Way back in the days of old, I’d head out on a road trip to an iconic national park with a couple dozen rolls of Velvia triple bagged in Ziplocs in the cooler.  Images of Delicate Arch framing the snowcapped La Sal Mountains, wildflowers dancing in alpine meadows below Mount Rainier or the rugged Tetons reflecting in a beaver pool at  Schwabacher Landing inspired an impressionable young me.  I wanted to make my own photographs of these gorgeous locations.  For thousands of novice landscape photographers, the ritual of reproducing photos we’ve all seen a million times is a valuable learning experience.  We discover things like sweet morning light, how aperture controls depth of field and how shutter speed can turn a powerful waterfall into a delicate strand of white silk.

Flash forward a bunch of years and I continue to find myself drawn to photographing the national parks.  Moreover, I still find value in photographing the icons.  I guess some things never change, although I no longer have to stress over the possibility of dank cooler water infiltrating my precious Ziploc’d Velvia film!

How can making images at a location that has likely been photographed hundreds of thousands of times possibly be of value to an experienced landscape photographer?  Easy – challenge yourself to create a unique photograph.  Perhaps it’s a composition that strays from the common perspective, or shooting at sunrise instead of sunset or maybe venturing out in unusual weather.

Whether we want them to or not, photographs of  landscape icons saturate our memory.  Close your eyes and think of the Maroon Bells.  Chances are your mind’s eye took you to an autumn photograph of symmetrical peaks awash in alpenglow above vibrant yellow aspens and the whole scene reflecting in the tranquil waters of an alpine lake.  Now imagine Mesa Arch.  American Basin. Half Dome.  Toroweap.  Sit back and enjoy the slideshow!  My point is, most of the images you envisioned were probably the common ones most photographers have seen over and over and over again.  They’re in calendars. On postcards. In magazines and travel brochures and posters.  We’re used to seeing them and when we visit one of these iconic locations ourselves, it’s all too easy to show up and set up in the well worn tripod holes of those who have come before us.  Honestly, I don’t have an issue with this.  These places are popular for good reason.  But if you’re willing to take a chance, you might just find an even more interesting, more dynamic image right around the corner.

What do you stand to gain?  Well, there’s the obvious – an uncommon image from a common location.  More importantly, this exercise teaches you to expand your vision.  As we approach a new scene we’re usually presented with at least one obvious composition.  If it’s obvious to you, it’s probably obvious to everybody else.  Make a mental note of it but allow yourself to continue exploring the scene.  What if you move 50′ to the left or right?  Maybe a long lens would work to isolate an interesting scene within the scene?  What would it look like in a different season, or at a different time of day?  Or, go a totally different direction, as I once did at the Maroon Bells, and find something truly unique at your feet.  The options are endless!

Every image in this post was photographed in RAW, imported to and processed in Adobe Lightroom 3 and finished using Nik Software’s Complete Collection (Viveza 2, Color Efex Pro 3, Sharpener Pro 2 and, on the black and white image, Nik Silver Efex Pro 2.)  This is my standard workflow for every image I process.  If you’d like to try out the Nik plug-in’s for Lightroom please visit the Nik Software website and download the free, 15 day fully functioning trial software.  If you like it and decide to invest in Nik Software plug-in’s, use coupon code “BEDGE” for a 15% discount at checkout.  And, your purchase helps support this site.

I’m going to state the obvious: without clients, there would be no professional photographers.  Most of us spend inordinate amounts of time marketing to potential clients, trying to get a foot in the door with a photo editor or art consultant.  These folks are notoriously busy.  They’re not easy to reach and when you finally do, you’d better knock ‘em dead with your pitch as it is unlikely you’ll get a second chance.

Let’s assume you’ve already got them on the hook and they’ve done business with you.  Now that you’re “in”, you can sit back and wait for them to send you new business, right?  While you could certainly try this approach I’m willing to bet you won’t find wild success with it.  What you should really be doing is building and nurturing a relationship with your new client.

