This year I decided to compile my local knowledge into an ebook guide. It has turned into a pretty detailed, 25-page .pdf, full of useful links and including a lot of sample photos. My hope is that it not only answers some very specific questions (such as when are the tulips blooming and how do I find the snow geese), but that it also gives users an overall guide regarding where to explore in this area. Cover of my new ebook: A Photographer's Guide to Skagit County, Washington and SurroundsA detailed, 25-page insider's guide to where to go in Skagit Valley to capture great wildlife and scenic images.

I hope you find it helpful and I welcome your feedback.

Click on the photo to purchase or go here.  Thank you for your support! 

When I went to a presentation on wildlife photography by Tom Mangelsen, at the invitation of a friend, I had no idea how it would change me, but if anything is testament to how photography can move a person, my experience following that class is.

The short story is this - I had never heard of Tom Mangelsen. I was a photographer, but wildlife photography wasn't even on my radar.

I had always supported nonprofits that work to protect wildlife, had dreamed of helping big cats in Africa when I was a kid. (I had even written to the "Born Free" folks, George and Joy Adamson, about helping them. I remember the disappointment I felt as a 12-year-old when they wrote back and suggested I donate money.) So, I had a burning interest in wildlife conservation early on, but like many childhood dreams, I had long since set it aside.

So I attended Tom Mangelsen's  Creative Live class in person, with my friend Kamriell Welty. At the end of his presentation he casually mentioned that he was one of the instructors in an upcoming wildlife photography workshop being offered by Photography at The Summit in Jackson Hole, WY. Kami and I discussed it and decided to go. When the time came, she was unable to go, so I went alone. 

That was a few years ago, and I enjoyed it so much I returned one more time to repeat the workshop. Classes are taught by some very impressive National Geographic and conservation photographers, including Michael Forsberg, who has used his photography to raise awareness about the environmental threats to the great plains. As much as anyone, Michael got me thinking about my own backyard when he gave a compelling presentation about the sandhill cranes of the Platte River in Nebraska. His clear love for the place where he grew up lent an authenticity to his presentation that was deeply moving. Seeing it through his eyes forever changed how I think about the great plains. 

Local Knowledge

After that first workshop, I set out to learn more about our local wildlife - particularly the birds. I took a class from Bud Anderson, who is our local raptor expert, and learned that we have an extraordinary variety of raptors in our area each winter. Through his deep knowledge and his own passion for birds, Bud has moved many a person to become involved in raptor research and observation. I have also repeated that class. 

I started taking more bird photos. Short Eared OwlClose encounters with raptors, such as this short-eared owl, gave me new appreciation for the challenges they face.

Northern Harrier HuntingThis male northern harrier, also known as a gray ghost due to its gray color, will spend hours hovering low over open fields to hunt, and then often must fight other raptors to keep its meal.

Northern Hawk Owl HuntingA northern hawk owl bolts from its perch while keeping eyes on its prey.

I got to know a few amazing wildlife/bird photographers. I took more photos.

I started getting attached to the birds I was photographing and worrying about their survival. It's hard to be a detached observer when one is privy to intimate moments in a creature's life.

I learned that one of the greatest threats to raptors is the widespread use of anticoagulant rodenticides, which impact not only raptors but other wildlife that feed on rodents - even cougars - and kills them. It's a hideous way to die - slowly bleeding internally. I learned this because one of my friends lost an entire family of barn owls due to eating poisoned rodents. 

Everybody Loves Owls

Since I started taking photos, friends who are lifelong birders have begun reaching out to me - sharing locations of birds they would like to see photographed. There's an amazing network of people who share a passion for birds and I am grateful to have so many patient teachers. I am still not good at identifying birds. I have so much to learn.

This year I was invited to photograph a great horned owl nest in a friend's yard. When I first visited the mom was just sitting on the nest. Within a few weeks there were little fuzzballs poking their heads up. I went by every few days to watch and photograph. At some point, after they had hatched, the father stopped appearing, which left all the feeding to mom. 

There were three owlets. One fell out of the tree, as is common, and hopped away. We never saw it return. We don't know what happened to that owlet, but the nest was in a neighborhood that borders rural housing and fields - places where people often use rodenticides.

  Great Horned Owl watching her owletsI watched and photographed these great horned owlets for a few weeks before a third baby popped its head up.

I shared photos of the owlets and their story as it unfolded. People seem to universally love owls. My baby owlets had fans-people who wanted updates. It occurred to me if I could share what I have learned about the way humans endanger their lives, maybe, just maybe I could make a small difference. 

And then there were threeHow could anyone resist these muppet faces? I became emotionally attached to these owlets as I watched them grow. That attachment is partially responsible for my wanting to find a path toward ending the use of anticoagulant rodenticides to kill their prey, as it will also kill them.

Great Horned Owlets Starting to BranchWatching these owlets grow up and branch has been a joy and a wonder. One fell from the tree and was never seen again. The remaining two are now flying and are seen occasionally in the same area.

Missing Piece of the Puzzle

I am a purpose-driven person. I really want to contribute to the greater good. I always have.

When I read that California had recently passed a bill banning anticoagulant rodenticides this year (it's not yet a law), I started asking around to find out if anyone was working on this in Washington state. What I learned is that a lot of people are gathering data - doing necropsies and collecting information on how many of our raptors are killed by rodenticides, or have them in their systems. But no one has made a serious effort to get the law changed.

What could I do? I'm just one person. My friend Melissa Groo, who gently and persistently uses her photography to advocate for wildlife, directed me to the people behind the California bill - Raptors Are The Solution a.k.a "R.A.T.S.". When I talked to Lisa Owens-Viani, the co-founder of R.A.T.S., she told me they had been wanting to open a Washington chapter. And that's where we are today.

I am wading in to unfamiliar territory with my eyes wide open. I believe with enough support, we can make a change, but I am not naive enough to think that I can do it alone, or that it will happen overnight. I am not a National Geographic nature photographer. I am a writer and former magazine editor, but I have never written about wildlife. I don't have a biology degree.  I'm just a person who loves where she lives and would like to protect our existing wildlife. 

I am reaching out to all the people I know who have been working for so long to help raptors in our state survive. Through the main organization in Berkeley, CA, I have access to excellent educational materials to distribute. I know there is a long road ahead, but I'm willing to follow it. If I can stop one person from using anticoagulant rodenticides, that person may stop another. 

I have created a Facebook page for people to connect with us, so please go like our page.  I will post updates to the page as the story unfolds. For now, I am just starting to work on awareness and education. It takes a long time to create change, and I know that. But I think people fall into two camps -  those who wring their hands in frustration, and those who step up and try to do something. I land in the second camp. I hope you will join me. 

Goals & Aspirations

I don't know about you, but I am frankly shocked that I'm sitting here on New Year's Eve - already. I do like to look back on the past year and set goals for the upcoming year. I always write a letter to myself for the next year and then open it on New Year's Day. Fun to see what made the cut and what I didn't succeed at - and decide if the things I didn't get done are worth putting on the list for next year. I've had a trip to Alaska on my list for a few years now. I think 2019 might be the year that happens. I'm itching to see that landscape and possibly some of the wildlife.

In 2018 I connected with three other women who are avid wildlife photographers. We have bonded through photography and are planning some excursions this year. The burrowing owl photos in the image below (third on right of top row) are a direct result of having made those connections. The fox image is also a result of knowing these women. I'm excited to add at least one trip with them to my goals for next year. I will share more about that in another blog entry.

Insta-analysis

Most photographers I know are on Instagram these days - it's an endless source of inspiration and discovery for me. I love having a jewel case of new images to pore over and enjoy. And it's interesting to see what photos I posted were deemed 'most popular' this past year. In Instagram terms, that means they got the most 'likes' from people who follow me. In the grand scheme of things, that doesn't mean much, but looking over the top nine does indicate a pretty clear pattern. Tulips and owls. And oh yeah, a fox kit.

In many ways, I'm not surprised these images hit my top nine. They are mostly flashy and make for good eye candy on Instagram, where people scroll by on their phones. I am surprised, though, that the first image in this group landed here. It's a picture of my first poster, published by Third & Wall. I'm excited to have a poster out there in retail-world and it seems my followers were excited for me.

Personal Successes

But this isn't how I judge my most successful images for the year. Yes, the owl pictures were a triumph for me - I love waiting and watching and hoping to catch an action shot. The fox kits were pure joy to watch and photograph and I was thrilled to add them to my wildlife files. But this year I also had the chance to photograph a part of the world I never expected to get to - Costa Rica - thanks to a dear friend who took me there. Hiking through the jungle and happening upon birds, monkeys, anteaters, tapirs. . . it was truly a thrilling experience for me. The photos I made in Costa Rica won't win any wildlife photography awards, but they hold precious memories for me. I learned a lot - macaws are incredibly fast and difficult to shoot when flying - and I know what I can do better, thanks to all that practice trying to capture images of tropical birds. If I'm learning and I happen to get a few images I like, I'm happy.

Another, more important measure, of my year in photography is what images compelled people to order prints. Some of them surprised me, some of them are among my personal favorites, so I was very happy to know other people liked them enough to want them hanging on their walls.

Here's a sampling of my top-selling images from 2018:

Wry FieldYoung wheat disguises an old barn in the background.

Tulip ColorsRows of color spread across commercial tulip fields become a blur.

Fox Kits-5A gray fox kit runs for the fun of it.

Short Eared Owl-1

I am grateful for everyone who purchased my cards, calendars and prints this year. Your support enables and encourages me to continue to push myself and perfect my work. 

If you saw an image this year that you thought about purchasing, but never got around to it, I'm offering a 10% discount on ALL purchases from this web site through the end of February. Just create an account and place your order through this site. I will apply the discount at the time I review the order.

I plan to retire images from this site later in the year, but I will let you know before I remove anything. 

In the meantime, I hope your New Year brings you everything you wish for. And thank you for following me. I will continue to post pictures on Facebook and Instagram throughout the year. 

GEAR UP OR DOWN

First, camera gear. Do your research and carefully assess what you might need to capture the photos you think you are going to get. I did a lot of research before I went. I read a lot of blogs, watched some YouTube videos and even befriended some Costa Rican photographers on Instagram so I could ask advice. In the end, I bought a ThinkTank International travel bag to carry my gear. Here's what I took: two camera bodies, Nikon D500 & D750. Four lenses: Nikkor 200-500mm zoom, Nikkor 24-70 zoom, Nikkor 105mm macro and Nikkor 50mm f/4. I also took a 1.4 extender, which I did not use. I had multiple backup batteries and two battery chargers so I could recharge spent batteries at night. I also took multiple backup memory cards, a Surface Pro laptop and two external hard drives.

Usually when I travel I transfer my files each night to an external hard drive and clean my cards. In this case I ran into a road block. I had purchased a La Cie Rugged 2 TB external hard drive just before I left, but discovered on my first night there that it is not compatible with the Surface Pro. My travel companion works in IT and even he could not get it to work with the Surface Pro, so I changed course and simply watched how full my cards were getting. I didn't download anything till I got home.

Other essentials I took included two water-proof sleeves for the cameras, plenty of lens cleaning cloths, my rocket blower and brush, and a set of tools. I did not take a tripod. I knew we would be hiking through the jungle in the heat and I knew I was going to be suffering as it was. A tripod would have added to my misery and slowed me down. I also chatted with a local photographer who suggested a tripod wouldn't be necessary. 

THE MISTAKES I MADE

I think I did a pretty good job of selecting gear. Although the 200-500mm lens is heavier than my 80-400, I survived. It enabled me to get better pics of the monkeys we saw, and some of the birds, than a shorter lens would. I took this lens virtually everywhere with me. Mounted on the D500, which is a DX format, it gave me good reach for almost all birds and critters and in some instances was too much. 

I did not need the 1.4 extender. I only used the macro lens a couple of times, but since we went in the dry season not much was blooming. If I had gotten to see the poison dart frogs I might have used it more. I used the 50mm the first night we were there for some 'street' photography. I wish I had done that more. I was usually so dialed in to trying to capture good bird images that I let that slide. I love the 50mm and it's a great walking around lens. If you have one, I recommend you take it and use it. 

I have an 80-400mm lens and that would have worked great for most photos, but if I added the 1.4 extender for more length it would have put me at a maximum of f/8, which is way too slow and dark for the harsh light and shadows of the jungle. 

Some of the information I read highly recommended purchasing a Better Beamer light diffuser for flash. It seems a lot of bird photographers use this. I looked into it, but in the end decided against it. I don't normally use flash, so I would have had to purchase a flash as well as the Better Beamer and then practice with it. Instead I took a headlamp and flashlights. When we did night tours the guides had strong enough flashlights that it was relatively easy to take photos anyway. I would skip the extra gear in this case, unless it's something you're accustomed to using.

I also took a small day backpack. Each day I would decide what I needed and only took that gear. 

We traveled by boat to Sirena Station in Corcavado National Park. I had planned carefully for protecting my gear from rain, but failed to consider the potential damage of salt water spray! Although I took a large garbage bag with me, I forgot to take it on the open boat. I sat in the middle and kept my gear in a backpack, but was definitely worried when the water sprayed over the bow numerous times. Next time I will take some sort of water-proof backpack or remember that garbage bag! 

After we returned from that trip I wiped down all my gear with a damp cloth and let it stay in the air conditioning for a while to dry out. It seems no worse for the wear. 

THE BEST ADVICE I FOUND

I watched so many documentaries and videos about Costa Rica, trying to imagine what the conditions would be like and how I would have to adapt. In the end the very best advice I gleaned was a single, casual tip. Many posts suggested investing in silicone bags to keep gear dry. The tip that made the most sense to me was this: if you're staying in an air conditioned place, keep your camera gear in the bathroom. Why? The bathrooms usually aren't air conditioned, so your gear won't be exposed to dramatic temperature fluctuations. When you take it out in the morning, it won't fog up in the heat and humidity. It works. My companion didn't do this and it took a good 15 minutes for his camera to adjust on the first day. I would have missed shots if I had been waiting for my gear to acclimate!

OUR ROUTE

We decided on February because it is the middle of the dry season. It's easier to get around during dry season, plus it's easier to see animals and birds because the foliage isn't as dense. Also, traveling to the remote Osa Penninsula is particularly challenging during wet season. I used a OneNote notebook to track our itinerary and keep detailed photography notes, but we used TripIt to keep us organized. 

Our route was determined by my traveling companion's prior experience and the location of some friends I have who moved to Costa Rica a decade ago. I had never gotten to visit them, so we planned time to visit their remote location. It happens to be on the Osa Penninsula, near Corcavado National Park, so we knew it was a place we wanted to visit anyway. 

I knew I wanted to see hummingbirds, the resplendent quetzel, and macaws. Everything beyond that would be a bonus. 

REMAINING FLEXIBLE

We planned our route based on things we wanted to see and do, and allowing for travel time and "course corrections." We really didn't know what the roads would be like, so we built in a little extra time to change course if we needed to and we used Booking.com to reserve rooms that could be canceled without forfeiting a deposit. Some of our plans worked out, some didn't.

I won't go through an exhaustive day-by-day description here, but I will highlight some things to think about if you're planning your first trip to Costa Rica.

