stresses an awareness of where he is and the behavior of the animals (and the weather) he seeks to photograph. He encourages those who wish to work in these beautiful areas to thoroughly research their benefits and understand their pitfalls. To use that understanding to both enhance the experience and be safe as you travel.

David also brings his technical and compositional expertise to the fore. He discusses ways of seeing and using the tools of the photographic craft to make great images. He covers both color and B&W, the visual guidelines he uses in his work and methods for capturing the essence of what is before him. He also reveals his way of making portraits as he travels, as well as working with flash outdoors to bring an extra touch of light to the images. While aperture and shutter speed techniques are important, of course, he brings these tools into the context of his vision and expression.

I don’t know about you, but one of my bucket list excursions is photographing the Aurora Borealis (the Northern Lights) that, in some parts of the world, fill the winter sky. David’s portfolio of these natural light shows has made this quest even more accessible, with tips and techniques for making images that show them in all of their glory.

While you could view this issue as an armchair adventure, it is my hope that it inspires you to begin to consider photographing in the wild places of the world something that could be a part of your own photographic adventures. Taking his advice and experience to heart will certainly make it a richer and more attainable endeavor.

George Schaub Editorial Director

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FE ATURED Expedition Cruising

Black and White in the Wild

Follow David as he guides you in a cruising in Alaska photographing all the wild lives that you can find on the other side of this planet.

There is something elegant about the monochrome image. Black and white photos harken back to the early days of photography, when the process of making an image was akin to magic. Things are easier now.

CONTENTS 05 Meet David Shaw Get to know this issues photographer and learn all of his best tricks.

06 Wild Places Off the beaten track.

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Become a Naturalist First Get to know your subject and get better pictures.

23 Expedition Cruising Use excursions to get you there.

28 Photographing the Aurora Borealis Capture natures light show.

32 Black and White in the Wild The power of monochrome images.

37 Travel Portraiture The people you meet along the way.

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Surviving Adversity Packing, protection and precaution.

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Visual Tools Color, line and composition.

46 Working with Outdoor Flash An extra burst of light.

Creative Blur The energy around you.

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MEET DAVID SHAW DAVID It was through photography that I realized wild places held deeper value than an outdoor playground. The world through a lens, surrounded by black borders, isolated, cropped and focused was appealing. But the image was capable of lying, of clipping out the nearby road, the tourists, power-lines and the discarded plastic bottle. Through a camera, the most trafficked landscapes could become silent, isolated—and yes—wild.

When I lowered the camera the world came rushing back: cars buzzed, people chattered and exhaust fumes rose. At roadside viewpoints, the images could be lovely, but the reality was not so picturesque. I did not want my world to just look as wild as it did in photos; I wanted it to feel wild too.

On family vacations as a kid, I was filled with disappointment when I discovered that the iconic images of Yellowstone Falls were made just feet from a large parking lot, and that most of the apparently wild valleys of the Rockies were populated by roads. That disappointment drove me to wander further and venture deeper into the remaining wild country. I sought places where the feeling of wildness in my photos was as intense as the actual experience.

That journey continues. I now live in a small cabin north of Fairbanks, Alaska. From the trail of out my front door I can—quite literally— walk for miles and miles and not encounter a road. And as much as wild places have become a part of my daily life, they also have become inseparable from my profession.

My work as an outdoor photographer often draws me into wild places, but one of the most rewarding is sharing the experience with others. During the short Alaska summer I guide wilderness trips into the arctic mountains of the Brooks Range.

There, the rivers and hidden valleys are ripe with photographic opportunities, and the images of these wild places do not lie. This issue of the Petersen’s Photographic Digital Photography Guide is dedicated to wild places. Here you’ll find articles not just on gear, technique and destinations, but also on finding your own vision and how to explore creative photography in unexpected (and sometimes difficult) places. It’s not all about the backcountry because different cultures, people and even backyard adventures share elements with the wild.

David Shaw is a professional photographer, writer, guide and wildlife biologist. He lives in Fairbanks, Alaska with his partner Amy, a dog and a cat. His images and articles have been published in hundreds of magazines, calendars, textbooks and advertising campaigns.