We all like to feel important.  We like to be appreciated and to know that we’re needed.  It’s just human nature.  Your clients are no different.  What can you do to let them know that you genuinely appreciate their business?  I’ve italicized “genuine” for a reason: if you aren’t sincere, it’ll show.  Send the same “thanks for your business” email that you send to all of your clients and they’ll see right through it.  Send them a handwritten thank you card, instead.  You’ll probably be the only photographer who does and they will remember the effort.  On a similar note, send a thoughtful holiday card to your clients each year.

Last year one of the art consultants with whom I’ve done quite a bit of business inquired about images of Colorado with a specific interest in the Denver skyline.  I sent her what I have and asked her if it would be okay to share her request with a couple friends whose Colorado portfolios are much deeper than my own.  She ended up buying a number of images from my friends – and none from me – but the good will it bought me was tremendous.  I’ve since done more business with her and my friends have also referred clients to me who were in need of Utah images.  Win-win!

You never know where a small initial sale will lead.  My most lucrative client relationship began as a $135 stock image sale.  I delivered the image promptly and I followed up to ask if I could answer any questions or help in any other way.  A couple weeks later I sent a handwritten “thank you” card.  A few months later I got an email asking for more images for a new project.  I quickly responded with a submission and thanked them for thinking of me.  Those images were seen by an administrator in the same organization who was looking for images for a different project.  My client recommended me and I was offered an assignment.  I later learned that they didn’t even consider another photographer for the project because of the glowing recommendation I’d received!  Since then I’ve done thousands of dollars in business with the client including stock image sales, fine art prints and assignments.

After two years of trying to schedule a meeting with a local organization I finally succeeded in getting a few minutes before their committee.  I was trying to convince them to sell my small matted prints through a few of their retail outlets.  The meeting went well and though they loved my work, they didn’t feel there was a large enough market for my prints.  I sent a “thank you” card.  Handwritten, of course.  A few weeks later I received an email from them.  They were interested in using some of my images in their annual calendar.  Funny thing is, I’d been trying to get images in their calendar for ten years. Ten years!  They used three of my images the first year and are using more in the 2014 calendar.  They’ve also used a few images on their website and in a brochure.  I don’t know whether I would have earned their business without the card but it certainly didn’t hurt my prospects.

The bottom line is this: treat your clients and wanna-be clients with respect and show appreciation for their time and business.  Go a little above and beyond what the next guy is likely to do.  Respond quickly to your emails.  Find small, unobtrusive ways to make your clients feel special.  Don’t forget that a small client today can be a huge client a few months from now.  Most importantly, be genuine and fair in everything you do.  Your clients will respect, and remember, you for the effort.

What have you done to build relationships with your clients that have helped to increase sales?

Every year photographers around the world create millions of images.  At the end of each year many of us reflect on our adventures over the previous twelve months by curating a collection of our favorite images of the year.  For active photographers this is not an easy task.  Whittling down to 10, 12 or even 40 images from a collection of thousands is a time-consuming and often emotional endeavor.  Memories of quiet mornings in the desert, nuclear sunsets, the chill of autumn rustling through aspen leaves and a kaleidoscope of summer wildflowers come flooding back – and if you’re like me, some of these moments were even more special because they were shared with your family.

It’s always a treat for me when my favorite photography blogs start filling up with “best of the year” posts chock full of incredible imagery.  It inspires me to see photographs of locations near and far, being shared by folks whose passion for creating images is clearly evident in their work.

I can think of no better way to begin the new year here on my blog than by sharing with you links to some of my favorite photographer’s “Best of 2011″ posts.  Enjoy!

Bret Edge – Yeah, me. Here you’ll find thirteen of my favorite images from 2011.

G Dan Mitchell – I’m a huge fan of Dan’s intimate landscapes and there are many incredible images in his post. “Fallen Aspen Branch, Snow” is particularly exquisite.

Younes Bounhar – Much great stuff here but Younes’ work from Morocco is a stand-out. My favorite shows a man passing through a colorful hallway.

Russ Bishop - My favorite: Barrel Cactus in Bloom (exquisite!), although there are lots of captivating images here.

QT Luong – QT’s year in review is not to be missed. His June image, of sequoia trees behind a dogwood in bloom, is breathtaking.