LIBERIA & PLAYAS DEL COCO

What worked:  We flew into Liberia, rather than San Jose, because it's a smaller airport and we thought it would be easy to get to the coast for an overnight before starting our journey to Monteverde. If you're planning to go to the Osa Penninsula first, San Jose is a better choice. Our decision to rent a car and drive directly to the coast for our first night worked out well for us. We stayed at Hotel M&M Beach House in Playas Del Coco. Inexpensive, clean, private, guarded parking - it was all we needed. We arrived in time to get a light dinner, a good night's rest, and wake up early enough to enjoy the beach before hitting the road for a long drive to Monteverde. Beacause we had scheduled plenty of time, we actually booked a boat tour in the Paolo Verde park for our first day. Although we had booked a 10 a.m. tour, we arrived early and Palo Verde Boat Tours accommodated us - we got out on the water around 9:00 a.m. After a wonderful, personalized tour (the only other visitors were a biologist who spoke excellent English and served as an unexpectedly great guide, and his family), we had a fabulous lunch. Highly recommend this tour company if you're in the area. We saw at least 17 different birds, plus bats, crocodiles and iguanas. And when the boat driver saw my long lens, he urged me to sit in the bow of the boat - which proved perfect for photos.

What didn't work: We arrived on a Saturday afternoon. Apparently this is a really popular arrival time and we were stuck in the customs line for over an hour. Pick another day to fly in and you might not have to wait as long. Beach walkThe beach board walk in Costas. CostasColorful small shops at the beach. Reduce, reuse, recycleCosta Ricans are becoming more and more environmentally savvy - as expressed by this sign at the beach. Day 1View of the beach on our first day in Costa Rica. First nightIt was nice to walk in the tropical temperatures when we went out for dinner on our first night. Soda TeresiaCosta Rica is dotted with these small shops called "Sodas," where you can get a bite to eat and something to drink. Street vendorsWe saw plenty of street vendors throughout our trip, but never stopped at one. Local sceneKids played at the beachside skateboard park well after dark. Hotel M & MThis is Hotel M & M, where we stayed our first night. It faces the beach and was a nice place to just hang out and get our bearings.

MONTEVERDE CLOUD FOREST

What worked: Wow. The roads in Costa Rica are REALLY BAD. I have never seen such bad roads. Still, since we rented a four-wheel drive SUV, we were able to drive all the way to Monteverde, albeit s l o w l y in some cases. We picked a hotel "Tobi's Place", closest to the Cloud Forest. Having the car was a good idea, as although people suggested we could walk to the entrance of the Cloud Forest Reserve, we would have been exhausted before we even got there if we had walked carrying our gear! We got up early, drove up and parked just outside the entrance. Although we hadn't hired a guide beforehand, there were plenty of guides available for hire when we purchased our entry tickets.

I can't emphasize this enough: HIRE A GUIDE! You will miss all sorts of things if you don't hire a guide the first time you walk through the Cloud Forest. We took the tour with a guide, then took a break at the nearby hummingbird garden, then went back and walked on our own. The guide will give you history and help you see things you would no doubt miss if you were just wandering through on your own.

We picked up a local hitchhiker on our way down from the Cloud Forest. He turned out to be not only a certified guide, but also a bird nerd and bird photographer. He also knew a lot about amphibians and reptiles. We ended up hiring him for a private night tour. I'm not sure I would have picked up a hitchhiker if I had been on my own, but I was sure glad to make this connection! We had a blast with Jean and now we're 'virtual' friends on Facebook and Instagram. If I ever get to return, I will hire him as a bird guide. 

Hummingbird nestThis is a perfect example of why one should hire a guide when touring the parks. We would never have spotted this hummingbird nest without a guide.

What didn't work: I really wanted a great photo of the resplendent quetzel. Although I saw it in the Cloud Forest, I learned later that they are actually more visible in one of the local private reserves. Do a little research if there's something special you want to photograph and give yourself the best chance to capture that image.

I also wanted great hummingbird pictures. As it turned out, the best place to see the hummingbirds was at the hummingbird garden right next to the park entrance. They have tons of feeders and the hummingbird action is phenomenal. Although I got a few photos, I didn't allow enough time to get what I wanted. I could spend a whole day there watching and shooting pictures. Personally, I would allow more time for that if I went back. I also would consider taking a shorter lens. My 200-500mm was too long for this location. My macro wasn't quite right. I think my 80-400 would have worked better. 

DRAKE BAY

What worked: We had no idea if we could actually drive to Drake Bay. Fortunately, the rental car company suggested we use the WAZE app. This worked beautifully everywhere we were. We also opted for the personal Wi-Fi hotspot when we rented the car. This portable Wi-Fi helped us out more than once during the trip. You can drive to Sierpe and take a boat to Drake Bay. We both decided that next time we would either do that or fly to Drake Bay. Although the drive was exciting (we had to drive through SIX rivers to get there!), it took more time than we would have liked due to the condition of the roads. 

When our first hotel turned out to be undoable, we got on Wi-Fi and searched for another. We found a cheap, clean, convenient place called Casa Toucan. It had parking next to the room (perfect if you have lots of photo gear, as I did), air conditioning (an unexpected bonus) and a small refrigerator in the room. Plus, after a little negotiation for four nights, it was only $50 a night. Would I stay there again? Probably not. The shower barely worked. The family that lived there was really noisy at night when we wanted to sleep. There was no breakfast or even coffee. There was no view. BUT, all that said, the family was very nice. We didn't spend that much time in our room, and because we were budget traveling, it worked for us. 

When our scheduled tour to Corcavado National Park fell through we scrambled to reschedule. We found a friend in Eric at Pacheco Tours who put up with our bugging him almost hourly and scheduled us for a tour. We would probably stay at their cottages next time, as they were reasonably priced and had an ocean view. 

One of the tours my friends had insisted I book in advance was The Night Bug Tour with Tracie the Bug Lady. Oh boy was it worth it! Smart, funny, informed - Tracie and her partner Gian do a fantastic job of showing you the jungle you don't know is there. Highly recommend! Five stars!

And here's something that surprised me - although we were well prepared to fend off mosquitoes, there were none! That's right. NO MOSQUITOES. I asked my friend who lives there about this and she told me there are a few during rainy season, but generally, it's not bad. Whip Tailed ScorpionTracie, of the The Night Tour, gives an entertaining, educational and hands-on tour of all the things in the jungle you don't see at first glance. In this picture she's holding a whip-tailed scorpion for all the tour attendees to see up close. Drake BayBeautiful Drake Bay was lush and green.

What didn't work: Ah, so many things went wrong in Drake Bay. We had booked a hotel (Lookout Drake Bay) through Booking.com. The room we booked looked lovely and had ceiling fans, which we thought would be good enough. When we arrived, the driveway to the hotel was nearly impossible to use. We barely made it up with our four-wheel drive! Then, there was a very long, steep walk up the hill. When the proprietor showed us the room it was nothing like the room we had viewed and booked on Booking.com. Instead, it was a small, fan-less room with a bunk bed. We said no thank you and went down to the town to get on Wi-Fi and find a new place. We were very worried (at least I was - my travel companion is pretty calm through things like this), that everything would be booked. (See the resolution above in "What Worked). 

I had also made a point of booking our tours for Drake Bay based on recommendations from my friends who live there. They highly recommended I book the guide Roy through Drake Divers to go to Sirena Station in Corcavado National Park. I did that in September. Everything was confirmed. When I sent an email the day before our arrival to reconfirm I received a casual response telling me Roy wasn't available due to family illness. They said they would book another tour for me if I wanted. Of course I said yes, then got no response. Frankly, they dropped the ball.

We spent our first day in Drake Bay walking from tour company to tour company trying to book a tour to Sirena Station because the National Park only allows a handful of people into the park every day. When we went to Drake Divers we were received with indifference. I showed the emails and the woman working there kind of shrugged her shoulders and said Roy lived in San Jose and they couldn't reach him. It was at this point I really lost it. This was on Wednesday and we had scheduled our trip for Friday, but told them we were flexible enough to go the next day. I even texted my friend who lives there, who called and talked to them. Long story short, long after we had found and booked another tour, they sent an email saying we could go with Roy the next day. It was after six in the evening and we were headed to a night tour. Needless to say, I would never try to book a tour with these people again. They get great reviews on Trip Advisor, but they dropped the ball for us. 

Gear: If I were planning for the night bug tour, I wouldn't take my camera. I would take my phone only. I had hoped to see poison dart frogs, but they're actually in Sierpe, not Osa (see note above about doing your research!). I had hoped to get some good pics with my macro lens, but it turned out to be too difficult to get close enough and Tracie and Gian are very conscious of not casting light on the creatures they show you for too long. A phone with a decent camera is plenty good enough for the night tour. 

For the trip to Sirena Station I took my Nikon D500 and 200-500mm lens. It was a good combo for most things I shot, but was admittedly a heavy load for me to carry in the heat. If I had a nice slush fund, I would probably have gotten the Nikkor 300mm f/4 and used my 1.4 extender. This would have given me the same distance with less weight, although less flexibility than the zoom. 

THE LAST NIGHT

We decided the drive from Drake Bay back to Liberia was likely to be one we didn't want to do in one day, so we scheduled our last night to stay at Cerro Lodge in Tarcoles. Imagine my delight when I saw that they have bird feeders that attract scarlet macaws as well as dozens of other colorful birds! My only regret was that we didn't spend at least two nights here. If you want a lazy-man's way to see gorgeous birds (even a ferruginous pygmy owl!), this is a great location off the beaten path. The rooms are nice, the food is great, there is a pool, and the bird watching is top notch. 

WHAT I WOULD DO DIFFERENTLY

I felt pretty good about my planning. Although I didn't use the D750 and my wider lenses as often as I would have liked, I was happy to have gotten some decent photos for my first trip out. Now that I have an idea what to expect, I would spend a little more time in Monteverde and visit a couple of the nearby nature Reserves in addition to the Park. 

I would consider getting a little lens for my iPhone and use it for some more 'touristy' casual photos. 

Clothes wise I did great. In fact, my clothes bag was much smaller than my camera bag. I took one pair of Keens and one pair of Teva sandals. I wore the Keens the entire time, except for the trip to Sirena station. For that I wore the Tevas simply to get in and out of the boat (which is a beach landing). Otherwise it was all tee shirts and shorts. For travel from the cold Pacific Northwest I wore a Nuu-Muu dress which I was able to layer with tights over shorts (I took off the tights when we landed), and a long-sleeved overshirt (which I removed upon landing). I also took and wore a fantastic lightweight vest by ScotteVest. 

This being my first trip to Costa Rica, I naturally had visions of getting photos of every single thing - from monkeys to birds to poison dart frogs. I also knew that probably wouldn't happen. Next time I would schedule time to visit Sierpe Frogs and get photos of the famous and beautiful poisonous amphibians. 

QUICK TIPS

• Don't be afraid to go on your own, without a tour
• Pack lightly on clothes
• Pick the right camera gear for the images you want
• Use TripIt to plan your itinerary
• Learn some Spanish - it helps 
• Research where you're going and when to understand what birds/animals you stand a chance of seeing - there are many different areas to visit to see everything from hatching sea turtles to massive bird migrations to butterflies and sloths
• It's Nature - know that you won't necessarily see everything you want to
• Book tour guides in advance; if heading to Corcavado make sure you book with a guide who takes payment in advance in order to secure your spot
• Sirena station is considered the best location in Corcavado to see the most animals/birds
• Plan flexibility into your schedule - you may need a day or two to rework logistics
• If you're going to shoot birds, download the Merlin Costa Rica guide, or other Costa Rica birds guide
• Do the night tours - you can sleep when you get home
• Notify your credit card companies in advance that you'll be out of the country and where you will be
• If you're headed to the Osa Penninsula, take cash. There are no ATMs and few people take credit cards
• Most places take US dollars, but it's always good to exchange some money when you arrive in the country
• The food and water were excellent most places we went. Unlike Mexico, I did not get sick. I took anti-diarrheal medication just in case.

SOME PICS - HOVER TO READ CAPTIONS

Turkey vultureCosta Rica has many varieties of vultures, and we saw plenty of them. This turkey vulture was checking us out on our first day. Long nosed batsI shot these photos from the boat during our tour in Palo Verde. I could not see what I was shooting, but the guide kept pointing and telling me there were bats. I did not see them until later, when I looked at my photos and was able to zoom in. Masters of disguise! Blue-capped night heronWe saw lots of herons. It was really difficult to get full pictures as they often turned away or backed into shadow when the boat approached. Boat-billed heronThis boat-billed heron was eyeing me carefully. It took a number of tries before I got a picture of him without much foliage in front of him. Dry seaonI was smitten with the color palate of Costa Rica on our first day. The pale green of sugar cane against the blue skies was just the thing I needed after a long, dark winter in the Pacific Northwest.

  Hummingbird at feederOf course it's much easier to see the many varieties of hummingbirds up close at the nearby hummingbird garden. It's just outside the Monteverde Cloud Forest Reserve entrance and has feeders that attract dozens of hummers. Hummingbird with blue throatThere are a seemingly endless variety of hummers in Costa Rica. CoatimundiWildlife is one of the great attractions for Costa Rica. We saw our first coatamundi at the Cloud Forest Reserve. Although he was happily looking for handouts, visitors were really conscious of not feeding him. They are in the raccoon family and cause many of the same issues raccoons do in the US - like getting into the garbage.

Resplendent quetzelThe resplendent quetzal is THE bird I had hoped to see and photograph in Costa Rica. Although I did see three of them, I never got a great shot. Still a thrill though.

Purple hummingbirdThis purple chested hummingbird terrorized all the other hummers at the feeders. Purple hummingbird in flightI think the white tail of this hummingbird served as a huge warning to others, as they all scattered (except that little honeycreeper on the feeder) when it came in to feed. Anteater in treeI have to say, my favorite critter encounter was completely unplanned. This adorable anteater crossed the road in front of our car as we were leaving Monteverde Cloud Forest. We pulled over and I ran to take pics. It ambled up a tree, turned and posed for me, climbed back down and ambled off. Adorable! ScorpionThis is a bad photo of a really cool critter. On our first night tour we were shown this scorpion that illuminates under blue light. I had no tripod, so this was the best I could do hand-held. Two-toed slothNo trip to Costa Rica is complete without a view of a sloth, even if a brief one. This two-toed sloth was high in a tree and moving ever-so-slowly the night we took our first night jungle tour. Again, no tripod meant fuzzy pics.

White faced monkeyWe saw lots of monkeys during our entire visit, but the white-faced monkeys are the clever ones. I am sure they annoy the people who live there, as they are always getting into something, but they were fun to watch. Scarlet macawsIf I couldn't get good pics of the Resplendent Quetzel, at least I could get pics of the scarlet macaw. These two were at Cerro Lodge, where we stayed our last night. I got better pictures of them in Drake Bay, but never got the great flying shot that shows their amazing feathers.

Scarlet macawI heard scarlet macaws on the first day in Drake Bay, but they flew by so fast I didn't get a shot. Every morning after that I got up before sunrise and walked to a nearby park overlooking the beach. I sat and waited for my opportunity. Finally, on the last day, six macaws flew to a nearby tree and stayed long enough for me to get some shots. I even got a couple of them in flight.

As a professional photographer I consider myself a lifelong student of photography. I have worked in portrait studios, as a photo editor, sold my flower and landscape images to large corporate clients and individual collectors. I have had my share of success in my ‘comfort zone’ areas of photography. But I feel there’s always something new to learn, always something new to inspire. For me, that current inspiration is birds.

I live in one of the most abundant areas in the country for winter birding. Not only do we get 50,000+ migrating snow geese, 7,000 trumpeter swans and 3,000 tundra swans, but we also attract a large number of birds of prey – from eagles to American kestrels and pretty much everything in-between. And I’m not talking about a single bird here and there. I’m talking about red tailed hawks on every telephone wire, eagles in every tall tree, and more. Once you start to see them, they truly are everywhere you look. That’s the joy of living here – there are birds in abundance and if you learn to see them, you will be endlessly entertained.