He leads wilderness photography workshops and natural history tours during Alaska’s short summer for Arctic Wild.

During the northern winter Dave often travels south to guide expedition cruises to Antarctica and the Southern Ocean or explore the incredible landscapes, cultures and wildlife of South America with his camera. Check out Dave’s website for more images, information on his workshops an tours, and read his compelling blog of photograph adventures at wildimagephoto.com

Wilderness is increasingly rare and constantly under threat. Through photography we have the opportunity to influence attitudes and create change. We can share what that few will ever see, and hopefully help people to understand that the wilderness is worthy of protection and far more valuable than dollars.

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AURORA BOREA

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PHOTOGRAPHING

ALIS

The aurora Borealis (or Northern Lights) are, let’s face it, weird. They consist of swirling green, purple and red curtains hanging in the dark northern sky. They’re magical and otherworldly. But it’s all physics and it works a little like this: the sun (like the earth) has weather patterns, swirling tornado-like storms, areas of high activity known as sunspots and towering flares that occasionally kick charged plasma out into the solar system. Occasionally, one of those big eruptions (called Coronal Mass Ejections or CMEs) sends its magnetically charged particles hurtling toward us. As the CME approaches the Earth our own magnetic field draws the material to the north and south where it enters the atmosphere. The charged particles interact with the gases and burst into light like a neon sign.

The colors of the lights vary according to which gases are encountered at what elevations, making the aurora a constantly changing phenomenon. The normal green color is created by oxygen— about 60 miles up. The rare red auroras are also related to ox ygen in the atmosphere but much higher—200 miles. Blues and purples are created by ionic nitrogen, which also creates the rippling edges of the curtains. The sun’s weather goes in cycles. About every 10 years there is a peak in the activity and the auroras become more frequent. This year is the peak and, if predictions hold, will be the best opportunity for northern lights viewing and photography for at least another 10 years. In other words, now is the time to bundle up, head north and go outside with your camera.

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DETERMINING EXPOSURE It’s likely in night work that your camera will get confused and won’t be able to choose the appropriate f-stop or shutter speed, so you’ll need to use manual settings. First, select an appropriate ISO—if you have a top-of-the-line camera with low noise you’ll be able to use a high ISO setting, like 1600 or more. If, however, you shoot with a camera that tends to be “noisy” at higher ISO’s (like a smaller sensor point-and-shoot) you’ll need to start

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lower—try around 400. Next, select a shutter speed. This will depend on your ISO and how fast your lens is. I suggest starting off around 15 seconds, then reviewing your image on the LCD and adjusting up or down as necessary.

Last, make sure your aperture is wide open.

If you are shooting with an f/2.8 lens, shoot at f/2.8. A word of warning about LCD screens, on a dark night when the only light is your camera’s LCD, your images will appear much brighter than it will on your computer. Turn down the screen brightness and keep an eye on the histogram.

When I first began making images at night, this was my Achilles’ heel. Focusing in the dark is tricky. Even the best auto-focus systems are incapable of the feat, so shift your lens to manual focus and adjust it—as shown in image. Small adjustments can be made by reviewing the LCD screen after the first few images. If your foreground elements are placed sufficiently back in the frame everything should be sharp—from the trees and hills to the stars and the aurora. Prior to an aurora shoot, I’ll find the best focus point on my lens and use a piece of electrical tape to lock the focus ring in place. Then—as I’m adjusting and carrying the camera around in

the field—I won’t accidentally bump the focus.

Last, use a remote shutter release or your camera’s timer and mirror lock-up function (if your camera has the ability) to minimize vibration. Some image stabilization lenses will actually produce lower quality images if the camera is on a tripod and the IS is on— some don’t so check your lens instruction manual. Remember that even a slight bump from clicking the shutter can cause unwanted blurring in the stars.

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The perspective plays a big part of the composition. Making the photo longer creates an interesting look.

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COMPOSITION person, rock, or whatever and compose carefully. The night sky offers creative possibilities unlike those in any other genre of photography. Long exposures can cause otherwise obstructing clouds to create new patterns in the sky . And active techniques like “light painting” the foreground with the beam of a headlamp or a flashlight can provide a compelling level of depth and detail.