Mike Cavaroc – I’m a sucker for grizzly bears and Mike’s photo of #399 nursing her cubs surrounded by colorful wildflowers is as sweet as they come.

Alan Majchrowicz – Some seriously gorgeous & diverse grand landscapes here, my favorite of which is “Sunset Alpenglow Over Russell Peak”.

Olivier Du Tre – Eleven exquisite black and white images. All are stunning but I gasped when I saw the image of a lone tree in a snowy field against a black sky. Gorgeous!

Greg Russell – I am quite fond of Greg’s desert photography. Very sensitive and portrays the desert in such a magnificent way. Check out “Dried Mud, Utah” and “Into the Canyon, Utah”.

Erik Stensland – No one has a more complete collection of dynamic images from Rocky Mountain National Park than Erik. He’s also a great friend. The third photo, of a craggy peak reflecting in an icy lake, makes me want to go backpacking NOW.

Benjamin Chase – Beautiful landscape and wildlife images in Ben’s collection, with one adorable red fox in the snow in Yellowstone NP.

Rob Tilley – Lots of diversity here with two outstanding semi-abstracts, “Agave VI” and “Rainbow Eucalyptus”, vying for top honors (IMHO).

Gary Crabbe – Anyone who knows me knows I’m a big wimp when lightning crashes in the backcountry and Gary’s “Lightning Bolt Striking the Sierra Buttes” image is both beautiful and terrifying.

Petr Hlavacek – Petr is a New Zealand based photographer whose work continues to move NZ higher on my list of “must visit” locations. His photo of the Copland River is straight out of a fairy tale.

Rick Louie – Another diverse collection of landscapes & cityscapes, with my favorite being a killer black and white image of a lonely road below a dramatic sky.

Robin Black – Robin’s photography of the Sierras is nothing if not inspiring. Her photo of Bishop Creek cascading before colorful aspens is my pick among a wonderful collection of lovely photos.

Paul Conrad – Great slideshow and the photos aren’t named, but watch for a killer bald eagle in flight and a mystical black and white of some old wooden pilings in the water.

William Neill – So many original and stunning images it’s virtually impossible to pick a favorite but “Buckeye, Foothills of the Sierra” and “Morning Mist and Pines” took my breath away.

Richard Wong – Lots of diversity in subject matter here, with some landscapes and photojournalistic imagery.  Richard’s killer photo of patterns in an agave plant is exceptional.

Ron Niebrugge – Killer photos, mostly from Alaska, and Ron opens with a ridiculous photo of Denali NP in autumn.

Jackson Frishman – Well traveled river guide whose top photos show spectacular locations you’ve likely never seen. Jackson’s photo of a Western Red Cedar is so serene.

Steve Sieren – A lovely collection of images, mostly from California’s mountains and deserts, with the BEST photo you’ll EVER see of a rattlesnake.  Never seen one I’d called “pretty” but this one is most certainly that.

Brian Rueb – Brian shares some great work from Iceland, the Pacific Northwest and more but my favorite is a mind-bending abstract of reflections in the Merced River.

Jerry Monkman – Seems most of my friends are on the west coast, but Jerry lives in New Hampshire and his photos of the New England area really make me want to visit.  In this lovely collection, my favorite is “Ferns & Tree Trunks”.

Dan Baumbach – Dan was a large format photographer for a very long time and his images are contemplative and quiet. The very first image in his list, of ghostly trees in snow, is true art.

Richard Bernabe – Eleven images, and every one of them will take your breath away. Patagonia is #1 on my list of international travel destinations so it isn’t surprising that Richard’s photo of peaks in Torre del Paines NP is my fave.

Photo Cascadia – Another inspiring slideshow loaded with many beautiful images. At 2:13 look for a stunner of what looks like the Palouse. Yowza!

Looking for an even larger collection of “Best of 2011″ blog posts?  Be sure to check out Jim Goldstein’s blog in a few days for a huge collection of links to amazing photographs.