As a photographer, I hadn’t lived here long before I simply had to start shooting pictures of the snow geese. They gather in such huge numbers, the first time you see them take off from a field is unforgettable. Although they are legally hunted, there are plenty of places to watch them that are not hunting grounds. In fact, it’s not uncommon to see people simply pull off the side of the road to watch snow geese for a while. It’s one of the things I love about living here.

Snow geeseThis shot of snow geese exiting is a bestseller. I think it just amuses people to see those dangling feet. I know it amused me when I shot it.

But shooting pictures of snow geese can lead down the slippery slope of wanting to know more about birds and thus wanting to shoot pictures of other birds. Birds are not easy. Unlike the plants and landscapes I usually shoot, birds are unpredictable and quick. And often they appear in abundance in low light, or in marshy, wet, cold places. All of these factors can be a hindrance to taking up bird photography.

ESSENTIALS

What do you need for bird photography? Primarily, patience. While birds won’t complain that their portrait makes them look fat, they also won’t hang around and wait for you to get the lighting just right. They are wild creatures and are working hard to survive and reproduce. It’s important to keep this in mind – while you may be wanting to get a great shot of a bird, if you interfere with its hunting to get that picture, you may be jeopardizing its very survival. This is why you need patience.

The best way to get a good photo of a bird is to understand its environment and its behavior. Carefully put yourself into a position to observe and photograph without interfering and you will set yourself up for a successful photo session.

It’s critical to keep in mind that no photo is worth the death of a creature. Some days you will see things you wish you could photograph, but you will be too far away, the light will be too low, the weather won’t cooperate, the background won’t look good. If you’ve got the right mindset, none of this will matter. To be a successful bird photographer is to care about birds.

There are plenty of unethical bird and wildlife photographers – people who disrupt nests, bait, or flush birds that are resting just to get a shot. I personally don’t consider these people photographers – they are trophy hunters no better than those who kill endangered species. The difference is their trophy is a photo, not a carcass, but in the end it has the same impact. Bald Eagle Eagles are abundant around here in winter. They feed on migrating snow geese as well as salmon and there are many great locations to observe and photograph them. This one happened to be in the backyard of a friend of mine. Snow geese in flight at duskI never tire of watching and photographing the snow geese in Skagit Valley. I hear them fly over my house in the mornings and in the evenings and still I make an effort to see them in their huge numbers. These were heading to the roost at sunset on a cold winter evening. Dunlin in flightSnow geese in flight are captivating, but a flock of dunlin in flight is downright mesmerizing. With their dark tops and light bellies, the flock moves in unison and quickly changes back and forth from a dark blur to a light one. Lucky us to get these wonderful shorebirds in our area each winter. Short eared owl listening for preyWhen you understand a bird's behavior, you can situate yourself to capture moments like this. This short eared owl is listening intently for the sound of voles. He hovered near me for a few minutes before he dove and captured his dinner. Barred OwlWhen you have friends who know you're interested in photographing birds, they sometimes call or text you when they see something interesting. I was still in my pjs one morning when I received a text from a neighbor that just said "HUGE OWL!". Needless to say, I was dressed and at their door in less than five minutes.

PHOTO BASICS

There are many ways to approach bird photography. Some avid birders have set ups where they can attach a camera to their scopes. Some use point and shoot cameras with digital zooms. These all work fine if that’s what you want to do. As I shoot with a DSLR, I use more traditional equipment – a camera body, a long lens and sometimes a tripod. I find shooting without a tripod is often more efficient in our area because I can move more quickly, but using a tripod will result in more, better, sharper images.

Birds are so accessible around Skagit County that one of the most efficient ways to get good photos is to use one’s car as a blind and have a beanbag handy. I sometimes stay in my car and throw the beanbag over my door to give myself something on which to rest my camera. If I am walking out into a field where I will wait for birds to fly near, I use a technique for holding my long lens steady that involves bracing one elbow against my ribs. I also take a breath and hold it while I shoot. Even as advanced as today’s cameras are, with their autofocus and auto vibration reduction, when you’re shooting with a long lens even the slightest movement is likely to throw off your focus.

Since I first started shooting snow geese a decade ago I have come to understand that some birds are more difficult than others to follow with your camera. I shoot multiple exposures, 5-10 frames a second, and I pan with the birds, but shooting snow geese like this is a cakewalk compared to trying to follow a hawk on a hunt. This is where understanding the species you are trying to photograph helps. Some birds will return to their perch. Some birds hover while they hunt. If you can learn to anticipate this behavior, you stand a better chance of getting a good picture. I remember very clearly that the first owl I saw was sitting on a street sign on a foggy morning. I actually got a decent photo of it because I had my camera handy and was able to pull off the side of the road. I recommend joining your local Audubon Society if you’re serious about learning more about birds. There are also some great classes offered in the region, such a Bud Anderson’s raptor class (info available at www.falconresearch.org).

If you’re watching a bird on a perch – a wire or a post or a fence – waiting for it to fly, use that time to make sure your settings are right. I find a shutter speed of no less than 1/1600 is needed to stop birds in flight, and for some birds that can go as high as 1/2500. If you’re trying to shoot on an automatic setting, start with the sports setting. Ideally, you should take the time to learn to use your camera’s manual settings so you can control the look of the finished image. Painted buntingWhen you start down the path of bird photography it becomes clear you need to hang out with birders. And when you hang out with birders you start to learn a lot. This Painted Bunting showed up in La Conner at a local feeder. It was way off course for its winter territory of New Mexico. I only found out about it because I am in the local birding community, which gave me the opportunity to shoot a bird I might not otherwise even see.

If a bird takes flight as soon as you raise your lens to shoot a picture, you’re too close. I have watched photographers make this mistake over and over. I have made this mistake! Thinking I’m well out of the bird’s way, I raise my lens only to be skunked when the bird decides I must be a threat.

It’s tempting to want to get just a little bit closer. However, with today’s digital cameras one can crop in very closely on a photo and still have a shot good enough to print. And let’s be realistic – how many people print their photos anymore?

A lot of professional bird photographers have camouflage clothing and even camouflage covers for their lenses. This is a good idea as it is the least disruptive to the birds’ environment. It’s not that they won’t see you – especially hawks – but you will seem less threatening if you blend in better. It’s also a good idea to use your car as a blind, as most birds don’t perceive cars as a threat.

I highly recommend reading the Audubon Guide to Ethical Bird Photography as a primer to understanding the impact of pursuing birds with your camera. 

EQUIPMENT

It’s a slippery slope. You get into birding and then you want pictures. And then you want better pictures. . . If you become serious about bird photography, it’s only a matter of time before you will want a long lens – whether it’s a high powered digital zoom or a big traditional lens. I have succumbed to that temptation myself, as I get more and more interested in taking better pictures of birds in flight. However, it doesn’t take a lot of expensive equipment to begin. A good place to practice is capturing birds at the feeder in your yard, if you have one. My first challenging subjects were the hummingbirds who feed in my yard year round.

There are certainly plenty of photography workshops available if you are so inclined. I have done a couple of wildlife photography workshops through The Summit Series of Workshops, which offer excellent access to National Geographic photographers, but I’m a professional photographer and my excuse is I am investing in my skills. Hobbyists may not want to spend the money and time to do a workshop.

OUTCOMES

What I have learned is that bird photography is exciting and challenging. The more I learn about birds, the more I want to find them and capture their behaviors. Since the bulk of my professional work involves plants and landscapes, which are mostly summer photo opportunities, birds in winter keep me active and thinking about photography in new ways. I am far from a master of bird photography, but I do see incremental improvements each winter and that’s personally very satisfying.

TOP 10 LIST

For those who want bullet points – here’s my list:

1.       Lower your expectations – birding photography is difficult. Do not expect to get the perfect shot right out of the gate.

2.       Cultivate patience – birds are wild creatures and the best way to capture images of them in their natural environment is to learn their behaviors and wait and watch.

3.       Read and absorb ethical bird photography guidelines. It’s just a picture to you, but it may be life and death for a bird.

4.       The most important equipment is behind the camera – you. Don’t invest in expensive equipment until you are convinced this is a passion you must pursue.

5.       Become a birder. Join birding groups, learn from birders.

6.       Hunters are not your enemy. Understand that many birding areas are also hunting grounds – but hunters may have great observations to share with you. They often walk the fields at dawn and dusk and can share what they see if you take the time to engage in a conversation.

7.       Start with backyard feeder birds. They will be the most accessible and most accustomed to your presence.

8.       Take a class or workshop – on birds, birding, bird photography.

9.       Practice, practice, practice.  I can shoot a macro image of a flower or a landscape and know I have the image I want in just a few shots. With birds I may only get one or two shots I like out of hundreds – it’s the curse and the beauty of digital. In the old days of film, getting the shot right the first or second time was a real money saver. With digital, it’s a time saver as you won’t have as many photos to go through and throwaway.

10.   Remember to appreciate the birds. I love birding photography because it’s a technical and physical challenge, but also because I love watching the birds. Sometimes the light is bad or the background is junky or the birds are too far away for a good shot. When that happens, I usually just stop and watch. Sunrise at the shoreWhen you start photographing birds, they begin to creep into your mindset. I shot this sunrise at La Push's First Beach with just waves at first - and then I saw the crow on the drift wood. How much better this image is with a bird in it!

And then I read this article by one of my all-time favorite authors. It gave me pause. Then, I heard this podcast and my curiosity was piqued even more. Finally, one of my brothers called and asked me where I planned to view the eclipse. That was it. I needed to find a place and it was less than two weeks away!

Fortunately for me, I have a very good friend who recently moved to Portland, OR, so when I texted to find out what her plans were for the eclipse she just responded "Come on down! It will be fun!"  What I didn't know, but found out before I left, was that we were going to spend the night at a winery owned by friends of hers. As it turns out, St. Josef's Winery is located in Canby, OR, which fell within the path of totality. Lucky me!

St. Josef's WinerySt. Josef's Winery in Canby, Oregon, just before sunrise on the morning of August 21, 2017.

My next step was to do some research on photographing the eclipse. I read several articles, but the best advice I got was from some friends who are diehard umbrafiles. This eclipse was to be their 10th solar eclipse. Their advice? "Something always goes wrong with the photography. Don't try to fix it. Just stop and watch the eclipse because you need to enjoy the experience!"

They also shoot Nikon, so they gave me some specific settings for my camera. I had ordered eclipse glasses in time, but I also ordered some mylar solar filter material to make a filter for my camera. Although I wanted to capture the various stages of the eclipse, without a tracking device on my tripod, I knew it would be hard to create a decent composite from those images. I made my filter so that I could easily slip it off the lens at totality because you don't need it during totality and that's what I really wanted to capture, if I were going to get any photos at all.

Solar FilterI made my solar filter the night before the eclipse. The day of the eclipse I had to make some adjustments because the tube was a little too tight for my longer lens.

The day before the eclipse was completely overcast. As a macro flower photographer, I am thrilled with those conditions when I have something to shoot. Fortunately, Canby is the home of Swan Island Dahlia farm. Dahlias are one of my top favorite flowers to photograph! We went to the farm and I spent hours walking around, shooting photos. The conditions were perfect. Overcast skies, no wind. I was in heaven!

Dahlias bloom in AugustOne of the thousands of beautiful dahlias I photographed at Swan Island Dahlias farm in Canby, Oregon. People from all walks of life enjoy dahlias!I was photographing the flowers, when I looked up to see this monk shooting a picture of a friend on his phone.

That night we stayed at the winery and enjoyed a fire out under the stars. The next morning I got up to watch sunrise above the lake, and was thrilled to see there was not a cloud in the sky. The conditions could not have been better. I set up my tripod at a spot I thought would be good for shooting the eclipse, and was conveniently close to my car so I could access my equipment. St. Josef's only sold tickets to about 100 people to watch the eclipse at their location. The tickets included eclipse glasses, mimosas and a pancake breakfast provided by a local food truck. People who chose to view the eclipse here were friendly and relaxed. A handful of other photographers showed up and set up right next to me. I called it "Geek Row" because we were all sharing what info we had and talking about equipment. I was in my happy place! Mimosa in hand, camera set up, waiting. The winery had live music. It could not have been a more blissful morning.

The Night BeforeFriends hanging around the fire at St. Josef's winery in Canby, Oregon the night before the eclipse. The Stars Came OutAs friends enjoyed the fire, I stepped back to view the stars. Morning LightJust before sunrise on August 21, 2017. Geek RowFellow photographers get set up next to me. Pancake LinePeople line up for pancakes before the eclipse. Flying PancakesCheers would rise from the crowd every time the pancake chef flipped a pancake into the air for a hungry patron to catch on their plate. Flying PancakeA patron catching his breakfast mid-air. Crescent Shaped ShadowsWhen the eclipse started, shadows began to take on a crescent shape. The Lights Begin to DimPatrons watch as the sky begins to dim with the eclipse. Ready to ShootMimosa in hand, camera set up, I am ready for the eclipse to begin!

When the eclipse started, I started taking pictures. I got quite a few of the shadow taking bites out of the sun, but they aren't really very interesting compared to the totality. We only had 54 seconds of totality - so I was nervous as it approached. Just before totality I took my filter off my lens, reset my ISO to 800, locked my focus, set bracketing on my shutter and crossed my fingers. I had no idea if I was going to get anything. I shot pictures for about 30 seconds - enough to cover Bailey's Beads, the Diamond Ring and the corona. I couldn't really tell if I even had the sun in the frame of my image, as I had been shooting with my prescription sunglasses on but when totality arrived I couldn't see! That was the one thing that went wrong for me - I left my regular prescription glasses too far away to switch at the moment of totality. Oh well. I fiddled with my camera, shot blindly and then looked up at the sun. Oh my! The corona was shimmering and shining around a big black dot in the sky! It was amazing! The birds were quiet. The animals were quiet - but the human animals were gasping and making sounds of awe and wonder. And then, it was over.

When I flipped through my images afterward I could tell I had gotten the diamond ring - considered the 'holy grail' of eclipse photos. I had no idea I had also captured the corona - with the star Regulus showing! I didn't see those images until late that night when I got home and downloaded what I had shot.

TotalityThose red things are Bailey's Beads. The Diamond RingThe 'holy grail' of eclipse photos - known as the 'diamond ring' when the first sun rays start to appear behind the shadow. The CoronaI didn't even know I had successfully captured the corona till I got home that evening. The small dot in the bottom left is the star Regulus.

Am I glad I went? Abosolutely! Will I try to see another total eclipse? You bet. I completely understand why umbrafiles chase the eclipse around the globe hoping for more. In fact, it looks like the 2024 eclipse in the U.S. has a whopping four minutes of totality along the center of the path. I think I'm going to have to make some plans. . . In the meantime, you can view my favorite photos from this year's eclipse in this gallery.

In commercial photography there's a more competitive jockeying for position. Photographers often joke that when they hire assistants they are 'training their replacement', which can in fact be true. But in landscape and nature photography there seems to be a generosity of spirit among photographers - at least the ones I've met. (Yes, this is a generalization, but I am only speaking of my own experience.) The Summit Workshops are based on this generosity and passing of the torch, if you will. A remarkable man and photographer, Rich Clarkson, has used his leverage and connections to bring together world class photographers to teach willing students. His generosity begets generosity and the workshops provide incredible access to some of the most revered photographers in the world. But enough about the background - if you are interested in doing one of the workshops, I suggest you investigate their web site.
 

