Some call me obsessive, others call me compulsive and I admit to both.  Over the last decade I visited Yellowstone National Park at least a dozen times.  Each time, while driving through the park, I passed a forest of ghostly trees whose trunks were bleached and faded from acidic hot spring runoff and intense alpine sun.  Each time I thought, “Hey, that’s a really cool location and one day you should stop and see about making an image of the place.”  I’ve had this image in the back of my head since my first visit almost ten years ago.  It has gnawed at my brain for damn near a decade.  Finally, a couple weeks ago, I decided to do something about it.

Early June, 2010 I decided to pack up my truck and head north for a two week road trip in the greater Yellowstone area.  This was my opportunity to make the image I’d been visualizing all those years.  It would require an overcast day, ideally some mist or fog, and a little luck in finding a successful composition.  Why luck?  This forest is literally right off the road.  The shoulder is about a foot wide, then it drops a couple feet into a meadow that is filled with runoff from hot springs where the rangers and common sense tell us we shouldn’t walk.  If you’ve ever been to Yellowstone you know that any person with a camera on a tripod attracts the attention of motorists, many of whom are driving rented RV’s that they aren’t used to driving.  When your ass is hanging over the fog line and you’re peering through the viewfinder with cars and RV’s speeding by you’ve got to be a little bit lucky to find a composition and avoid becoming roadkill.

When I arrived at the location I parked my truck in the only pullout I could find nearby which ended up being about 1/4 mile away from the ghost forest.  A short walk later and at last, there I was, standing before these beautiful but wretched trees with camera in hand.  The sky was uniformly grey but there was no mist or fog lingering amongst the trees.  Win some, lose some.  I scoped out the area and tried several compositions.  There was a small creek doing a gentle “S” curve through the trees.  Nice, but not it.  Then I found a section where the trunks were more spread out and the water was deep enough to catch some reflections.  Cool but still not what I had in mind.  I zoomed in, I went wide angle.  I just wasn’t feelin’ it and I was starting to get frustrated.  I had to keep telling myself that the image was here and that I just hadn’t yet found it.

After 30 minutes or so I started walking back to my truck with my head hung low.  I had failed.  The image wasn’t there after all.  Surely if I were a better photographer I would have realized my vision!  As I passed the end of the ghost forest I looked back over my shoulder for one last farewell glance.  What did I see?  The image!  Given a bit of distance the trees seemed to huddle closer together, presenting an almost abstract form.  There were the strong vertical lines, the somber color palette and seemingly infinite assortment of stark tree trunks.  I knew a longer focal length would compress the scene and make the trunks really appear to be stacked one on top of the other.  I quickly set up my tripod and went to work composing an image.  It didn’t take long and I had almost exactly what I’d been after all this time.  I made the image with the intent of cropping out most of the foreground to create a panorama, which would also contribute to the semi-chaotic and abstract nature of the trunks.

What’s the lesson here?  First, keep good mental notes.  If you see something that has potential but you don’t have the ability to work it right away, remember it.  Better yet, keep a “wish list” in a notebook, on your laptop or in your iPhone.  Second, don’t give up if at first you don’t find what you’re looking for.  Keep at it.  Dedicate yourself to working the location.  Lastly, when you do give up, don’t forget to look over your shoulder as you walk away.  You just never know when the photo you envisioned is going to decide to reveal itself to you.

Got a story to share about an elusive image?  Leave a comment and feel free to link to the image.  Maybe all our stories of the one that almost got away will inspire someone to go out and make some art!

Tonight I feel a bit like a mad scientist.  For some unknown reason I got an itch to try something totally new in Lightroom and Photoshop.  I made this image of bison grazing in the meadow at Mormon Row in the Tetons while there a couple weeks ago.  Straight out of the camera the image wasn’t terribly exciting but I felt it had potential.  Those of you who are familiar with my work know that my images are generally pretty straightforward.  I don’t apply creative effects and I process the images to look more or less like the scene did when I photographed it.  A little tweak of contrast here, add some saturation there, darken a sky now and again and do a little dodge and burning – voila, the final image appears.  I have nothing at all against images that have been heavily manipulated.  Photography is an art and we should feel free to create our art on our own terms.

Now, I have obviously taken some serious creative liberties with this image.  For starters, my camera doesn’t make square photos.  I used a fairly heavy digital grad filter to darken the sky with a heavy dose of clarity to give more separation in the clouds, added some global negative vibrance to mute the colors, made a curves adjustment to increase contrast, dodged the bison to make them stand out a bit more from the meadow, added a vignette and some “grain” – all in Lightroom 3.  I exported the image to Photoshop CS4 and experimented with different blurs using the gradient tool to keep the bison sharp-ish while blurring out the background.  I didn’t like the results of any of those efforts.  What to do?  Hmmm…

I decided to see what Nik Color Efex Pro 3.0 could do for the image.  I used their “Classic Soft Focus” filter first, painting on the effects only where I wanted them.  I was getting closer but something was still missing.  I tried a few other filters that didn’t work out before discovering the “Glamour Glow” filter.  A very subtle application gave me the results I was looking for, again brushed on sparingly.  I used Nik Viveza 2 to add some additional global contrast and whiten the whites.  The final step was to use Nik Sharpener Pro to sharpen only the bison.  What you see here is the final result of all that wackiness.  Total processing time: about 35 minutes.