Over the years I’ve found myself more and more drawn to photographing natural areas ravaged by wildfire.  There is a stark beauty in these places immediately following a fire and, as the ecosystem recovers, I’m fascinated by the contrast of black, charred landscape and fresh, colorful foliage.  Vibrant wildflowers bloom.  Trees push through blackened earth.  Wildlife returns and spreads the seeds that will one day grow to erase all evidence of destruction.

Photographers have an opportunity to create beautiful images where most of the population sees nothing but devastation.  As life returns to fire scarred areas we’re able to document the re-birth with portraits of a landscape in rejuvenation.  More often than not we’ve got to work harder to make dynamic images but when it all comes together it’s an extremely rewarding endeavor.

Using a longer lens to extract a small section of burned hillside exhibiting an interesting pattern is one of my favorite techniques.  These images can be quite powerful and emotive.  I like to scan for natural patterns that can be isolated from their surroundings.  This is an especially effective technique in the winter, when snow on the grounds eliminates potentially distracting elements and contrasts boldly with blackened tree trunks.  Autumn is another great time to try this long lens technique as you may find patterns created by colorful foliage.

In spring and summer, colorful wildflowers bloom and young plants bearing vibrant green leaves begin to sprout.  My favorite wildflowers to photograph in burn areas are fireweed.  They’re vivid in color and generally profuse, making it fun to create intimate landscapes using anything from a wide angle to moderate telephoto lens.  Obviously, composition is important but what I’m most fascinated by is the contrast of cheery flowers to blackened trees.  It’s uplifting to bear witness to the power of nature to heal itself.  A word of caution when working amongst a forest full of dead trees: they can fall at any time!  Be aware of creaking or cracking noises, be extra cautious on windy days and I certainly don’t recommend leaning up against these less-than-sturdy trees.

One of the greatest gifts I’ve been given by photography is the ability to see things others simply don’t.  I suspect most nature photographers feel similarly.  We’re more in tune with nuances of light and shadow, contrasts of colors, subtle details in the landscape and I believe our experiences behind the camera afford us with a deeper appreciation for the natural world around us.  Learn to see beauty where the rest of the world sees bleakness.  You’ll be glad you did.

How often do you see photos posted in online forums or hanging in a gallery, accompanied by a description wherein the photographer recounts the miles hiked, grizzly bears fought off, violent storms encountered and years of preparation before they were finally able to create the image before you?  I see it on a regular basis.  Usually, I have no doubt about the authenticity of the story.  Other times, the claims are a bit dubious.  Regardless, a recent experience left me wondering whether the effort expended to create an image is somehow tied to the value viewers place on an image.  Is a photograph made deep into an inhospitable wilderness more inherently valuable or artistic than an image where the greatest physical effort expended was simply pressing the shutter button?

The image you see above was not photographed in a wild and remote location.  I didn’t backpack 30 miles wearing a 100 pound backpack in stinging rain with lightning crashing all around.  No, all I did was pull to the side of I-80 so my son could go pee.  I saw potential in the cracked mud, mountains and ominous sky so I casually strolled to my truck (in flip flops) where I reached in, grabbed my camera and tripod, then walked 30 feet to the very spot where this image was made.  My biggest challenge was wrangling a persistent 2 year old who was intent on peering through the viewfinder and making his own photo while I tried to nail the composition before the fast moving storm in the distance was upon us.

I posted this image on flickr and, to date, it has received 793 views, 41 favorites and 21 comments after flickr added it to the explore page.  If you’re familiar with flickr you’ll understand that 800 views is nothing compared to what truly popular images receive.  For me, it’s a bunch.  I didn’t mention that I made the photo mere feet from a busy interstate with cars and semis whizzing by at 80 MPH.  I wonder if I had, would the photo have received so many likes and comments?

What are your thoughts?

I’ve used the same trusty Gitzo carbon fiber tripod for nearly 6 years.  I’ve never had a back-up tripod but last year I decided to pick up one because I’d hate to experience a catastrophic tripod failure, which would inevitably happen while on a road trip in the middle of nowhere, USA during the most epic sunset ever.  As much as I’d love to have another Gitzo as a back-up I just couldn’t stomach dropping another six bills on three skinny little legs.  Much research later I decided a Flashpoint F-1228 carbon fiber, 4 section leg tripod would serve me well.  I casually mentioned this to Melissa and wouldn’t you know it, a Flashpoint F-1228 carbon fiber tripod showed up on my birthday.  I must take a moment to thank my friend Scott Bacon, whom Melissa contacted when she couldn’t remember which tripod I wanted, because she knew he’d have the low-down.  Of course, he did.  Thanks, dude!