The Week - Intensity
 

I admit, I didn't know exactly what I was in for when I initially signed up for the Nature workshop at The Summit. I had attended a Creative Live class with Tom Mangelsen and he mentioned the upcoming workshop in Jackson, Wyoming. The friend who had taken me to the Creative Live class said she planned to go, so I thought it would be a good opportunity to go as well. It's always fun to attend workshops with a friend. As things worked out, though, she had to forego the workshop so I was left on my own.
 

I love shooting landscapes and plants, and the occasional birds, but I'm just not that great at shooting wildlife. I thought maybe I'd learn a thing or two about how to approach wildlife photography at this workshop. It was very different from what I expected.
 

The majority of the photographers who teach during the workshop come from a photo journalism background, as does Rich Clarkson, so there was heavy emphasis on getting the shot right in the camera. This is great practice if you've never thought of photography in this way. We started each morning before dawn, had a couple of hours to go out and shoot, then came back to our classroom to download and edit our photos within about an hour or two. We each picked three images for the afternoon critique and the rules were - no editing. You could tweak exposure and color temperature a tiny bit, and you could crop within the same aspect ratio, but severe cropping, Lightroom or Photoshop work were strictly prohibited. You could not remove anything from the photo that was originally in the image.
 

If you're shooting wildlife, chances are you shoot thousands of images to get one clean, sharp image. I'm accustomed to rapid editing and although finding a good photo to shoot within a short period of time was moderately stressful, it was mostly just exhilarating. Each day we were taught new techniques or given new challenges, and I was more concerned with encompassing new ideas into my workflow (such as playing with color temperature in camera) than with getting sale-worthy shots. I was disappointed not to see the amazing animals others were able to find - moose, fox, bears, etc. I might spot them, but never in a photo-worthy setting. C'est la vie. Wildlife is not predictable.
 

During our editing process, we were lucky to listen to lectures on a wide variety of subjects, from editing workflow to what equipment you need to really store your photos properly.
 

Each day, there was a brief lunch break after the morning lecture, then we gathered in the auditorium at The National Wildlife Art Museum, where our classes were held, to sit through a couple of hours of critiques. Photos were anonymous as they appeared on the screen, and remained so unless a teacher had a question for the photographer. You may have seen me mention in the past that I'm not a fan of critiques. Well, I'm not a fan of anonymous critiques by a bunch of other photographers on the internet, but critiques by experienced photographers and photo editors can be invaluable when you are learning.
 

There were photographers of all abilities in our class and some of the less experienced photographers may have had a harsh awakening as remarks became more pointed by the end of the week. Comments such as "Where is the picture here?" and "If I see another reflection picture I'm going to stab my eye out!" were delivered humorously, but probably cut to the quick for timid souls. But more importantly, comments about gesture, composition, exposure and subject were as valuable as a class in art history - especially for those photographers who had never looked at their images in such a critical way.
 

Know Yourself
 

It's probably just my age, but I have some pretty strong opinions regarding what I like in my own work. There was one incident in the workshop that reinforced my instinct to trust my gut. Prior to submitting images one day I had shown one of my images to one of the teachers. He disliked it intensely. I actually really liked the image, so I went ahead and submitted it. It evoked the exact opposite reaction from another teacher, who pointed out the exact thing I liked about the image. That one comment reminded me to continue to trust my gut when it comes to my own work. After all, if a critique isn't about technical issues, it's just an opinion.
 

The Instructors
 

My favorite part of the workshop was the evening lectures. Each evening we were treated to two, one-hour long presentations. Each instructor gave a talk about their area of expertise and their work. We were treated to great stories, amazing photographs and genuine passion for the medium. Every single lecture was inspiring and educational. I wish I could have recorded them all to watch over and over. The participants who did not attend the evening lectures missed what I think was the meat of the program. It was the only time we got to hear, in depth, what moved these people to become who they are in the world of photography. While getting hands-on instruction from them was nice, this was worth the price of admission. From Jim Richardson's incredible story about food cultivation to Michael Forsberg's passionate study of the great plains, each lecture stood on its own as an event. (In fact, I didn't realize until he began speaking that I had watched a PBS documentary about the work Michael Forsberg is doing. It's just one example of the special contributions each of these people is making with their work. )
 

If you want to learn more about the amazing people who shared their stories, here are some links:
 

Thomas Mangelsen
 

Jim Richardson
 

William Albert Allard
 

Michael Forsberg
 

Bob Smith
 

Dave Black
 

MaryAnne Golon
 

Don Winslow 
 

Allen Murabayashi 
  
 

The Connections
 

Beyond the obvious connections with the staff of The Summit, networking with the participants in the workshop was invaluable. I met so many talented and up-and-coming photographers from around the country, and found so much inspiration in their creativity, I felt positively rejuvenated by the end of the workshop. Some are passionate wildlife photographers, while others prefer human subjects. One thing that surprised me was the number of repeat students - those who were attending the workshop for the second or even the third time. I understood by the end of the week why one might return. Friendships are formed and common interests are discussed at length. It's great to find a community of like-minded people from whom one can learn new things. Some have established photo businesses and web sites while others are passionate hobbyists. Below are a few of the folks I connected with.
 

Dana, who just moved to Toronto.
 

Colin, whose only wildlife for the week was a local squirrel.
 

Carolyn, who is beginning her journey as a photojournalist with excellent mentors on her side.
 

Stephanie, who gets to shoot pics of wild animals every day as the Houston Zoo photographer!
 

Jennifer, who shoots loving portraits of humans and wildlife.
 

Jennifer, who has a great start on her journey as a wildlife photographer.
 

Howard, who towered over us all at 6'7" and with his magnificent bird photography. . .
 

And so many other wonderful people and talented photographers. There was much passion for photography in the room and many great storytellers and aspiring storytellers. The people I've listed above are actively selling their work, but there were many more who were working for specific causes in their local areas. Yes, I've listed mostly women above, but the class was about half male/half female. The ages ranged from high school to retired. There was a healthy mix of techno-phobes and those embraced the latest technology.
 

Should you go?
 

I consider every workshop an investment in my skills as a photographer, and I am satisfied if I learn one new thing from each workshop. This particular workshop may or may not be for everyone. Here are some considerations if you are thinking about signing up:
 

1. Cost. If you aren't serious about improving your photography, save your money. You will get the most out of the workshop if you participate fully and already have basic command of your camera. There were beginners there, but I think one should save the basics for a different type of workshop.
 

2. Do you shoot Nikon?  The workshop is supported by Nikon Professional Services, who are present and generously lend out gear, from cameras to lenses, for participants to use during the week. People shooting other brands are welcome and can also borrow the Nikon equipment, but you have a real advantage if you shoot Nikon and already know Nikon products. There were many Canon shooters present at my workshop and I did not get the impression they felt discriminated against. By and large, most of the photographers know enough about cameras other than Nikon to help with technical issues.
 

3. Are you ready to have your images publicly critiqued? Some photographers did not submit images. Personally, I wanted to take advantage of every aspect of the workshop and would not have missed the critiques for anything.
 

4. Do you need to sleep, or eat?  Once again, let me emphasize that this is an intense workshop. You can bow out of anything, but since I'm not likely to get another opportunity to do this, I wanted to be present for everything offered. You can sleep later.
 

5. Do you love wildlife and landscapes? This workshop is best enjoyed if you already love shooting images of wildlife and landscapes. There were several portrait photographers there who loved this workshop for the opportunity it presented for them to shoot something different. You should be prepared to get up before dawn, walk through the woods, and haul your equipment around.
 

The Photos I Submitted and Behind the Scenes
 

I already mentioned that I didn't get any iconic wildlife photos. I did the best I could with the time and locations I had.  I played by the rules and did not crop or edit the images as they came out of my camera.
 

Below are the images I submitted for critique all week. The one I was least happy with was the fly fisherman, but we had run out of time to shoot and I really wanted to submit three photos that day. It was also the only image that got lukewarm feedback from the critics. At least I knew it, going in.  I made a few errors, embarrassed myself, didn't create a great body of work, but most importantly, I learned a lot. Below are the images I submitted and some background.
 

On Day 1, I accidentally submitted a moonset image I had exported for posting to Facebook with my copyright on it. It was an embarrassing moment, as they specifically asked us not to put a copyright image on it. D'oh!
 

The image with the yellow reflections was shot shortly after I had dropped my 24-70mm lens and broken the hood. I couldn't use that perfect landscape lens until I could get it fixed, so I pulled out my trusty 105mm macro lens and when I turned around I saw the reflection. I was stressed and worried about my other lens, but I was transported by the beauty of the place and the contrast of the gnarly trees and the golden reflections. I think it was one of my best images of the week.
 

The image below that, of the thistle in the moonlight, was inspired by Dave Black's light painting lecture. It was my first attempt at light painting and I really fell in love with the concept.
 

The image of the backside of the thistle was the one I liked, but one instructor didn't. I set my white balance to 4400 to create cooler, blue light and I used my macro lens. It was freezing cold that morning and there was a strong breeze. I tried some sunrise shots of the Teton mountains, but one of my classmates unwittingly moved into the middle of my photo composition and I could never get his attention to ask him to move out of the way. Time was running out, so I went back to what I know - flowers.
 

The image of the blurred aspen reflection was created in frustration after a morning of chasing critters and getting no shots. I didn't want to do a straight reflection at this location because everyone does that, so I moved my camera to blur the reflection. I liked the result.
 

The backlit image of the yellow aspen leaves was taken in my light painting class. The leaves were actually taped to the top of a cowboy boot and I lit them from behind with a small pen light during a long exposure. It was a fun learning experience and I liked the result.
 

On the final day I was deeply disappointed in what I had to choose from, so I selected these bird images. Unfortunately, I submitted the wrong magpie image - I had a glorious image of it flying upward with wings open. I don't know how I clicked on the wrong version, but that's the kind of thing that happens when you have a limited time to select and submit. The critics didn't like the 'gesture' of the bird - well, of course not! Me either. But we learn from our mistakes and that's what the week was all about for me - learning.  
 

Here's the image:

Popcorn on a Sunday nightA photo my father shot of me sometime in my childhood evokes memories for me of everything that is not in the photo.

As I read the commentary and watched the "likes" pile up on Facebook I was struck by what the photo meant to me. I remembered the evening the photo was taken. I can tell by what I am wearing that it was a Sunday night because I am wearing "dress" shoes, and I wore "corrective" shoes the rest of the week. I know that I am watching TV because in my mind's eye I can see the entire room and the other rooms of the house. We always had popcorn and tomato soup on Sunday nights - another clue it was a Sunday night.

I can't look at the photo without seeing my mother at the kitchen table, and my father standing by the glass door looking out at our back yard. I know that the leather couch will develop a tear in it that in the future I will absentmindedly worry into a bigger tear and get into trouble for having done so. I know that the lamp on the table is brass and has a golden lampshade. And I remember quite clearly that I was selecting only the pieces of popcorn with butter on them - which made me violently ill later that evening.

None of that information is captured in the photograph. And yet, for me, all of that information is captured in that photograph. I am absolutely transported to a time and place in my life. I know my mother made the jumper I'm wearing, and I think it was green (my favorite color), but I'm not 100% certain. I guess it wasn't a dress I loved, or I would surely remember what color it was. But more than anything, I can remember the absolute comfort of being the youngest child, home alone with my parents, enjoying my popcorn treat. 

What do you see when you look at this photo?  Do you see a scene from the late '50s, early '60s? A traditional home? Nice lighting captured by the photographer?  I hope that what you see is a story. It doesn't have to be the same story as mine, but if it tells you a story it has succeeded as an image. 

To me, that's the magic of photography. It's not just utilitarian. It's not strictly art. It's a way to record a moment in time that will live on - and it will live on as a story as long as people are able to view it. To me, as the subject of the photo, it evokes a vivid memory with all the associations I mentioned above. 

PHOTOGRAPHY IS EVERYWHERE

Photography is ubiquitous in today's digitally connected world. Selfies, drones, GoPros, Instagram, Facebook - everywhere you turn there is an opportunity to record a moment and then share it with the world, or a few select friends. 

Some people think this obsession with digitally recording every moment kills memories and leaves you with only select bits of what happened. Some people think it is vital to record what you can of your life. Some people think that's narcissistic. What do you think?

THE STORY IS THE THING

If my Dad were alive, I would ask him if he remembered taking this photo. I bet he would. But he might just remember turning around to see his youngest daughter sitting in the light of a lamp that created an image he wanted to remember forever. That would have been his story.

I'm glad he took the picture, and I'm glad I found it. 

What do photos mean to you? 

That might not make sense to some folks, but since I love gardening and photographing plants, I felt expanding my knowledge would greatly improve the stories I am able to tell about the photos I take. And as someone pointed out to me recently, stories are what make memories.

Yesterday, as I was among my 'tribe' of fellow Master Garden interns, someone pointed out a very special sight - an Anna's hummingbird nest. I love hummingbirds but have never spotted a nest, much less had the opportunity to photograph one. In training we learned that they use bits of lichen and moss for their nests and even spider webs to help hold them together. It was so exciting to actually see that in person. And the nesting mother was calm enough to let me get pretty close - most likely because she chose to put her nest in the middle of a busy garden!

I'm not sure what my future path is, but as long as it's filled with these kinds of stories, I'm certain it will be a joyous one.

Anna's hummingbird nest.She kept an eye on me, but allowed me to creep close enough to get a good picture of her nest. Anna's hummingbird on nest.Notice the spider webbing holding the nest to the tree limbs on this Anna's hummingbird nest.

It's true that one can use Photoshop to really change an image - such as the controversial Justin Bieber Calvin Klein ads. However, most people don't have or use Photoshop and aren't likely to start using it anytime soon. So, I thought I'd offer up a couple of quick tips for how to make your portraits better - even if you're shooting with your phone.

I don't shoot portraits anymore, so I don't have a lot of images to share, but I will offer links to examples to illustrate my points below.

1. Focus on the eyes. As humans, we connect through our eyes. If nothing else in the photo is in focus, at least make sure the eyes are sharp. It's the first place people will look.

2. Don't be afraid to get really close. Portraits are about connecting. Why stand 30 feet away when what you really want to see is the expression on your subject's face? Take one picture, then step in closer. Shoot another picture and compare. If you're still not close enough, try again. You want to connect. Don't hold the subject at arm's length! Many photographers think an 85mm lens is the perfect portrait lens. I think it's most important, though, to simply get close enough to make your subject compelling, but not distorted.

3. Pay attention to the background. Sometimes you want background for context - especially when you're capturing a travel photo. "Here we are in Italy!"  - you want to see that coliseum behind the subject so the context makes sense. If your background isn't central to the picture, though, try shooting at a wider aperture (f4) to create a shallower depth of field. This will blur the background and draw people into your subject's face. Look for weird lines/objects in the background before snapping the picture. How many photos have you seen ruined by a telephone pole or lamppost sticking out of someone's head? (Even if you are shooting with a shallow depth of field, as recommended above, harsh lines can be distracting.) Sometimes the easiest correction is to move one step left or right of the subject to get a neutral background.

4. The sun is your friend - when it's at your back. How many photos have you seen of people squinting into harsh sunlight? Don't be afraid to put the sun at the back of your subject. It will highlight their hair, giving them a beautiful 'glow' or 'halo' effect. There are plenty of programs available today to tweak your image after shooting so that the dark shadows on a face can be opened up and you keep the sunlight as a background. You can also use almost anything to simply reflect light into the subject's face - a piece of white paper, a hand-held reflector, even a windshield protector (popular in the South where the sun bakes cars.) Play with the reflector to see how it bounces light into your subject's face and eyes. At the very least, try shooting your subject turned 3/4 away from the sun, with light hitting one side of their face and creating a triangle of light on the other side (basic "Rembrandt" lighting). While classic Rembrandt lighting is easily created in a controlled, studio setting, you can come close to creating it in an outdoor setting by simply positioning your subject in the correct angle to the sun. Any of these options will be better than squinting into the sun.