I think one of the greatest attributes of digital photography is that it has opened up a whole new world of creativity, both in the field and in post-production.  When it doesn’t cost a penny to click the shutter most photographers are more willing to try new things, experiment with composition and stretch the boundaries of what they’re comfortable with.  Things get even more exciting in the digital darkroom with panoramic image stitching, HDR, blended exposures, an endless variety of filters and plug-ins, not to mention what is possible with nothing more than Lightroom and Photoshop.  And, if you don’t like the results of your weird science, it’s real easy to go back to square one and start all over!

What do you think?  Some have said this image is “too flat”.  Some simply don’t get it.  That’s cool.  Certainly, this is not the kind of processing that is going to appeal to everyone.  I’m just really curious to hear your comments as I really stepped out of my comfort zone with this one.  Be as harsh and critical as you dare.  I’m a big boy and I can take it.  What have you done to experiment and broaden your creative vision?  Let’s hear some ideas!

I’ve been using the Nik Software Complete Collection set of Lightroom and Photoshop plug-ins now for about 8 months.  You may have read my short review of Nik Silver Efex Pro, their black and white conversion plug-in that makes it easy to create stunning monochrome images.  I’m thrilled to announce that I’ve negotiated a deal with Nik Software that allows you to receive a 15% discount in the Nik Software Store using coupon code “BEDGE” at checkout.

My workflow now makes regular use of Nik’s Viveza 2, Color Efex Pro 3.0 and Sharpener Pro 3.0 plug-ins.  Viveza 2 allows you to easily and selectively control light and color in your images.  Color Efex Pro 3.0 puts 52 photographic filters and over 250 effects at your fingertips.  You can probably figure out what Sharpener Pro 3.0 does on your own.  I’ll just say that it does what it does very well and with the greatest of ease.  When needed, I also use Dfine 2.0 to reduce noise without compromising image detail.

The Complete Collection is available in two versions; the regular and the Ultimate Edition.  The regular version provides you with all of Nik’s plug-ins for Lightroom or Aperture.  The Ultimate Edition provides plug-ins for Lightroom, Aperture and Photoshop.  I purchased the Ultimate Edition because I wanted the ability to selectively apply effects using the brush tool in Photoshop.  This functionality is not available in Lightroom or Aperture.

Here’s the thing with Nik’s plug-ins.  They don’t really do anything you can’t already do in Lightroom or Photoshop.  What makes them so amazing is that you don’t have to spend days, weeks or months mastering Photoshop to arrive at the same result.  They’re powerful and they’re simple.  I love the outdoors, not my office.  Nik’s plug-in’s allow me to spend more time outside making images and less time in the office processing them.  That alone is worth the price of entry.  And, Nik makes it easy for you to master their plug-ins with dozens of short video tutorials available on their site and free daily webinars.  Perhaps less tangible but equally important, Nik hasn’t forgotten that we the customer keep them in business and they provide top-notch service when you need it.

Now that you know how I feel about the Nik Complete Collection, why not visit their website and download a free, fully functioning 15 day trial so you can form your own conclusions.  I think you’ll love working with their plug-ins.  If you don’t, it doesn’t cost you a dime.  If you do, head on over to the Nik Software Store and use coupon code “BEDGE” to receive a 15% discount on your purchase.

Give the Nik Software Complete Collection a try, then check in and let me know what you think of it!

I’m in the early stages of planning a possible four day whitewater rafting and photography workshop trip through Cataract Canyon in Canyonlands National Park to take place in May or June, 2011.  The trip would include all meals, guided boats, tents, etc. plus all the usual photo workshop stuff, i.e. instruction in the field, sunrise/sunset shoots, image critiques.  We’d also do some day hikes to interesting Native American ruins within some truly stunning side canyons.  At the conclusion of the trip we’d fly over Canyonlands en route back to Moab in a small plane.

At this point I’m just trying to gauge interest in the trip.  Pricing isn’t firm yet but will most likely be in the neighborhood of $2,500/person, all-inclusive.  This would be an awesome opportunity for a full-immersion experience that will require some degree of fitness and will provide you with opportunities to make images in a remote desert wilderness not often photographed from river level.  Cliche as it may sound, this is a once in a lifetime type trip.

I’m interested in hearing your thoughts and comments about this kind of trip.  Is the approximate price of $2,500/person fair?  What questions and concerns would you have?  What would you expect to get out of it?  Is this something you would be seriously interested in?  Please take a moment to leave a comment!