Initial impressions were positive.  Lightweight, reasonably sturdy and it didn’t put too much of a dent in the old checking account ($180).  Many of you already know I’m a gi-normous fan of the Acratech ballheads.  Not surprisingly, I topped off my shiny new carbon fiber toy with a bombproof Acratech Ultimate Ballhead.  If you missed my long-term review of the world’s best ballhead for nature photographers, you can check it out here: Acratech Ultimate Ballhead Review.

Instead of using the new Flashpoint tripod as a back-up I decided to make it my primary unit.  I did this because I wanted to see if it could stand up to the rigors of regular use with the intent of reporting my findings to you good folks.  Here we are five months later and I’m writing this review much earlier than planned.  If you guessed this isn’t a good thing, you’d be right.

What I Like:

• At $180 the Flashpoint F-1228 tripod is a smokin’ bargain in the world of carbon fiber tripods.  Nothing comes even close to this price.  The Gitzo GT1541 tripod is $600!
• The leg locks twist smoothly, hold the legs securely and the ridged rubber twist-locks provide a very secure grip in-hand, even when wet.
• 3.3 lbs. Nuff said.
• Maximum height of 52″ without the center column extended, or 60″ with, is plenty of height for me. (I’m 5′9″)
• The center column comes apart, allowing you to use the tripod almost at ground level.

What I Don’t Like:

• The walls of the legs seem to be thinner than those on my Gitzo and the tripod isn’t as sturdy.  There is significantly more flex when the legs are fully extended.
• The feet have little spikes on them that retract into the rubber casing.  Some may like this feature. I don’t.  I found that they somehow sneak out all the time, which isn’t good on slickrock because they don’t afford a secure purchase like rubber feet.  Also, mud gets stuck inside the feet and is difficult to clean out.
• While we’re on the topic of the feet, they like to divorce themselves from the tripod.  All the time.  I lost count of how many times the feet came off in my hand or fell onto the ground during normal use.  This is unacceptable and judging by the reviews on Adorama, not uncommon.
• This one is odd: the tripod head mount screw doesn’t secure the ballhead as well as the one on my Gitzo.  I think it’s shorter than the one on the Gitzo.  This is bad.  Very bad.  While carrying the tripod over my shoulder with the camera mounted to the ballhead (I know, I know…bad idea) the ballhead came unscrewed causing the camera and ballhead to crash to the ground from a height of about 6′.  Fortunately, it landed in sand.  I also noticed that I had to re-tighten the ballhead often, something I rarely have to do with my Gitzo.  A little Loc-Tite would probably resolve this issue.
• The hook in the center column also comes unscrewed easily.  It’s fallen out a few times during normal use.  Not a huge deal but still a pain in the butt to have to screw it back in when it should just stay in place.
• After only a few outings the legs ceased to extend smoothly.  No doubt the culprit is sand or water but still, after 6 years with the Gitzo in sand, water (both fresh and salt) and snow it still operates flawlessly.  Seems a little premature to me.

And Here It Comes – The Verdict

The Flashpoint F-1228 simply isn’t up to the challenge of regular use in the outdoors.  It may work well for indoor photography where it won’t be exposed to the elements, beaten around on rocks and bounced around in the back of the truck – but it just ain’t built for folks like us.  I didn’t expect it to go toe-to-toe with a tripod costing three times as much but I did expect it to not start falling apart within three months of purchase.  If your tripod budget is in the $180 range you would be better served by an aluminum Manfrotto.  Yeah, it’s heavier than the Flashpoint but it won’t fail you.  If you can afford another $100 or so, I’ve heard great things about Induro carbon fiber tripods, although I’ve no first hand experience with them.  If you can swing for a Gitzo, you will not be disappointed.