5. Overcast skies are your friend. If you think you have to shoot on a sunny day, you're wrong. Cloudy or overcast days can create some of the very best lighting for portraits, as they create a nice, soft, even filter that removes harsh shadows. Seriously. Just look at the difference between a portrait shot in bright sunlight vs. one shot on a cloudy day.

There are plenty of other 'tricks' portrait photographers use to make their subjects look better, but these five basics will help you improve your snapshots and family pics immediately. People who have had their portraits taken by professionals will pick up some tricks for hiding their double chins and looking slimmer. When you're shooting friends and family, you really just want to capture their essence - spontaneous images are always the best. Just keep the above in mind when you do so and I promise you'll be happier with your results.

Here's a portrait of my husband shot while we were in Venice, Italy. I love this image of him because it takes me right back to that balcony as if I were standing there. In this case, I really wanted the background to appear, as it's central to the purpose of the photo. The cloudy skies worked well and cast a soft light on his face, with just a bit of light bouncing off it in all the right places. I didn't pose him - I simply caught him looking out at the canal, watching the boats go by, proving you don't need a fancy set up or camera to get images you will treasure.

Michael in VeniceOvercast skies created soft light highlighting my husband's face as he gazed off our balcony in Venice. It's not a formal portrait, it's not perfect, but it captures a moment that takes me back to that location.

It was a difficult question to answer. I don’t claim to be a professional artist or photographer, but I’m always happy to share whatever little knowledge I have. When it comes to composition, I think I have spent a lifetime looking at great images – both paintings and photographs – and have acquired some sort of instinct about what I like. That doesn’t mean I always hit the nail on the head, it just means that I will gravitate toward compositions with certain basic elements. If I have multiple versions of a photo that are similar in composition, I will trust my initial instincts to pick the top few, then look closely at the details to decide what I like best.

As I was looking for some examples I found one scene I shot a number of years ago that has remained a perennial favorite of mine. Here is the scene I shot, starting with the first image I took. It was nice, but didn't quite match what I thought I saw.

Trees in SnowI spotted these trees on a snowy day and knew there was something about them I really liked, so I stopped to take some pictures. This is the first one I took, unedited. Trees converging in snow.This is the second image I shot, unedited. Notice the converging line in the composition? By simply moving left a few steps, I created a much more pleasing image.

In the second image (above), I moved a few steps and captured the composition I liked, but the final image still wasn't there.

Black and white trees in snow.The composition was there, but the image still wasn't what I was seeing in my mind's eye. I edited it into a black and white image and increased the highlights to help the white blow out a bit. This is what I saw in my mind's eye that the camera did not capture.

The final image (above) is the result of converting to black and white and editing. When I post that final image I get lots of "likes" on my fan page, so I know that it resonates with others as well. This image was shot well before I really had any idea what I was doing in digital photography. In fact, I believe the original image is a jpeg, not shot in RAW. I barely understood Lightroom and I certainly hadn't given a lot of thought to composition. It was just obvious to me which was the most pleasing image.

I believe it is the leading line + the asymmetrical rows + the high contrast. What do you think?

When it comes to abstracts, which are a new area of interest for me, I am still learning what I like. Here’s an image I composited and liked, but then I flipped it to portrait orientation and liked it much better. 

A Notion of Movement _ LandscapeI first tried this abstract in landscape orientation and liked the general look.

A Notion of Movement - PortraitAnd then I rotated it to portrait orientation and I liked it more. In portrait orientation it looks to me like some sort of road with a moody sky.

There are plenty of books and basic courses on composition. This article has some good basics on composition with great examples. I suggest you do a search on YouTube for "composition basics" or "golden ratio in composition".  There are dozens of tutorial videos available.

If you use Lightroom, there is a cropping tool overlay guide that will enable you to actually look at your images with these compositions in mind.

Be sure you are in Develop mode and have the Crop Guide on:

Develop mode in Lightroom.To access the crop guide tool overlay you must be in crop mode.

How to add the crop guide overlay in Lightroom.You can use the crop guide overlays in Lightroom to check your composition.

I don't pretend to be a great photographer or teacher, but since I have friends who ask me these types of questions, I'm happy to share the little bits of knowledge I have picked up. To learn more about Lightroom, I highly recommend these terrific resources:

Julianne Kost Lightroom Videos

LauraShoe.com

The Lightroom Queen

It’s simply shooting at f16. The basic explanation is that the aperture blades filter the light when you close down to a small aperture opening. Most lenses are sharpest in the f8 - f11 "sweet spot" range, so going beyond f16 to get a starburst may result in images that are a little less crisp than you want.  So, if you’re shooting a sunset and you want to get those extra rays, set your camera to “aperture” priority, f16, and adjust accordingly.

Here are two examples: Sunrise over a tulip field in La Conner, Washington.This is a sunrise shot at f16 to make the rays more prominent as they start to shed light on the tulip field.

Pisa on the Arno at NightThis night shot of Pisa from a bridge over the Arno river is shot at f16 to turn boring street lights into starbursts.

We have thousands of birds that overwinter in our valley, and I’m always looking for that elusive shot that captures the way I feel when I see them. As I’ve stated previously, I’m not a wildlife photographer, so capturing images of birds is outside my comfort zone. I don’t go on autopilot when I see a field of birds. I have to stop and think about what settings I want on my camera, what lens to use, whether or not to set up a tripod, etc. That’s not how I shoot when I am in a garden. I am on autopilot with my macro lens. I hardly think – I just act.

With the birds, it’s important to be aware of one’s impact. They are here to feed and get fat so they can make the long trek back to their summer homes. It’s important not to stress or disturb them.

Fortunately, I found a great gathering in a potato field next to a farm road. I drive a hybrid car, so when it goes into ‘stealth’ mode, it’s very quiet. I was able to pull over and let the birds get used to my presence before I stepped out of the car to take pictures.

Birds overwinter in Skagit Valley fields. Trumpeter swans feed on abandoned spuds in a fallow potato field. Mallards swirl behind them.

It was great fun for me to try and capture the essence of what I could see and hear. The trumpeter swans are noisy, and the mallards in the field were jumpy and would take off in a heartbeat.

I stayed for about an hour, just trying to catch one or two good shots. I did finally get more comfortable with my camera, but just as I was relaxing into the shoot, a local farmer drove up to chat. He was a charming older gentleman who lived across the street from where I was shooting. We chatted for a while and he told me a funny story about being a kid and deciding he needed an ice cream cone, so he drove his tractor into our town.

This kind of spontaneous chat is one of the best things about living in a rural area. It’s also outside my comfort zone. I’m glad that I seem approachable enough to invite a chat. It happens a lot. But, as an introvert, I’m rarely going to initiate the conversation.

Trumpeter SwanThe trumpeter swans sometimes run into power lines, so reflectors have been added to the power lines.

What’s my point? Sometimes you need to just step outside your comfort zone to crack open your creativity again. Go someplace different. Shoot alongside people you barely know. Shoot a subject that’s atypical for you. Take your camera off automatic and try it on manual or aperture priority. Whatever it is that holds you back – step up and try it. Maybe you’ll succeed. Maybe you will learn something new and valuable. And maybe, if you’re lucky, you’ll make a new friend.

Incoming!A pair of trumpeter swans come in for a landing in the wet potato field where their relatives are feasting on old spuds.

A couple of weeks ago I took a two-day course from award-winning landscape photographer Tom Mangelsen. Because we were a studio audience for a live broadcast, some of the course was pre-shot in the field with Tom.

The pre-shot footage was interesting, but more interesting to me were the audience reactions to that footage. In the footage Tom takes a handful of students out into the landscape and assists them in getting the types of photos he likes to take – magnificent vistas with wildlife in their natural habitat. Not only was he able to describe to the students what animal behavior they would observe, but he taught them something about predictive observation by knowing their subject. He could tell them, for instance, when a male elk was likely to stand up and move based on where the females were. These insights were a revelation to the audience. People were genuinely surprised at the things he was thinking about when shooting.

It was obvious from his running monologue that he is deeply knowledgeable about his subject matter – and he sees the whole picture. Tom’s big on framing within camera, and not doing a lot of post production editing. Knowing one’s subject and being able to anticipate movement is a huge advantage for him.

I am completely on board with this approach. Who wants to spend a lot of time at the computer, editing?  It’s the act of shooting pictures that is more fun.

Another thing Tom was able to do while shooting was talk through his ideas regarding what fstop, ISO and shutter speed he was using and why. He also made mistakes and talked about those. Sometimes when you are in the heat of a particularly photogenic moment, it’s pretty easy to make mistakes. I’ve certainly done it myself. Those are precious learning moments. You may not get the shot you wanted, but you won’t miss it the next time! And if you are observant, there really will be a next time.

One shot I get asked about a lot is this image of a California poppy with light streaming through the stem. When I have it displayed at shows I often hear people say “That was definitely ‘shopped!” – meaning they believe the image was Photoshopped.  My response – “if I could use Photoshop that well, I wouldn’t need to take pictures!” Seriously, though, like Tom, except for certain images, I rarely touch a photo in Photoshop. I find Photoshop challenging to use, so I avoid it most of the time. I do some basic optimization in Lightroom and call it good for most things. California PoppyClose-up of a California poppy with sunlight streaming through its translucent stem.

But back to this poppy. This is an instance of composing in camera and getting the shot. I was actually on location to shoot bamboo, as this place had a wide variety of bamboo stands. And I did shoot some images of the bamboo, but they weren’t working for me. Out of the corner of my eye I saw a bright spot of color – and small patch of poppies in the sun. I resisted at first, thinking I was really there to shoot bamboo, but, fortunately, realized this was an opportunity I ought to pursue. I walked over to the sunny patch of poppies blowing in the gentle breeze and I started shooting. I took my eye away from the viewfinder and saw there was a patch of brilliant pink flowers behind the poppies. I knew if I could find the right poppy and get myself into position, I could have an unusual and bright background. And this image is the result.

I have a number of other images in the series that are just fine. This one stands out because of that unusual background – and it’s likely the background that makes people think I did something in Photoshop. I didn’t. This is how the image looked through my viewfinder. I just looked for the whole picture. Sure, I could have used Photoshop to remove the ghostly stem of the other poppy in the background, but I opted to let it be because for me it captures the movement and the ethereal reality of the moment. Some people might prefer the image without that distraction. That's okay by me - everyone is entitled to their opinion, and to capture the image they see.

So, that’s my simple tip for improving your own photography. Don’t just look at your subject matter. Look at the background. Decide if you want that background in focus (if so, shoot at a higher depth of field, such as f8, f11, f16). If you want the background blurry behind your subject, shoot at a shallower depth of field f2.8, f4, even f5.6. If you don’t know the difference, shoot the same image in sequence – go from one extreme fstop to the other and then look at the difference in the images. The more you do this, the more you will begin to understand how to get the image you want to capture, whether you are shooting a landscape, a portrait, or a macro shot of an insect.

What do you look for when you shoot an image? Are you seeing the whole picture?

In my last post I talked about how I am in continuous learning mode when it comes to photography. While online courses and self-paced learning are great ways to get specific techniques down, I find it even more valuable to either attend workshops or go out shooting with other photographers.

I have spent the past two days at a CreativeLive.com workshop in the audience (very different from watching online, where you can easily get distracted or walk away). My fellow photographer and friend Kamriell Welty has an abiding passion for wildlife photography, so she invited me to join her in the class being taught by one of her favorite wildlife photographers, the legendary Tom Mangelsen. I jumped at the chance – both for the opportunity to spend time with Kami, talking about photography, and to learn from Tom.

I don’t aspire to be a wildlife photographer, but I live in a spectacular location where I often have the opportunity to shoot images of wildlife. Tom’s work is special because he not only shoots ‘portraits’ of wildlife, but also captures wildlife in landscapes. I knew I could learn something from the course, so why not?

So, I did not attend the course with the intention of duplicating Tom’s life or lifestyle, but simply to absorb inspiration and information from a very successful and talented photographer. And because I had that intention, I found the course fulfilled my expectations and went beyond what I had hoped to gain from it. I always think if I take one useful tip away from a workshop, it was worth it.

In this case, I had several takeaways I think are worth sharing. These are things I think everyone should keep in mind when they are working on their photography.

• Shoot what you know. Tom lives near Jackson, Wyoming, with the Grand Tetons in his backyard. It’s not surprising his has captured some astonishing moments in his own territory. Of course he has traveled and shot wildlife in many places, but in looking at all his images, I believe the images from where he lives are by far the best.
• First and foremost, compose in the viewfinder. This was a valuable reminder that photography is about seeing and conveying what you see. It’s easy to get so caught up in the moment that you don’t look at everything in your composition. I think composing in the viewfinder comes with practice, but it’s a great thing to think about when you are out shooting. Don’t shoot to crop later –shoot as if the picture you are shooting is going straight to print. This one thing should help you pay attention to stray branches, odd lines, ugly backgrounds, etc. When I shoot macro images, this is something I am keenly aware of – I move if I don’t like the background. You should too. Look at your subject, then scan the rest of the image surrounding your subject. Should it be in sharp focus? If yes, use a higher F-stop for greater depth of field (F11, F16). Is the background distracting? Shoot at a shallower depth of field and blur it (F2.8,F4). Try both if you don’t know what you want.
• Be flexible. I think this is at the heart of it all. Even if you’re shooting a pre-designed commercial image in a studio, it’s important to recognize that unexpected moments happen. Be ready to capture them. If you go out to shoot images of snow geese, and they are too far away, or not moving, but you see a pair of eagles flying in front of Mt. Baker, why not switch and shoot that?  Keep your eyes and ears open. Pay attention to the light. Maybe clouds are moving in and making the image you wanted to shoot look flat. Look where the light is and see if there’s another image.  

After two days of listening and talking to Tom, and chatting with other members of the audience, Kami and I headed home both excited and inspired. We talked about photography the entire way home. It's wonderful to share your passion with like-minded people.

Double Rainbow It’s a common question. People look at the photos I post and send me private messages. “What equipment are you using? Did you do something to that in Photoshop? I love your work, have you been doing this for a long time?”

First, let me say I probably had a head start, but it was only that. I grew up in a family of artists and had beautiful images hanging in my childhood room. Just like reading great writing can lead to better use of language, I believe looking at great images can improve one’s personal ‘vision.’ But, I also believe it’s something that can be learned – at any age and at any stage of photography. I have friends who now shoot amazing photos with their iPhones and iPads –and what they shoot has changed as they studied what they liked about my photos. I love that! Imitation is most definitely the sincerest form of flattery.

The most important piece of equipment – is you.

Second, regarding equipment. As I noted above, a great image does not require expensive equipment. I believe the most important piece of capturing a great image is behind the camera. It’s you. Your vision. Your composition. Your unique perspective.

Okay, so maybe you see things that you think you’re capturing, but they don’t turn out the way you see them in your “mind’s eye.”  That’s where technical knowledge does come into play. Perhaps you’ve used too wide a lens, or you didn’t use the right exposure, or you just need to crop a bit to get the image you want. These things come with training and experimentation. Do some reading about the ‘rule of thirds’ and the golden ratio. Try experimenting with different framing. Study images you love. Follow photographers you love on Facebook. You will start to see what it is you like.