As you all know, I don’t often use my blog to pitch products.  In this case, however, I’m making an exception.  My good friend and workshop partner Nat Coalson’s new book, “Lightroom 3: Streamlining Your Digital Photography Process”, is now available for pre-order on Amazon.  This is Nat’s second book about Lightroom and if it’s even half as good as his first, it will be the best book you’ll read on using Lightroom to make your great images even mo’ betta.

Nat is an Adobe Certified Expert who knows his way around Lightroom and Photoshop.  More importantly, Nat is able to teach those of us who are not Adobe Certified Experts how to process our images in Lightroom 3 as if we were.  No fluff, no techno-geek babble.  Just the fundamentals and a little bit more, all laid out in an easy to understand and simple to follow format.

If you’re planning to upgrade to Lightroom 3 (I did) you owe it to yourself to buy this book (I did that, too).  In case you missed it the first time, here’s the Amazon link one more time.

UPDATE: The new blog is live! I fixed the incorrect links below and all should work properly now. All new content will be posted to themes blog site. Thank you for your continued support!

If you’re a regular reader of my blog and one day soon find this link inactive it’s because I’m moving the blog. The new Bret Edge Photography Blog will be online within 10 days. Bookmark it at http://blog.bretedge.com. All of the current content will be imported to the new blog…or so they say.

On another note – epic conditions in the Tetons this morning. Been shooting for 2.5 hours non-stop. Can’t wait to share some images with y’all.

Have a great week!

If you’ve ever read a photography “how to” book you are no doubt familiar with the rule of thirds.  If not, here’s a brief explanation.  Imagine two horizontal and two vertical lines running through your viewfinder, dividing it into equal sections.  Where those lines intersect are the sacred “sweet spots”.  If you were to compose an image using the rule of thirds you would place your main subject at one of those intersections.  Simple enough, right?

Back when I was a newbie photographer I obsessed over the rule of thirds.  Never would I compose an image with the main subject smack dab in the middle of the frame.  Blasphemy!  But here’s the thing: the rule of thirds is a guideline, a suggestion.  It is not an absolute. 

I’ll be the first to admit that more often than not using the rule of thirds as a compositional aid will result in the most dynamic photo.  I no longer obsess over it but I’ve been at this photography thing for 11 years now and building compositions is a lot like breathing – it’s just automatic.  I arrange the elements within my images such that main subjects are right there in the “sweet spot”, even though I didn’t make a conscious decision to put them there.  Every once in a while though, I get a little rebellious.  Every now and then, I’ll center my main subject.

When is the right time to give the rule of thirds the bird and create a centered composition?  I don’t really know.  The best answer I can offer is to say, “When it just feels right.”  Yeah, I know – how very new age of me.  The reality is that photography is not a science.  It is an art.  Even in today’s high tech digital world, where cameras are nothing more than small handheld computers, what comes out of them is art.  By it’s very nature, art is subjective.  We all see the world through different eyes and what I think is a masterpiece, you may consider a master piece of crap.

I think the best way to learn when the time is right for a little breaking of the rules is to experiment.  When you’re working a composition try using the rule of thirds.  Then break the rules and place your subject in the center.  Most of us use digital cameras and it doesn’t cost a single penny to click the shutter.  Be liberal with that sucker!  The more you photograph, and the more you experiment, the more adept you will become at recognizing when a centered composition is the right choice.

Take a look at the two images in this post.  What do you think of the compositions?  Was centering them the right choice?  If so, why?  If not, why?  What would you have done different?  Let’s get a lively discussion going.  Maybe it’ll give a newbie the inspiration to offer a middle finger salute to “the rules” and start experimenting with centered compositions?

Hey folks,

In a few hours I’m headed out to Jackson Hole for two weeks of photography, hiking, camping and fun at our workshop June 10 – 13.  I won’t be active on the ol’ blog while away but I do have a post scheduled to go live next week.  Be sure to check back as it’s a good one.  Well, I think it’s a good one.  Guess I should leave it to you, my readers, to ultimately make that decision.

I’ll most likely post a short trip report here when I get home and have a chance to dig through all my images.

Until I return, may the sweet light be with you!

Dan and I are almost finished building iFotoGuide: Grand Canyon!  We were fortunate to partner with tremendously talented photographer, former Artist-in-Residence at the Grand Canyon, and all around nice guy Adam Schallau to produce this guide.  Adam’s intimate knowledge of the Canyon’s many moods and locations combined with his breathtaking photos have allowed us to create a photography guide that virtually guarantees you’ll make amazing images on your next trip to the Grand Canyon.

We expect iFotoGuide: Grand Canyon to be available for download for $4.99 in the Apple iTunes App Store in late June.  This price includes lifetime updates that will include new locations, discounts on photo gear and services from some of the biggest names in the industry, and more.  All iFotoGuide apps function on the iPhone and iPod Touch.  You can learn more about iFotoGuide here.

Currently available in the Apple iTunes App Store are iFotoGuide: Arches (on sale for $2.99) and iFotoGuide: Yosemite ($4.99).

Here’s a sneak peek at what we’ve been up to over the last few weeks.