Thanks for enjoying the ‘Be There’ series. This is the final chapter in that series.
From our recent trip to Wyoming, specifically to Grand Teton National Park. The images are of the stunning Teton Range. I took a photo workshop from the Nature in Focus team. We were based at the Triangle X Ranch (awesome food and great accommodations!)
If you haven’t visited Jackson Hole and the Grand Teton National Park, you’re really missing out! Winter was a fantastic time to visit (even though I wore long underwear and insulated pants every day!). I hope the ‘Be There’ series makes you want to go! After all, it’s the first rule of photorgraphy!
Ever since I was a little boy, Bison have been one of my favorite animals. When I was a little boy, the City of Cheyenne had a few Bison in pens in Lions Park, on the north side of town. In the summer months, we’d make lunch and head to the Park to have lunch with Dad. We’d frequently go by the Bison pens and marvel at their beauty. Eventually, the Bison went away, along with the Deer and Elk that the City had in adjacent pens. The Terry Ranch, south of Cheyenne on I-25, rebranded itself as the Terry Bison Ranch and we were able to see lots of Bison on our trips to and from Colorado. The Terry Bison Ranch also operated a restaurant with Bison on the menu. When we visited Mom and Dad, we stopped by for a delicious Bison Burger. After I got serious about photography, I’d stop by the Terry Bison Ranch for pictures.
Another favorite venue is the Bear River State Park in Evanston WY. I always stop there on my way home, say howdy to the Bison, and visit with the Park staff. It’s a great rest stop!
When my lovely bride and I visited Yellowstone National Park four years ago (has it been four years already?), we encountered Bison up close in the Hayden and Lamar Valleys. Taking pictures of Bison is challenging. Their bodies are dark, so the tendency is to overexpose to bring out detail. In bright light (like the middle of the day), that’s a deadly combination. Sometimes the magic works and sometimes it doesn’t. On that trip, the magic was mostly ‘doesn’t.’
Our recent trip to Wyoming, however, was a different story! We saw Bison on the North Fork of the Shoshone River, the road between Cody WY and the east entrance to Yellowstone, near Meeteetse WY, and along the road in Grand Teton National Park. The skies were frequently overcast, diffusing the light, so I was able to make some great Bison images on this trip. I hope you like them!
North Fork Road (along the Shoshone River between Cody WY and Yellowstone National Park):
West of Meeteetse WY:
Grand Teton National Park:
Bison are magnificent animals! In the right light, they photograph very well. Or, if one is a good photographer, one can account for the light better! Regardless, the most important thing to remember is ‘Don’t Pet the Fluffy Cows!’
In part 3 of the ‘Be There’ series, I’m highlighting the beautiful Deer that my brother-in-law and I found in the Meeteetse WY area, near Upper Sunshine Reservoir. We found these lovely creatures on the road to the Reservoir, and they were very accommodating for our cameras. My brother-in-law had expressed interest in ‘upping his photography,’ so we loaned him my lovely bride’s camera. He didn’t do too bad!
Due to the extreme weather conditions all morning (described in my previous post), our workshop facilitators did a wonderful job of getting the shots but also caring about the comfort of the participants. We split the outside shooting into a couple of sessions, allowing us to get inside more frequently and stay warm.
One of the great elements of this particular workshop is the lighting. Steve Crise has been a photographer for many years (no, I won’t tell you how many so you don’t guess how old he is!), and is a master of setting up a lighting system. His classroom sessions on lighting are wonderful, but then we got to put that information into practice. Because of the weather, he devised some lighting schemes inside the Machine Shop and Engine House to teach us more. For these sessions, he has each participant put the light controller on their hot shoe and control the shot.
Of course, once I got my turn at the strobe lights, my attention turned to other areas.
When the light begins to fade, we settle in for the evening session. Our facilitators got very creative for this year’s evening session. I call it, “Fun With Fire!”
We’re all in the Machine Shop, in total darkness. We hear Steve say, “3…2…1…open shutters!” We open our shutters and several strobes fire, lighting up NNRY worker Ben who is standing on the front of Locomotive 81 making lots of sparks. After a few seconds, the shutters close and we repeat the process.