From Analog to Digital –with the help of a friend.

It’s true I have been taking photos since I was a child and I would sneak out with my grandmother’s Brownie box camera. I learned to develop and print film when I was a teenager. I have had the privilege of knowing many great and successful photographers and have edited images for some of them. I have looked at a lot of photos. A lot. But when digital cameras first emerged, I was hesitant.

I stayed away from still photography while I pursued cinematography for a few years. Then I moved, started working for a large tech company in Redmond, Washington, and suppressed my creative side.

I was intimidated about making the switch to digital, but I got lucky. I had a lovely neighbor and friend who was studying photography at the Rocky Mountain School of Photography in Missoula, Montana, and she offered to help me transition to digital. In fact, when she got a new digital camera, she lent me hers for almost a year. We would go out and shoot together, share images, talk about what we saw. It was a blast and I am forever grateful to her for jump-starting my return to photography. Check out her work at Dirtie Dog Photography.

Be generous with your own creativity – share ideas and enthusiasm with folks. It can be really fun to go out on a photo shoot with someone else. You will be surprised at how much you learn.

Gaining confidence through learning

Great, you say, but I don’t have a friend like that. I just bought a camera and I want to take good photos! 

There is an astonishing amount of free training available on the internet. There are also some courses that are very reasonably priced. I’ll give you an idea of the things I have done and would recommend to anyone just starting out.

1. I took a weekend course through RMSP. So much learning packed into two days! It was a great confidence builder.
2. I watched and continue to watch many free courses on CreativeLive.
3. I took a Kelby Training in-person course on Photoshop. I still don’t use Photoshop very much, but I know more than I did originally.
4. I follow Laura Shoe for Lightroom tutorials. I do almost all my work in Lightroom and have found it to be a fantastic tool for organizing and simple editing.
5. I read and watch tutorials by Julieanne Kost from Adobe. I also follow her on Facebook.
6. I also find courses on Lynda.com.
7. I shoot. A lot.
8. Worth repeating. I shoot. A lot. Tons. All the time.
9. When I had a big sale, I used the money to travel to Italy for a landscape photography course with Jim Nilsen’s Photography Travel Tours.
10. I talk to lots of other photographers. Ask questions, share ideas, get tips, share tips.
11. I shoot. A lot.
12. I never, ever stop learning or looking for learning opportunities. There is so much out there that I haven’t even mentioned.
13. I look at a lot of photos. I love looking at the work of other photographers! One place to see lots of great work is 500px.  Follow photographers you like and be inspired - not intimidated!
14. Shoot more pictures.
15. Shoot more pictures.

And here’s what I don’t do.

I never invite other photographers to critique my work. I find it much more useful to discuss how an image was shot than to listen to some blowhard explain to me what’s wrong with my images. Frankly, I don’t care. If I wanted to shoot like someone else, I study their work –or, if I’m lucky, I study with them to learn new techniques. But, my vision is my own. Some of my work is good, some is lousy. I usually have a pretty good idea which is which. And some of my work speaks to people in ways I never imagined, so I don’t let anyone else dictate what is good or bad about what I do. That's not to say I don't enjoy brainstorming with other photographers. And I've certainly asked for help when I had a vision I wasn't sure how to execute. But I'm not a fan of the forums and groups where people say "here's my photo, what's your feedback."

I consider myself a student of photography. I’m still learning. I don’t want restrictions on what I do or where I go with my work. I will fail often and I learn from failing. You should too. Get a little bit of knowledge, then try new things. You will be amazed at what you can pull out of your own imagination. And don’t let anyone else shape your vision. It is unique.

But when I go to the tropics I am reminded that other people live in an astonishingly bright and colorful world. I find myself oohing and ahhing at every turn and unable to put my camera down for very long. From the moment I step off the plane into the steamy heat of Hawaii, I am transfixed by its lush and showy beauty.

I go there, like other people, to refresh my soul. That includes my 'vision'. I see the same plants every time, but I see different images I want to capture and remember.

So, I am just back from a week in paradise. This time around I was captivated by the textures. To view a collection of this recent work, see the images I have posted in this folder.

Meanwhile, here are a few samples to help you adjust your eye.  Aloha.

Bamboo curvesGraceful fronds tickle the textured trunk of old growth bamboo. PlumeriaThe gardenia-like scent of plumeria creates an indelible sense memory of the islands. Tropical foliageRich reds, warm yellows and brilliant greens accent the lush green landscapes of the tropics. WindyThe swishing sounds of coconut palm fronds are ever-present when the trade winds blow.

Daffodils of Skagit Valley in Washington state. Some years the fields are bigger than others, so the concentration of daffodil yellow against blue skies and blue mountains is stunning - especially when the sun shines on the Skagit Valley.

Every year I think "I have enough daffodil photos, I can just look this year." And then the sun comes out. Or a stormy sky creates drama I cannot resist. And off I go to document another year of yellow.

The best part of just getting out in the fields is the lucky accident shot. A couple of years ago I got some amusing photos of tourists in the tulip fields.

This year I was walking along the road, capturing images of the largest expanse of yellow fields when I looked up and spotted what I thought were some women in wonderful, matching orange dresses. "Great color combo!" I thought to myself and walked toward them. It wasn't long before I realized they were not women in dresses - they were monks in robes. This falls into the category of lucky accident. Nothing amuses me as much as the unexpected encounter in what has become a spring ritual for me. The best part? They weren't meditating. They were actively shooting photos - just like me.

I'd like to know what images they took home with them. I'm guessing they are similar to the scenes I have captures. Happy spring!

Daffodils of Skagit ValleyDaffodils carpet the Skagit Valley every spring.

Daffodil cutting fields in Skagit Valley, Washington. Migrant workers pick bunches of daffodils for sale as fresh flowers. The 2014 price is 3 bunches for $5.

Some fields (above) are set aside for fresh-cut sales. Others are grown for the bulbs and unlike the tulips, farmers let the flowers die on the stem.

Skagit Valley fields of daffodils.There are high points in the Skagit Valley where the yellow fields are easily spotted. The long row of cars behind the field belongs to the migrant workers who pick bunches for sale as fresh flowers.

The bright fields pop when viewed from vantage points on high.

Stormy skies over daffodil fields in Skagit Valley, Washington.Even stormy weather cannot dampen the dramatic color of daffodil fields in the Skagit Valley.

Rain or shine, the fields bring dramatic color to the Skagit Valley.

Monks among the daffodils.Everyone who sees the daffodil fields of the Skagit Valley is compelled to stop. Here, monks stop to take photos with their digital cameras.

The monks I spotted were enjoying taking pictures of the flower fields.

A monk taking photos is a surprising sight in the daffodil fields of Skagit Valley, Washington. This monk walked away from the others to get his own angle. Meditating or concentrating?An orange-robed monk squats down in the mud to get a closer angle for a photo of the daffodil fields in the Skagit Valley, Washington.

One of the monks I was watching stepped away from the others to get a different angle for his photos. He comfortably squatted in the mud to get a close-up. Just like I do.

Into the heart of a daffodil.A macro photo reveals the intricate and delicate interior of a blooming yellow daffodil. Baskets are left in the fields during cutting season. After migrant workers have finished picking bunches of daffodils for fresh-cut sales, baskets are left strewn in the muddy fields. The abandoned baskets make the fields look as if someone dropped everything mid-task and ran away.

One of these friends was an extraordinary woman I actually only knew through Facebook.  We had been put in touch by mutual friends who knew we had a lot in common, and we had corresponded for more than a year, but never met face to face before I showed up on her doorstep with suitcase in hand.

I spent more than a month living with Carrie Brown and therefore she deserves her own blog post.  I am so appreciative of her kindness and generosity, and was so amused by her ‘family’ I just have to share a bit.

Carrie Brown The unsinkable Carrie Brown in her famous kitchen with lap-hog Dougal.

Carrie has her own, ever-expanding, set of rabid fans. We were introduced by friends because we are both photographers who happen to love our macro lenses and often shoot the same subjects. But photography is the least of her talents. Carrie is one half of one of the most popular podcast series on iTunes. She partners with Jonathan Bailor on The Smarter Science of Slim. Just investigate.

She’s written (so far) two cookbooks, and I have no doubt she’s already working on the next two.

So here’s the thing. Carrie lives in a non-remarkable development in a fairly vanilla subdivision. But you know Carrie’s house because she’s the one with the yellow door! And that yellow door is the first clue that she is a non-conformist.

Carrie shares her space with five, six felines. Yes, that’s right. Six felines. And that meant I had to befriend them all. Not a problem – I actually like cats.

So, here’s a little bit about Carrie’s family.

DaisyFormerly queen of the roost, Daisy's authority has been supplanted by newcomer Mr. McHenry. She is not happy about it. Daisy – was queen of the roost until Carrie brought in a new kitten, Mr. McHenry. Daisy was not happy about being displaced and her blue eyes looked accusingly at you every time you cooed over the kitten. McHenryMr. McHenry didn't take long to establish the power seat in the house.

Mr. McHenry, being a kitten, naturally disrupted Daisy’s special status and incurred her wrath early on. I hear they get along now. Of course he's a lot bigger now, too. 

DougalDougal likes to be at the center of the action -especially if there's a lap available. He greets you at the door like a dog would.

Dougal. He’s the lover – greets you like a dog. Wants to be petted all the time and is a lap hog. He’s not picky though – anyone’s lap will do. 

Please visit this page for details. 

I will post another blog update about what I've been up to for the past few months soon.

Lavendar PoppyA soft lavender poppy against a brilliant green background.

Italy-5-3 It's been a while since I posted here. I promised I would get back to my trip to Tuscany, and finally I have time to fulfill my promise to you. I went to Italy for a landscape photography workshop with one of my favorite photographers, Jim Nilsen. Jim and his wife Magrit have been doing photo tours for a number of years and are fabulous guides.  

I wasn't looking for a real "how-to" workshop, as I already know how to shoot. I really wanted the kind of trip Jim & Magrit offer - camaraderie, beautiful locations, and sharing knowledge. Our trip included photographers at many different skill levels, so not only was I able to learn from Jim, but I was also able to assist other participants at times, which was fun for me.

The thing I appreciated most, though, was the opportunity to shoot places I have never been, and to have that guidance from Jim about what time of day was going to best and where to go. He had pre-scouted everything, yet was flexible enough to stop when any of us saw a moment we wanted to capture.

Enough talking. Let me just share some of my landscapes captured during this tour.

Italy-7 Italy-5 River of Poppies Italy-2-2 Italy-3-2 Italy-1-2 Italy-5-2 Italy-8-2 Italy-10 Italy-5-4 Italy-4

Last month I had the great pleasure of going to Italy to do a photo workshop with one of my favorite photographers, Jim Nilsen. Jim and his wife Magrit, who is a graphic designer, are not only lovely people, they make an exceptional creative team and wonderful tour guides.  I have long admired Jim's graphic work and was excited to get a chance to shoot with him. I've got so much to say about the experience, but for this first post I just want to share a few images from the trip. The first is from our first night as a group, when we did a "blue hour" shot of the Arno River in Pisa.

The brilliantly colored windows are from my post-workshop trip to Venice. These images are all posted in my new "Europe" folder on the site (at the request of several Facebook fans.)

More soon, I promise.

Pisa on the Arno at Night Burano window 1

Burano window and door

Burano purple

We'll Always Have Paris

I recently went to Europe for a landscape photography workshop. (More on that in another blog entry.) My husband had never been to Europe, so I dragged him along (he's good at entertaining himself while I'm obsessing over photos) and we scheduled a one-night layover in Paris. As luck would have it, one of my friends was also planning to be in Paris on the day we arrived, so we scheduled to meet up for lunch. I knew we would be jet-lagged and somewhat disoriented, but I also knew I could not spend even a few minutes in Paris without my camera. Instead of hauling all my gear, I decided to take just my camera body with a 50mm lens. After all, the great Henri Cartier -Bresson , who was known for capturing the moment, shot only with a 50mm. And it was light weight enough and unobtrusive enough that I did not feel like I was "working."

I think it's good to work under forced restrictions sometimes. Sometimes it can be hard to let the camera just become an extension of oneself without feeling self-conscious. The 50 mm is a great working lens for practicing what Bresson described: "To take a photograph is to align the head, the eye and the heart. It's a way of life."

The Man on the Metro

As we rode into Paris, a little drowsy and jet-lagged, I envied the man on the Metro's ability to snooze while the world whizzed by.

MetroMan

Paris is for Lovers

After a fabulous lunch of soufflé, Michael and I walked around Paris for a couple of hours before heading back to our hotel to rest for an early morning flight. We had lunched at a café very near the Pont des Arts - known world wide for the lover's locks that cover it. I had not seen it in my previous trips to Paris, so while Michael gazed at the Seine, I walked to the bridge to capture a few shots. My favorite of the lot encapsulates the feeling one gets in Paris - the City of Light really is a city made for lovers.

Paris is for lovers

Here are some additional images I shot while traveling in and around Paris. You will see I loved the signs, the deco designs, the window displays and more. Eiffel tower 1

Paris Deco-2 Paris Window-baby shoes window shopping in Paris window shopping in Paris hat

On the train

This is just a note for those of you who have asked to let you know I have turned on direct print ordering from this site again. It is not turned on for a handful of images from my show. If those are images you want, please email me for custom printing prices.

Direct ordering enables you to pick the image you want and order from the site. All orders come to me to review before they are approved. That enables me to double check the cropping and make any changes I think necessary.

If you have been thinking about a particular picture you might have seen on my Facebook fan page, and you don't see it on the site, just send me a note and ask me about it. Some pictures I post to Facebook may not be high enough resolution or good enough quality for printing, but many are.

Thanks for following!

Have some tulips for your trouble.

Tulip Mountain

But, now that it's spring, it seems a shame not to share a few recent images from a trip to Victoria, BC. If you have never been, it's a lovely city and a very comfortable walking city. We usually take the Tsawwassen or Anacortes ferry, but there are fantastic deals to be had through the Clipper in Seattle. You can even get there by ferry from the Washington Penninsula.

However you get there, I highly recommend taking some time to walk the city at night. It's quiet, it's beautiful and you never know what you might discover. For me, it was the cherry blossoms under clear night skies. And the Parliament building is always beautiful.

Enjoy.

Victoria-5 Victoria-1-2 Victoria-1 Victoria-2 Victoria-4 Victoria-3

I know a lot of creative people. Most creative people I know are introverts. Contrary to what many people believe, being an introvert doesn't equate to being a hermit. Being an introvert, as this cartoon so clearly illustrates, has more to do with whether one gives out or receives energy from interaction with other people. So, when a creative introvert puts their passion on display, by publishing a book, or having a show of their work, or acting in a play, it's an act of great courage. The introvert knows that this sort of self-expression invites an inevitable come-down afterward. 

Author Susan Cain has recently brought attention to the strength of introverts, and her popular TED talk is leading to greater understanding of the value of introverts in a workplace.

Nevertheless, it can be challenging for creative people to get out and mingle. I was reminded of this after my post-show exhaustion last night. It takes a lot of energy to support creative friends. Just showing up makes a big difference. By their very nature, creative friends are often the introverts who balk at the thought of being in a crowd. That's why I am so very grateful to the people who do show up. I get it. I really do.

Just keep this in mind the next time a friend seeks your support in any artistic endeavor. We introverts - it's important we stick together.

And for you extroverts out there - we love you. Now, give us some space.

Meanwhile - the fog does present some interesting opportunities for seeing differently.