Bottom line: I guess this is one area where you really do get what you pay for, and in the case of the Flashpoint F-1228 – you don’t get a whole helluva lot.

A little over one year ago we packed up and headed south to Phoenix.  Our plan was to escape winter’s final icy assault by visiting the land of sunshine and warm weather.  As you can see by this photo our trip didn’t exactly go as planned.  We spent four nights camping in a too small tent, in the rain, with a one year old, with little opportunity to hike and photograph.  We did manage to squeeze in a few short hikes in between squalls and when the torrential rain slowed to a shower I’d quickly run from the tent to find a composition before the next downpour arrived.

In this photo you can see the next storm swirling around the most iconic face of the Superstition Mountains.  The Flatiron is in there, somewhere, hidden by low clouds.  Although the light wasn’t optimal the conditions did make for some fascinating and unusual photography.  It isn’t often that the Sonoran Desert puts on this kind of show but when it does, you’d better be able to take advantage of it.  I opted to convert the original color image to black and white using Nik Silver Efex Pro 2.  I also used Nik Viveza 2 and Nik Color Efex Pro 3.0 to further enhance the image.

If you’re interested in purchasing any of the Nik Software plug-ins you can save 15% by using code “BEDGE” at the Nik Online Store.

I’m thrilled to be profiling another amazing female nature photographer today.  Anne McKinnell, of Vancouver Island, took time out of her schedule to discuss a few aspects of her outdoor photography career.  Anne’s answer to the very first question, “What inspired you to take up landscape photography?”, made me smile as soon as I read it.  She’s a crazy talented photographer, writer and all around great person.  She recently made the decision to spend a year (or more!) traveling and exploring America’s National Parks with her camera and we’ll all be able to follow her big adventure on her blog.  I for one will be reading every post with more than a little bit of envy.  Be sure to do yourself a favor and check out Anne’s flickr page, chock full of stunning imagery.  One of my recent favorites is this image of Caribbean Flamingo feathers.  Gorgeous!

Let’s not waste any more time with introductions.  Heeeeeeeeeer’s Anne McKinnell!

What inspired you to take up landscape photography and what inspires you now to continue making images?

I took up landscape photography because it makes me a happier person.

I started becoming interested in photography about 20 years ago while at university and while traveling in eastern Europe.  My photography then was photojournalistic in style and focussed on problems in the world, injustice, sad stories, decrepit buildings, homeless people and I even had a whole series on graveyards!  It was as if I lived in a world full of only bad things.

I gave it up for a long time when I started and grew my career and only took it up again less then 3 years ago.  To help myself become a happier person, I made a decision to only photograph beautiful things and leave the darker side of life for other photographers. Being inspired by Dewitt Jones, I try very hard to focus on “what is right with the world”.  It really works and has changed my perspective greatly.

Do you feel you’ve developed a unique “style” that identifies your photography?

Not really. I am still all over the map on the style. I think I just need to photograph what makes me happy and hopefully my strong points will reveal themselves. I have been considering only showing one style though in an effort to become more memorable.  I particularly like photographing long exposure twilight scenes that contain ocean or lakes, so I may focus on that for awhile.

Outdoor photography is predominantly a male-oriented activity.  What challenges, if any, have you faced and how have you overcome them?  Do you feel being a female offers any competitive advantages?

I can certainly understand why it is male-oriented.  First there is the nerdy techno gear-head factor! I am already a nerdy technology software person, so that part didn’t hold me back. The part that is difficult for me is the physical factor. Not only being the weaker gender to start with, but I have had a spine injury and back surgery and am very limited in some ways. I can only carry about 20 pounds and have to be very careful about how I position my body. So things like hunching over my tripod and lying on my stomach to take a photograph are difficult.  Thank goodness for LCD’s! I use mine a lot when I cannot get into position to look through the viewfinder. I also have to be selective about which equipment to carry on a photo shoot.  And, I cannot take my camera equipment with me everywhere I go or else my back will be too sore for the important occasions.

I haven’t found any competitive advantages yet, but I’ll keep my eye out for them!