Compose as though it were a landscape image. Your subject is the sky, but the other elements in the frame are just as important.

An image of just the aurora and a few stars might have some interesting colors, but it will lack a sense of place or depth and a poorly composed foreground will be a distraction. Select a tree or a cabin, mountain,

Aurora photography is a tricky pursuit. We spend a lot of time discussing the techniques and equipment. We worry about how our gear and ourselves will stand up in the cold.

But none of that matters if we don’t find the lights themselves and that is the hardest part. The lights are fickle, difficult to predict and the clouds seem to obscure the skies on the most promising nights. The unpleasant fact about shooting the northern lights is that you have to be out there, looking, waiting and hoping. There is no tool in our kit to replace patience and persistence. You’ve got to be there.

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Look how much better the composition looks by including the cottage and mountain.

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A tripod is an absolute necessity—the long exposures required by night photography require a stable platform. A D-SLR is the best option, though I’ve seen good results with advanced point-and-shoot c amer as.

Whichever camera you choose, it must be capable of manual shutter speed and aperture settings. Most wide-angle lenses will suffice but the faster that lens the better. My primar y aurora lens is a 14mm f/2.8. A wide-angle allows you to show as much of the sky and foreground as you wish. And a fast lens like an f/2.8 (or better) will permit shorter shutter speeds, which means less trailing in the stars, less wind-motion in the trees and better definition of the curves and pillars of the aurora.

We worry about how our gear and ourselves will stand up in the cold. But none of that matters if we don’t find the lights You definitely have to dress for the occasion.

Since the aurora primarily occurs at far northern (or southern) latitudes and only at night, it is likely be cold, and sometimes extremely cold, when you are out shooting.

Long underwear, thick socks, gloves or mitts, oversized winter boots, down pants and a jacket are my standard gear.

Have some plastic Ziploc style bags big enough for your camera and lenses. If you pack your gear in these before you return indoors it keeps condensation from building up on your equipment. If it’s cold—which it likely will be—keep a couple of chemical hand-warmers in your pocket with a spare battery. Batteries don’t last long in the cold, so having a spare could save your evening.

And last, don’t forget a headlamp—you’ll need one for navigating in the dark.

EQUIPMENT 19

Black and white in the wild Words and photographies

by David Shaw

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There is something elegant about the monochrome image. Black and white photos harken back to the early days of photography, when the process of making an image was akin to magic. Things are easier now. Though digital—all ones and zeroes—lacks the tangibility of film. Shooting in black and white offers us the opportunity to return to a film mindset, a time when thoughtfulness and purpose were the requirements for making an image. During the first days of September, I was guiding a group of paddlers down a little-travelled river in northwest Alaska. It was my final trip of the season, the days were crisp and the air had the feel of snow. One morning, mid-way through the trip, I woke and peered cautiously out of my tent. It was snowing lightly and everything was coated in 3” of the white stuff. I crawled out and looked around. It wasn’t as bad as it first looked. The mountains across the valley were striped in patches of sunlight and the textured clouds above showed occasional portholes to the blue sky. I grabbed my camera. The river, flowing in sweeping curves through the snow-covered gravel bars was perfect for

black and white. Mentally, I pulled the color out of the scene (it wasn’t hard, there was little to begin with). I looked for the darkest and the lightest parts of my composition.

Considering how they interacted with each other. I composed and shot, composed and shot, concentrating on the texture, pattern and contrast—the keys to black and white.

Like that snowy morning, certain days and subjects will just scream for black and white.

Interestingly, successful monochrome images can be made under high contrast situations. In fact, high contrast is often at the heart of the image’s effectiveness and is eminently suitable for a black and white interpretation.. But black and white also has a wonderful quality in flat light, like on the foggy day when I made this image of rocks emerging from the lake. Other times it’s the subject that will dictate the need for color—or the lack of it. The caribou skull on a stormy

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day looked flat and boring in color, but in black and white it provides a compelling subject. Monochrome works with a surprising number of subjects, but it’s hard to go wrong with images of old structures. For example, the mode provides a feel of history to the crumbling bricks of the centuries-old tobacco barn in Argentina. Details too, like the tangled branches of a coastal forest in Brazil or the endless patterns of a birch forest in Alaska appear better in black and white. Making strong images in shades of gray requires an understanding of how the contrast will appear in the final image. As I noted above, this does not mean that the scene has to be high contrast—rather, you must understand how the existing contrast will be translated onto the final image after post-processing.