Foggy Day-2349-2

Here are a few more images from our foggy January. Looking forward to more clarity in February and beyond...

Sunset Fog-2107 Foggy Day-2259 Foggy Day-2208

I think being authentic is at the heart of success. In this video, photojournalist Richard Koci Hernandez makes the point that the equipment used to create images is only a tiny portion of the photograph. I agree with him. Photography is about seeing, not about what equipment you use. And being authentic to your vision is what produces interesting work.

I recently had a big "success" in terms of material rewards for the imagery I've been shooting. And what was my immediate reaction? The work wasn't good enough. Yes, that's right - self-doubt!  That's what happens when you start to let the world judge what you do, or you start to measure your success by external acceptance.

I've had a few days to ponder that reaction of mine. When I finally caught my breath and stepped back from it, I realized that whatever happens, I am passionate about photography - in all its various manifestations. And I am grateful that I have received support that will enable me to continue to pursue my passion. I may have better tools for that now, but even if I didn't I would still be driven to create images. That's what being authentic means to me.

Here's to dreams.

dreams

golden wheat pastel wheat fern patterns wheat and poplar hosta

So, I have not been inclined to sit at the computer - to edit images I've shot, to upload new images to this site, or to write a blog post. That has to wait until the drizzle returns.

In the meantime, I do have some photos on exhibit (and for sale) at Rexville Grocery this month. I also have a selection of notecards for sale there. I've just ordered a new and different batch of notecards, so I'll post something about those later in the summer. In the meantime, here's a sampling of the things I've been looking at this month.

begonia yellow-2

Millions of people have visited the Skagit Valley tulip fields over the years, but after the tulips have been topped and the tourist crowds have diminished, the valley is transformed. When the sun comes out - as it did the past two weeks - farmers work from dawn till well past dusk, prepping and planting the fields to take advantage of our very short growing season.

I am always impressed at the precision and artistry with which the farmers tackle this job. Their fields are organized, level, beautiful. The valley looks like it's been groomed for a special occasion, all spit and polished to the hilt. When the sun is low in the sky, their artistry is most evident. No wonder this place attracts so many painters. Who ever made dirt look so good?

A few scenes shot between 6:30 and 7:30 p.m. last week:

Skagit Valley Afternoon-1

A couple on a tandem bicycle happened to ride past just as I was shooting some pictures of the Bitters barn and fields. Talk about serendipity - his shirt even matched the flowers.

Skagit Valley Afternoon-5 Skagit Valley Afternoon-3 Skagit Valley Afternoon-7 Skagit Valley Afternoon-8 Skagit Valley Afternoon-10

Rows of allium and freshly tilled fields. Rows of old poplars and clear skies. With the long shadows of the setting sun, the patterns left by the tractors make the Skagit Valley farmland look absolutely enchanted.

Skagit Valley Afternoon-11

In the practice of yoga it is evident very quickly that when you are not focused, not centered, not balanced, you will fall over. It's a pretty simple concept with broad impact.

I have always taken photos, but it's only been in the past few years that I committed myself to staying true to my own vision and channeling my energy to one art form. I had been pursuing drawing, but made the decision to set that aside to see how far I could go with photography once I overcame my fear of switching from film to digital. I have, quite literally, done one drawing since I made that commitment. Instead of spreading my energy thin, I have gone deeper and farther into my photography than I ever imagined. I gave myself permission to buy a camera, to learn new things, and to experiment. It was hard to justify the expense and the time, but once I made the commitment, I jumped in with both feet. And it has been pure bliss. The last time I felt this kind of joy was the time I spent in film school.

I didn't set out with the intention of having shows or selling my images. I set out to capture the things I see. I started sharing them with people and one thing led to another. Which leads me to my thoughts about staying centered.

It's Just Digital

I recently had a conversation with a friend who was questioning why I chose to print my photos and frame them with museum quality glass for my show. I explained that once I knew I was going to have a show, I realized I had some pretty strong opinions about how I wanted my images presented. And, because I put time and work into getting the prints just right - I didn't want to just frame them in cheap frames and glass that might allow them to fade. After all, why print on archival paper if you're not going to protect them?

The conversation went on like that, and she mentioned that she had heard people saying they didn't think the photos were of value because they were "just digital."  That is a very interesting concept to me, especially when I think how challenging it was for me to translate all of my photography knowledge to digital--the classes I took, the tutorials I watched. Hmm. "Just digital."  I guess there's a perception that because it's digital anyone can do it. In a sense, that's absolutely true.

Digital imaging has revolutionized story telling and made photography accessible to everyone. I think that's a wonderful thing. If I had to pay to develop film, I would be less inclined to experiment and try new things with my camera. Digital comes with its own limitations and issues, of course, but I have a hard time seeing how it diminishes someone's vision.

When I was in film school, we still worked with 16 mm film cameras. Because processing and developing film was so expensive, it was necessary to plan every scene very carefully. It also restricted what people would try. Now that digital video has become so good, my film school friends are creating movies that might have lived only in their heads due to budget restrictions and we are all the richer for their ability to share their work. I feel that way about digital photography too. That's why I participated in the aDay.org event. I love seeing what other people see.

Staying The Course

So, back to my original point. I'm sticking to my plan. I'm following my vision. And hearing feedback that some people don't find it worthy is just fine. Another thing yoga brings to the table is the practice of detachment. It's okay with me if you don't love what I do. It's okay with me if you don't value what I do. To me, the point is doing. Anything that comes after that is gravy.

Just as I was composing this post, a friend posted this wonderful video. He sums up what I've been trying to say in a much more humorous and gracious way. Do take the time to watch.

That means it's time for flowers. Also, just in time for Mother's Day. This year I bought a couple of baskets from my friend Rhonda. It's part of an annual fundraiser for Anacortes High School. I tihnk this is a particuarly wonderful way to raise money - and particularly appropriate for our lovely valley. So, I went to the "unveiling" - the delivery of all the baskets that are sold. Volunteers (aka Moms & Dads) organize and tag all of the baskets, then send them off for delivery by additional volunteers. What a cheerful and cheery way to raise money.

Rhonda's Flowers

That's Rhonda above, organizing an order. You know me, though. I like the big picture, but I find joy in the details.

When the invitation to join an old friend on Kauai for a week appeared, I hesitated. I haven't taken a "vacation" in years. I have taken time off, but mostly stayed home. And it's been 20+ years since I visited Kauai. Still, the lure of warm weather proved irresistble and I opted to join her. Around here people have just been waiting for the tulips to bloom and the crowds of tourists to arrive, so a week away seemed like a good plan.

My first shock upon arrival was how brilliant all the vegetation was. It's been so long since I have been in a tropical climate that everything - and I mean everything - from grass to palms to hibiscus - looked brilliant to my eyes.  I kept ooohing and aaaahhing over and over and over.  And, even familiar plants, like philodendron, were transformed - so large in the tropics they appeared to be on steroids!

In fact, when we did a short (but strenuous) hike on the Na Pali coast trail, Elaine swears I stopped to take a photo of every single flower. I beg to differ. I left several alone. (That's me, looking closely at the scenery - and the blue flower is what I was looking at through my lens.)

This was a vacation, but my friend Elaine has a business that takes her to Hawaii. In fact, she has a couple of Hawaiian themed businesses. So, it was convenient for us to visit her customers when we were in the neighborhood (and that was often!) However, one of her customers in Kauai was just a wee bit off the beaten path. I'm talking about the National Tropical Botanical Garden gift shop. Are you getting an idea where I'm going with this? Of COURSE I wanted to go visit this customer with her. And, lucky us! We were invited to join a tour of the Allerton Garden. I, of course, was thrilled - and, conveniently, had my camera in tow.

Elaine was a good sport about it. I think she even enjoyed it.

Kauai is an interesting mix of laid back locals, earnest granola types, artists and farmers. We heard that Monsanto is growing a lot of GMO crops on the island, and people were pretty unhappy about that. But at the National Tropical Botanical Garden, there is a completely different focus. They are working hard to save plants that were brought over on the original canoes and so-called native plants (although no one is entirely sure how things evolved here.) They have even begun exploring how to share breadfruit with the world, to help feed the hungry. Their Breadfruit Institute recently received a grant from the Gates Foundation, so look for more information to emerge about the great work they are doing.

We didn't tour the institute, or the McBryde Garden (although our tram did go through it), we focused on the Allerton Garden. So many plants, so little time!

Everywhere I looked there was something new and different. I was particularly fascinated by the varieties of bamboo and their textures. In the Allerton Garden there is a large stand of golden bamboo that makes wonderfully loud clacking noises in the breeze. Apparently Allerton was hard of hearing, so he really liked this sound. I hear just fine and I liked it too! (Left to right: golden bamboo stand, new shoot, close up - each shoot has its own, unique, green markings.)

Hibiscus are brilliant and seemingly ubiquitous throughout Hawaii, but the National Botanical Tropical Garden on Kauai is working to save native species that includes a hibiscus without petals  (The green plant in my photo below, right). There are only eight of these left in the world. How lucky I was to be there when they were blooming!

I had such a great time wandering through all the plants and taking pictures that I was a little startled when I came face to face with a few locals.

In typical, laid-back Hawaiian fashion, they didn't seem to mind my presence at all....

Signs that tulip mania has hit included long lines out the doors of local restaurants and this entry from our weekly newspaper police blotter:

4/18, 6:25 p.m.:  Tulip thieving -- Somebody stole two clay pots containing tulips from a business on South First Street in La Conner.

Shocked?  Tulip thieves no longer shock me. I once witnessed a woman get out of her car and cut down tulips right in front of Rexville Grocery! When confronted by Stuart Welch, the business owner, she looked dumbfounded and said "Oh, I didn't think they belonged to anyone."

Tulips make people crazy, apparently, and they have been doing so for centuries.

Here are a few shots I grabbed from Tulip Town the other day.  I'll let you draw your own conclusions, but personally, I'd change that sign to read:

Caution: Tulips apparently impact one's ability to read and make people do very silly things...

There were other critters about, like my friend Chris's cat Sancho, who thought it made perfect sense to rub against my leg while I was crouched down trying to get a close-up of some primroses. spring-2  I indulged him and stopped shooting to pet him until his attention was diverted by the barking of a neighbor's dog.

I stopped by a house some friends are fixing up and found this lovely camelia blooming in the yard. spring-4  And then I made my way home, where I spent the afternoon trying to capture the mood. Although the sun was out, there were some soft clouds and a gentle breeze. 

I just got the hummingbird feeders out this week and they were already clucking at me whenever I entered their feeding space. There was a quiet hum throughout the neighborhood - the distant sound of lawn mowers, the quiet conversation of walkers passing by. Cyclists spinning past the other side of the fence. Everyone was active, happy, taking advantage of this fleeting break from the rain.

As it cooled off I came inside to do a quick edit pass. 

My husband took at look at the last photo on this page and exclaimed, "Wow, I really like that background! Where did you get that?"

I laughed so hard I almost choked.

He meant, of course, the blue sky. That's how long it's been. No foolin'.

spring-5 spring-1 blue percallis

Blossom 19 I admit it, I am endlessly fascinated by plum and cherry blossoms. Since the cherry blossoms aren't quite blooming yet, here's a bouquet from this week's selection of plum blossom images.  ( have added all of these to the Cherry and Plum Blossoms folder.)

Blossom 16 Conveniently, there is a plum tree across the street from my house. I watch it morning, noon and night and sneak in some shots whenever it looks interesting. These are all images shot at different times of the day.

Blossom 12

Although it may look later, this first shot is an early morning shot.  Someone once said to me, "I've never seen anyone shoot the backside of a flower. That's different."  Is it?  I just thought it was an interesting angle. I guess most people think you have to shoot a flower straight on to capture its essence.

The next image is a sunset shot. I loved how the late light was warming those red stems. I'm okay sacrificing a little sharpness for this because of the colors.

The third image is also early morning, but shooting from in front, not behind, obviously.

Blossom 17 Finally, the last image was shot in full, bright, middle-of the day light. What a difference that makes! So clear and bright, with its upright position, reaching for those rays. I know just how it feels - at last, sun!

As we chatted by the side of the road about the follies of tourists coming to our area this time of year she told me a story about a couple she saw one year. Apparently they were hell bent on getting photos of the woman, who was, by the way, wearing a tutu, running through the iris fields. They were so intent, or so ill informed, they did not even notice the sprayer who was just finishing up his application of pesticides on the fields. Yes, tutu woman ran out into the freshly - sprayed fields. Farm Girl yelled at her to get out of the field. She pointed to the pesticide applicant - who was wearing full body protection from the pesticides. Tutu woman took a minute to get the implications, but she did, finally, leave the field of blooms. Fields of flowers seem to make people stupid.

Which leads me to this morning. When I left the house the sky was blue and crisp. I just wanted a few good shots, and I wanted to see if the swans I spotted yesterday were in the same spot this morning. swans and daffs (They were.)

I should have just gone back when I noticed the clouds rolling in. Instead, I drove over to where I had spotted the swans. I don't have a long lens, so I really can't get a good shot, but I thought I'd look through the lens anyway. As I pulled over I spotted a curious little fellow looking at me.

wounded bird He was right next to my car and wasn't moving very much. Just watching me. A little unusual, but I thought it a nice opportunity to get a picture.

When I got out of the car and started to walk across the street to the daffodil field, I realized what was going on. I was at the scene of a family disaster. There were two large birds dead in the middle of the road.  One was unrecognizable, but the other could have been peacefully sleeping.

deadbird There was another, smaller bird, dead on the side of the road.

Then, the little guy who had been eyeing me started to walk. It was then I saw that his wing was wounded and he could not fly. I tried to catch him, but he was too fast. Sadly, I had to let him be.

I realize this is just Nature and I should let things take their course, but I have a hard time understanding how three birds could have been hit by a car or truck on this deserted farm road. Someone was driving really fast - or they were distracted by the daffodil fields. Fields of flowers make people stupid.

After that, I decided I would rather work in my garden today than take any more pictures.

striped crocus I try to shoot images without expectation because I know that every time I shoot something I am still learning. It took years to become comfortable with that notion. I fail a lot. In fact, I'm surprised every single time someone tells me they like a photo I took. Really. Surprised. I like posting new photos on my Facebook page, even when I think they're a failure, because I want to see how other people see them.

Lately I haven't had much opportunity to take photos. We've had so much rain that I find myself sneaking in five minutes here and there when there's a break in the clouds. I'm not particularly happy with anything I've gotten lately, but I try to just keep doing it because it makes me feel like I'm making some progress, even when the results are less than stellar.

A friend pointed me to this TED talk today, just as I was looking through the images I shot yesterday and debating whether or not to bother posting any. The timing could not have been better.

I had already seen her talk on vulnerability, which is a must-see for anyone who is trying to express their own creativity, but I rewatched it to remind myself of her message:

In the interest of allowing myself to be vulnerable, here are some images I shot yesterday. I think the clematis on the left is boring. The crocus in the middle is okay to me, but I see what I could have done better. The tiny daffodils on the right are just not good. I just couldn't find a way to capture their "springiness."  Where do you allow yourself to be vulnerable?

clematis White Crocus 1 tinydaf

daffodil (1 of 1)-4 One of the great joys is discovering something entirely new in the things you see every day. We live in a valley that is carpeted with fields of daffodils, tulips and irises each spring. It's easy to stop seeing them the way you saw them the first time. That's one reason I started looking more closely.  Another reason is that no matter how often you look at a subject or view it, I think you always have the opportunity to bring a different sensibility to the image you produce. For example, the photo on the left is how I saw daffodils last year around this time. 