And so, a day of challenging conditions and much learning for me. Shooting in a driving snow storm, followed by strobes and fun with fire – new experiences all day.
A quick note about post processing. I always shoot in RAW format, which requires that all image files are processed on a computer before being able to share them. For the snow images, I still had to tone down highlights and bring out the shadows. The interiors just needed some tone adjustments and filters. The FWF images were lots of fun. Due to the strobe lighting in some (but not all) combined with the bright sparks, each image file had to be processed independently to bring out the strengths of every image. I also use filters from the DxO Nik Collection or Topaz Studio, and I used both – sometimes together – to make the image really pop.
One more cold day in Ely, but it wasn’t snowing! Until next time – enjoy! PHOTOROGR
I knew it was going to be an interesting day of photography when I looked out the hotel room window at the driving snow storm outside. There are numerous books on taking pictures in extreme weather, and I felt prepared. The camera batteries were fully charged. I had the weather covers all ready. (I did ask the nice folks at the front desk for a couple of the hotel shower caps – they came in very handy for covering the second camera body I was carrying. It’s a great tip for those times you don’t have a rain cover in your kit!) I put on my long underwear, insulated boots, photo gloves (so I can use fingertips without freezing my entire hand), and numerous layers, and headed out.
Our first shoot is always the locomotives exiting the Engine House. On sunny days, this side of the building is in full early morning sun and the light is fantastic. This year, not so much. Still good light, but not the great direct sunlight.
I had just read Jason Bradley’s article, Winter Exposures, in the December 2020 issue of Outdoor Photographer magazine. In the article, author Bradley discusses the challenges of winter exposures: extreme contrast and highlights “off the charts.” He discusses the challenges of film versus digital regarding winter exposures. Basically, with film one must “get it right the first time.” With digital, “…our goal is to maximize the amount of collectible RAW data without blowing out highlights in critical areas of our composition.”
Then he gets into a lengthy discussion about ETTR, or Expose to the Right. Using this technique, the photographer will push the histogram as far to the right as possible without clipping. To explain, I defer to National Geographic’s Complete Photography.
“A histogram displays all of the brightness levels of the image, from dark to light, left to right. If high peaks slam up against the left or right sides of the graph, the image is “clipped” – it may contain areas of pure black or pure white, meaning no detail was recorded. A well exposed image will have detail throughout the entire range of darks, midtones, and bright areas.”
(Note: histograms are also used to show levels of RGB (red, green, and blue) color in an image file. Camera sensors record color as differing levels of RGB in individual pixels, but that’s another big topic altogether.)
Many cameras can be programmed to show clipped highlights using “blinkies.” Author Bradley says this, “The blinkies are terribly useful. While histograms can tell us if our highlights are going off the charts, the blinkies show us where in our composition that’s occurring.” Go to your camera’s playback menu to turn on or turn off blinkies.
Lots of things to think about while setting up for our shoot. But wait, there’s more! (…to quote a commercial…) For static subjects (like landscapes), a photographer can account for bright highlights and dark shadows using exposure bracketing (shooting the same composition using different exposures) and blend those exposures using HDR (high dynamic range) techniques. (I’ve discussed HDR in other blogs, so I won’t get into them here.) What about white balance? The built in meter will be going wild because of the snow.
So, the stage is set, except for the most important thing – I’m shooting a MOVING, BLACK locomotive in BLOWING SNOW. Exposure bracketing is not an option because the locomotive is moving. If I want a nice middle of the histogram exposure, I lose detail in the locomotive. Well, I decided the locomotive was the most important so I exposed for it and didn’t worry about the snow. By overexposing one stop, I could account for some of the white balance and keep some detail in the black locomotive. Now, did I do it for every shot? No! But these were the things on my mind as I approached shooting during the day.
That’s my discussion on shooting in the snow. Lots of challenges, but the results speak for themselves. In my next blog, we’ll get out of the snow for some indoor shooting. Enjoy – PHOTOROGR