Ansel Adams, one of the unquestioned masters of black and white, understood the importance of developing (though of course his work took place in the darkroom instead of on a computer). In his classic book The Print,

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Making strong images in shades of gray requires an understanding of how the contrast will appear in the final image.

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At the time I failed to see the potential of those images but fortunately, rather than delete them, I left the photos to linger on my hard drive.

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he states, “The point I wish to emphasize is the dual nature of printing: it is both a carrying to completion of the visualized image and a fresh creative activity in itself.” Adams understood that an image captured in the field was incomplete. Though the tools have changed, his wisdom remains as apt as ever.

Color and B&W Sometimes, despite forgetting a black and white mindset, I’ve gotten lucky. A number of years ago I was on a solo photography trip in Bolivia. During my exploration of the country I spent a week touring the high, dry (and profoundly weird) Altiplano of the Atacama Desert. There, not far south of the equator, the sweet light of morning and evening was brief while the majority of the daylight hours

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were spent under searing, high elevation sunlight. The light was flat, hot and extremely high contrast. Knowing I wasn’t likely to return to the area any time soon, I made scores of photos regardless of the light. Most of those images, later viewed on my computer, were unsurprisingly disappointing.

The light was miserable and flat. At the time I failed to see the potential of those images but fortunately, rather than delete them, I left the photos to linger on my hard drive.

Recently, I was browsing through my Lightroom catalog and encountered a few of those forgotten shots. Inspired, I converted them to black and white. I added some contrast, dodged and burnt and watched something entirely new appear from the bland original. Black and white is a great medium that encourages us to be thoughtful in our photography. It teaches us to look at a subject critically and consider not how it looks in reality, but how the final image will appear. Work with purpose and your images will reflect the effort.

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Tips and Tricks Black and white comes alive in post processing, and while a full guide is beyond the scope of this issue, here are a few things to consider as you experiment with your images.

Most digital cameras have settings dedicated to black and white. Do not use these.

The in-camera black and white conversions are primitive compared to those in Adobe Photoshop or Lightroom and plug-ins from companies like on One Software and Nik. It is far better to capture the image in color with the Raw format and later convert it to black and white in the computer.

Black and white images usually appear most compelling when the blacks are black and the whites are white. In other words, the hist gram of your final image should cover the whole graph without cutting out too much on either side. Some portions of the image will require more or less contrast and brightness than others. The tools in Lightroom and other programs designed to selectively dodge and burn (lighten and darken, respectively) are vital when processing a black and white photo.

Look at the difference in the impact of these two interpretations of the same scene. One was “converted” to black and white using software and the final is the result of some further work on contrast—darkening and lightening select areas of the frame. This is the type of potential that resides in every image file (black and white or color) and exploring the processing options will help you to attain great results.

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People you meet along the way

The old man I met at the plaza in Cuzco, Peru.

It was a crazy day in Cuzco, Peru. The streets were full of people waving signs, banners and flags bearing the symbol of Tupac Amaru—the final leader of the Incas. In the plaza, kids were kicking soccer balls, families dined on picnic lunches spread out on blankets and teenagers walked hand in hand.

There were smiles and waves of greeting. I wandered around with my camera in hand, snapping the occasional photo but mostly just looking. As I crossed the plaza, I caught the eye of a nattily dressed old man who was

sitting on a park bench. I nodded and smiled but before turning away, I saw he had an old medium-format camera slung around his neck. That made me stop. Instead of walking away I turned and sat down next to him. In my somewhat passable Spanish talked about photography. Using my digital camera I showed him some of my images from the day; he described some of his. After a few minutes, I asked him if I could make his portrait and he agreed. I rose and framing the cathedral behind him, I snapped exactly two exposures . I checked the images, and then turned the camera to show my new friend the shots. He smiled and with that I shook his hand and wandered on.