I remember being completely startled by the bug inside the daffodil when I downloaded my images and opened them up. Honestly, I had not noticed it when I was shooting the photo. I was concentrating on where I wanted to focus. It seems ridiculous now, but that happens a lot when I shoot flowers. I am thinking about composition or trying to focus and I completely miss something that now seems quite obvious.

We just got our first batch of field daffs this year - the ones picked directly from the fields and sold in bunches of 3 for $5 at local markets. It's a big day when they become available - a sign that spring is truly on its way. The weather has been just miserable, and having these fragrant, golden jewels fills the house with light.

I have been feeling more abstract about daffodils this year, though, so when a sunbeam illuminated the bunch I could only see shapes and color. (Below left).

daffodil (1 of 1)-3 daffodil (2 of 2) I've been feeling the heaviness of our weather, too, with all this rain. So I even plunged one underwater to see if the brilliance would survive. (Is this a metaphor for wondering if we can survive until the sun shines again? I don't know - I just feel like we're wet all the time right now.)daffodil (1 of 1)-2

And look what happened to it (right and below). The water, at least to me, seems magnify its very daffodil essence. daffodil (1 of 1)-5

I'm no Van Gogh, but suddenly I understand his obsession with sunflowers.  Why wouldn't you return to the same subject over and over and over again when it can look so very different depending on the light, your mood and the vision in your head? Photographer Cindy Sherman has made a career of shooting images of the same subject - herself.  Many other artists have returned to the same subjects again and again. In some sense, knowing the subject you plan to shoot anchors your creativity - it forces one to think outside the box and look for a new angle, a new composition, a new vision.

What do you do to challenge your creativity?

Me, I shoot flowers.

But that's beside the point. I have never been good at growing orchids. In fact, I'm ashamed to admit I killed the last orchid from a friend's beloved grandfather's collection within a few months of his death. I love looking at orchids, though, so this past weekend I visited the Mt. Baker Orchid Society's show and sale at a local nursery. Lucky for me, the folks tending the plants not only didn't mind me sticking my big lens into the blossoms, they were helpful and friendly and more than willing to answer questions and tell me about the plants. I even came home with a purchase (yikes!). I'll definitely keep track of the Northwest Orchid Society in case I get into plant trouble.

There were so many varieties on display it was absolute sensory overload! If you ever get the chance to visit an orchid show, I highly recommend it. Orchid-10

I look at these flowers and so often I see something other than a flower. What do you see?

Orchid-7 Orchid (1 of 2) Orchid-8 Orchid-4

California poppy-8 Many of you know I do yoga at least a couple of times a week, sometimes more. I did yoga for 20+ odd years before it became trendy.  My high school basketball coach actually introduced me to it. I wish I had kept it up even when the aerobics instructors jumped on the bandwagon (I couldn't stand that - couldn't find a teacher I liked) because it was after I quit practicing yoga regularly that I ruptured two discs in my back.  As an active person who has always loved sports, that was a bit more than a setback. It was a wake-up call. If I don't keep my core strong, I could do it again. And I definitely don't want to do that again.

So, when a yoga studio conveniently opened up across the street from my house, I signed up. That was more than a year ago and I have been going fairly regularly a couple of times a week. Besides the general health benefits, I realized yoga has significantly improved my strength and balance.

What does this have to do with photography? Well, I don't like to use a tripod if I don't have to. That's a pretty weird thing for someone who loves to shoot macro images, because holding extremely still is much harder than using a tripod. But, thanks to yoga I can squat in deep knee bends for long periods of time, maintain my balance, and control my breath to be still when necessary. That's why I am able to get shots like these, even when there's a breeze, without using a tripod. (If you have ever shot macro photography you know what I mean - the slightest breeze will send you reeling.)

euphorbia-4 White poppy-1

 Why am I talking about this?  I was thinking about yoga today after I watched this ridiculous video. No, I don't breakdance when I do yoga. But I do get stronger.

These tools and Facebook are ripe with opportunity. And yet, I can't help but feel they are also distractions. I love intereacting with other photographers and seeing their work. But I don't want to do that at the expense of shooting pictures! Just like the PhotoShop tutorials I have on my computer - they are tools that I want to utilize periodically.

So, yesterday when my snowdrops were finally open, I was relieved to be away from the computer and behind the lens. My wish for everyone is to have quiet moments when something as simple as a blooming snowdrop can take you away from all distractions.

Snowdrop2

491A1318 For example, the old milk barn in this photo is something I spotted from the road as my husband and I were driving home from a trip to Oregon. It appealed to me. Abandoned and filled with rusty milking stations, it stood solid against the weather, just waiting for its purpose to be restored. There was something sad about its abandonment and that's what I felt when I shot this image. I have other images of it, but there was something about this one that I liked, so I shared it on Facebook with my friends. I was surprised at how many other people also liked it.

On the other hand, I waited a year to get these photos:

 I had seen the sun hit this barn at just the right angle and noted the date and time, but I was unable to take the shot the first time I saw it. I figured I might never get it, the circumstances were so unusual. Fortunately, my husband was with me on the day I saw this for the first time and he saw it too. A year later, around the same date, he surprised me one day by yelling - hurry, looks like we have about five minutes of sun! He had been watching out the window and could tell the sun was about to work its magic. We raced over to the location and I literally had about five minutes. Fortunately, that's all it took.

I wish I could say I planned every shot that carefully, but that's just not the case when it comes to barns. I don't post all the images I shoot by any means. Often they are just for my own pleasure. All of these are barns I shot on my way to or from somewhere else. They each appeal to me for different reasons. Some are graphically striking, others invite you to reflect on the past. I can't say exactly what touches me about them, which is why I just take pictures of them I suppose.

Barn-1 Barn-2 Barn-5

They are just moments I stopped to enjoy rather than race on past them to my destination. A reminder, for me, to allow myself to stop along the way. Isn't that how we should live every day? Taking time to see what's around us and time to stop to look a little more closely? I can't say that I do that consistently, but on the days that I do it usually pays off.

Barn-6 Barn-7 Barn-4

One day I was working at home (doing my day job) and I stood up from the computer to stretch my legs. I noticed a sunbeam shining brightly into our guest bedroom and I picked up my camera and followed it. For a very short time, maybe five minutes, it was like a spotlight on my collection of old things. I shot quickly, put the camera down and went back to work. Dust, dirt and all, I smile when I look at these things.

VintageTypewriter-5 OldCamera-8 OldCamera-2

As I surveyed the yard in search of spring growth to capture, I landed on the bamboo. Something about the leaves against the blue sky. Well, judge for yourself.

Sometimes when your canvas is your front yard it's hard to avoid interacting with people. And, in a small town like ours, where the street I live on is a local cut-through route, it's pretty much a given that someone you know - or someone you don't - will engage you. So as I found myself with knees and elbows firmly planted in compost and my lens tight on the tiny crocuses pushing toward the sun I wasn't entirely surprised to hear a voice beside me.

"What are those?"

I kept shooting, but tried to be polite, replying "Crocuses - the first flowers of spring!"

I could see the shoes in my peripheral vision. He stood and watched as I struggled to hold my lens still in the soft breeze.

After a while he said, "I guess you can get some good pictures with that."

"I hope so!" I enthused, as I wiggled to get a little better alignment.

Still the shoes in my peripheral vision.

Finally I took a break and looked up. Smiling, I said, "It's a lovely day, isn't it?"

He waivered, obviously well-lubricated, then offered me a smile and an extra large pair of used gardening gloves.

"I can see you're a gardener. You could probably get more use out of these than I will."

"Thanks," I said, as I took the offering.

This got me thinking about how one form of art can inform another. It made me think of the relationship between Georgia O'Keefe and Alfred Steiglitz. If you don't know their story, it's worth reading about them. Steiglitz did a lot to 'legitimize' photography as a form of art.

One thing that struck me about both Gaugin's paintings and Georgia O'Keefe's paintings when I saw them in person was how small they actually are. I had seen their work in the form of posters and prints for so long that I expected them to be larger than life. In fact, many of them were surprisingly small and delicate. I was surprised by how little paint was on Gaugin's canvases - so light, in some cases, that you could see the canvas through the paint.

A lot of friends have told me my images remind them of Georgia O'keefe's paintings, no doubt just because of my subject matter. I have not made a conscious decision to mimic her vision. I am, like most folks, just expressing what I see. The fact they say it reminds them of Georga O'Keefe probably says more about the broad exposure to her work than anything about what I do. star magnolia

But that brings up a point. I think it's important to look at the work of other artists - painters, sculptors, potters, photographers - whatever inspires you. I have had many photographic and artist heroes throughout the years. When I was in college I had an opportunity to study with Ansel Adams, but couldn't afford the cost of the summer course. Do I regret that choice? Absolutely! Is my love of photography diminished for not having taken that road? Not a chance. I have forgiven myself for not pursuing that opportunity in my youth. I know now that even if I had taken that course chances are I would have made the same choices along the way. Back then I was obsessed with being a writer. (I never did write the great American novel, but I did edit a few magazines and get paid to write.)

Another photographer whose work I always admired was Edward Weston and of course his son Brett. Actually, the entire Weston clan seems to have embraced photography and expanded it in so many ways. From vegetables to scenics, to nudes, they have excelled at black and white visions of the world.

I wouldn't begin to pretend my images come close to any of the work created by these amazing people. But, I have looked at their work and admired it and if I walked away with some mental impression of what makes an image work, I have learned something from them. I think that's the most important thing - that one keep looking and learning and testing and trying. Mastering the technology is only one piece of the puzzle. It's just the medium.

What do you think? Who influences your work?

My parents brought up four artists. Not intentionally, of course, but now that my parents are gone and we are all adults with careers and our own history, it is art that keeps us close as siblings. There's my sister, who got her masters in sculpture and went on to become an architect. My oldest brother spent his first career as an accountant but now devotes his days to sculpture. My other brother is a highly respected attorney who is steadily and consistently practicing his portrait skills. As for me, I started out as a writer with a degree in English Literature, had a fling with cinematography after I got my degree in Motion Picture Technology, dabbled  in drawing, but returned to my first love - photography - a few years ago when I was finally introduced to digital. 

I had shot film for years, had assisted professional photographers, edited images and generally been in and around photography most of my life. I even had brief paying gigs as a school portrait photographer and a studio portrait photographer. For a long time I didn't own my own camera because I couldn't afford it. Then digital came along and I was intrigued but intimidated. Even though my day job for the past decade has been with a large technology company, I was timid about adopting new technology in an artform I knew so well. Fortunately for me I had a young, talented and generous neighbor who handed me her 35 mm DSLR and pushed me into shooting with it. She lent me that camera for a year and encouraged me to get comfortable with digital. That was step 1.

I was still dabbling in drawing and my progress was pretty slow (see images posted here), when I made a conscious decision to concentrate my creative energy on photography instead of trying to do both drawing and photography. So I took the next step - buying my own camera. I agonized over the decision because it seemed like a frivolous purchase. My creative itch had been scratched with the life drawing groups, but the urge to take pictures wouldn't be suppressed, so I bought a camera.

I started posting a few pictures here and there on Facebook and an old friend who knew me when I was in film school sent me a little note. iris leaf magnolia-3 "Hey, I noticed you like taking pictures of your garden. You should consider trying a macro lens." Hmmm. That was Step 3. I rented a lens and borrowed a lens that someone at work wanted to sell. I took the two lenses to the studio of my friend and we played with them for a full day. I bought the lens from the local guy and could not get enough of it. The next year I took a weekend course through RSMP - to see what I was missing in my quest to transfer skills to the digital realm. That's when things started to get interesting.

I discovered I already knew so much - I just didn't know how it worked in digital. And there was so much to learn. I set aside drawing and decided to concentrate my creativity on photography and see where it led me. That's how I got here. Tulip 05

At the prompting of my brother, my siblings and I all recently read The Accidental Masterpiece .  The author, Michael Kimmelman, makes the point that there's art everywhere - we just have to take the time to see it. This got me thinking about where I find art. I have always found it in moments captured on film.

orange gerbera 2 orange gerbera - 1

It's been a lifelong challenge to capture what I see, since our minds translate the vision but a camera just records what you ask it to record. I may return to drawing some day (I certainly need more practice!) And I may try water color painting some day, but I know one thing for certain. I will always take pictures.

I love it when people send me pictures of my pictures in their homes. Here are pictures of two recent sales:

The diptych on the left is a gerbera daisy. I guess, technically, it's not a diptych since the two images are not hinged together, but they are meant to be together.

This image on the right is a colorful calla lily.  I loved the sensuous curves of the flower.

I am grateful that people want to look at my photos enough to put them on their walls. I don't have any on my own walls, and I guess that's because I'm so accustomed to looking at them on the computer, I don't think about it.

Since the plants in my garden are dormant in winter, but I still feel the urge to go out and shoot, I find myself gravitating to the winter visitors in our area. I used to live in Florida, where "snow bird" meant something entirely different. Up here, we really do have snow birds - thousands of snow geese and trumpeter swans that overwinter here until they're fat enough for the long flight home.

 Their migration is supported by the local farmers, who plant fields of rye grass for them to feed on. We always know when the snow geese start arriving because the eagles that prey on them preceed them.

This year, you may have heard, we also have had an exceptional number of snowy owls.  This is an irruption year, so instead of the two or three we normally have, there are dozens. By the last count I heard they had invaded some 31 of our 50 states.  Unfortunately, given the popularity of a certain snowy owl named Hedwig, more visitors than ever have sought out these extraordinary birds this year, and I've heard many birds have died from the stress of being stalked by insensitive visitors.

I don't consider myself a bird photograher and I don't really have great lenses for shooting birds in flight (not long and not fast), but I couldn't resist the lure of the snowy owl. How convenient that there are more than two dozen right across the border - in Boundary Bay. 

So my obsession with birds started with a little diversion I had with friends from my yoga class. We visited the home of one of our classmates and she took us on a walk in the woods - where she surprised us by handing out blanched almonds for us to hand-feed the birds on the trail.  What a special treat that was! She paints birds, so she is great at identifying them and had nicknames for many of them.

While none of the images of birds I captured this winter will make my "hall of fame" for favorite images, there are a few that remind me what a special place I live. 

I admire those patient and talented photographers who take the great photos of wildlife. In fact, it was a tip from Seattle photographer Art Wolfe's blog that directed me to where to find the owls. I think you'll agree, his work is spectacular. Maybe, someday, years from now, I will be able to work the same magic he does and my photography will take flight. For now, I'm content to admire the beauty in my own backyard.

Putting together a show is so much more work than I ever imagined. There are so many decisions to be made along the way - from editing the photos, selecting a theme, culling the collection to reflect the theme, choosing matting and framing, deciding how to group things, pricing, etc. In going through this process I discovered some things I didn't know about myself.

• I am much more opinionated about how I want to display my images than I realized
• I care very much about how my images are grouped
• I prefer high quality museum glass and professional framing to bulk frames and plain glass
• Pricing is challenging, even with an Excel spreadsheet
• My images are like children to me - I want them to go to a good home when they leave

Since we're about to hit our big tourist season in town, which is due to the spectacular fields of tulips and Tulip Festival, I chose a theme of spring and hung images of flowers. It's still gray and rainy around here and when I went back to the Brewery last night to see how the images look when the place is full, many of my friends commented on how cheerful they make the place feel. Knowing my work brings smiles to people's faces is as good as any sale.

As I sat at the bar drinking a glass of wine and taking in the busyness of the place, I couldn't resist snapping a photo with my phone:

La Conner Brewery