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A young boy in the Amazonian village I visited a few years ago.

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Technical Matter The human connection is the hardest and the most important part of travel portrait photography, but there are some technical aspects that are important as well. As to lighting—I look for natural, soft light. Window light, an open door, cloudy days, the shade of a tree or an awning, all of these can make excellent portrait light. “Almost never” is direct sunlight the best choice. The image of the old woman spinning yarn was made at mid-morning on a piercingly bright day on an island in Lake Titicaca.

Old woman spinning yarn on an island in Lake Titicaca.

The Quechua man sitting and knitting in the shadow on a hot sunny day.

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The light is good because I found this woman in the shade of a stonewall, where her faded cloak and sweater went nicely with the stones behind her. The same is true of the Quechua man knitting . Hot, bright light was the rule of the day but the shade and the reflected light of the whitewashed buildings provided a soft, even light.

Most any lens will work but, in general, it’s best to avoid a very wide-angle lens, which can be great for street work but not for portraits—as working too close can distort your subject’s face. Anything from a 30mm on up can work. Longer lenses do a great job of isolating your subject, while the shorter ones can incorporate the setting. Your choice will depend on your vision for the final image and what you feel comfortable carrying. I opportunistically made the portrait of a young indigenous girl with a 500mm f/4 from 15 or 20 yards away, while I was photographing birds.

A long lens will separate your subject from the background while shorter lenses are better for environmental portraits.

Travel portraits may not be the best time to break out your top of the line D-SLR with a vertical grip and your 70-200mm f/2.8 lens.

These set-ups—while delivering top quality images—will be intimidating to your subject.

Think smaller. An SLR is great, but keep your lens choice compact. Alternatively a good point and shoot, a mirror-less or a rangefinder camera can be a great option.

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Focus on the Eyes The image of a young boy in an Amazonian village would not be nearly so compelling if I’d focused elsewhere. The portrait I made of my guide in the lovely evening sunlight breaks this “rule” but this is more a character statement and adds a slight touch of mystery to the subject. In retrospect, I probably should have asked him tip his face up just an inch, but at the moment this seemed right.

While up close photos with eye contact can provide a nice personal touch to an image, environmental or action portraits tell stories about the people. I made the photo of a young monk in a monastery in Bhutan on a windy afternoon. The bright billowing robe contrasting with the stone corridor makes the image far more interesting than a simple portrait. Similarly, the photo of a child peering out from his family’s hut is as much about the place (and the living conditions) as it is about the face of the child. Learning to share the stories of your subjects through an image is one of the most important and challenging aspects of travel portraiture.

Few elements of travel say more about a place than the local people, but photographing them takes tact and sometimes requires you to leave your comfort zone. The faces at our destinations provide a sense of humanity to an image collection that may otherwise be dominated by landscapes or wildlife. Some of my most rewarding travel experiences have involved reaching out to a stranger, making a friend and, perhaps, making a good photograph. w

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3 year old little boy peering out of the hut in this village.

Making contact, making pictures.

Approaching a complete stranger, perhaps one with whom you don’t share a common language, can be terrifying. Here are a few tips that I’ve used successfully in my travels.

With permission granted, the photography begins. I will raise the camera and take a quick snap during which the person will inevitably give an uncomfortable smile and stare right at the camera. With the snap of the shutter, the subject often relaxes. Here, I ask another question. If it’s a craftsman I might ask to see them work. To a local on the street, I’ll ask something about a visible landmark, anything to return to the conversation—but I don’t lower my camera. It usually doesn’t take long before a natural bearing returns and I can continue snapping photos.

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1 Keep your camera out of sight as you approach.

2 Ask them (even in gestures) a question about themselves: their name, family, what they are working on or something about the city in which they live. It can be anything, the important thing is to show that you are interested in them as a person.

3 Often that first question will lead to a conversation. Take advantage of that.

Chat, crack a joke and become friends.

4 Once your subject is comfortable, pull out your camera and ask to take a photo.

5 Always (always) ask first!

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