I’ve heard from women who would love to but are hesitant to spend time alone in the wilderness due to safety concerns.  As an experienced outdoorswoman, what advice would you offer them to mitigate their fears and make them comfortable enough to enjoy a wilderness photography experience?

That’s funny because I am much more afraid of being alone in a city at night than I am in the wilderness.  In the wilderness I usually take a flashlight, water, emergency food and a swiss army knife.  I figure a tripod makes a pretty good weapon if I ever have to deal with an animal, but that’s never happened.  I think being in a city at night with expensive camera gear is more dangerous.  For that I try to go with a friend or if that is not possible I try to go somewhere that is not totally deserted, except that one creepy guy. Go somewhere where you have safety in numbers.

Are you an artist in any other medium, i.e. painter, writer, sculptor?  What is it about photography as an art form that appeals to you?

I also enjoy writing.  The commonality between the two is telling a story.  But to be good at either, you need to show a story, not just tell it.

What has been your most rewarding experience as a photographer?

While I have not formally taught the subject of photography, amateur photographers tend to gravitate to me out in the field.  It must be all the equipment! I find it very rewarding to help others improve their photography by giving them tips and seeing the immediate results and the joy it gives them to create beautiful images.

I also enjoy the opportunity to show people places they do not have the opportunity to travel to or wildlife they may not otherwise see.

What one piece of photography gear could you absolutely not live without?

My tripod! I cannot imagine not being able to capture those long exposures in low light.  I recently bought a Gitzo Traveller tripod which is super light weight and strong.  Now I’m looking forward to some neutral density filters so I can do the long exposures during the day.

Where do you see yourself in 5 years with regards to photography?

I hope to be a regular contributor to some travel and photography magazines and the author of photography ebooks.

Is there anything else you’d like people to know about you, your photography, women in photography or current projects?

I am officially dropping out of mainstream society! I have sold my house and put a hold on my software consulting business and am about to embark on a travel and photography adventure.  I will be spending at least a year traveling to as many of the United States National Parks as I possibly can and blogging about it along the way.  I am hoping to leverage the experience to launch a new career in travel photography and writing.

Anne’s Bio:

Anne McKinnell is a travel and nature photographer based in Victoria, BC.  After 17 years as a self-employed IT consultant, Anne is switching gears to focus her creative energy on photography and writing.  Anne has won numerous awards for her photography and has had her work exhibited in galleries.  Her stock imagery is represented by All Canada Photos (http://www.allcanadaphotos.com).

Anne’s other passion is boating and she loves exploring the islands between her home base on Vancouver Island and mainland British Columbia.

You can see Anne’s work in her gallery (http://amckinnell.redbubble.com).  You can also follow her on her blog (http://blog.amckinnell.com), on twitter (@annemckinnell), on Facebook (http://www.facebook.com/AnneMcKinnellPhotography), or on Flickr (http://www.flickr.com/photos/annemckinnell/).

I’m a firm believer in the power of honest and constructive critique to improve your photography.  I saw considerable improvement in my own work early in my career after discovering several active online critique forums.  I’m still a member of two of those forums and I still occasionally post for critique.  The comments I receive continue to fuel my growth as an artist.

Just a few days ago I was chatting with another photographer, Scott Alvarado, on twitter.  I don’t recall how we got to this point but I offered to critique a couple of his images if he would allow me to post the photos and my critique on my blog for all my readers to learn from.  Scott graciously agreed and sent me two monochrome photos from Badlands National Park.  What follows are Scott’s images and my critique of each.  These photos belong to Scott, they are not in the public domain and they may not be used for any purpose without first contacting him for approval.

Overall this is a well crafted image.  Scott captured a dynamic moment with dramatic clouds and sidelight, which nicely accentuates the ridges of this beautiful landscape.  Initially I thought the heavily shadowed area at right needed to be cropped, perhaps to an 8×10 ratio.  After trying this I decided I like it better as-is.  The deep shadows on the right balance the higher peaks and clouds on the left.  That balance is lost if the image is cropped.

I’d like to see more tonal separation between sunlit forms and shadows.  The shadows are already pretty rich, so I would experiment with selectively dodging the sunlit areas.  The bright areas in the clouds could be brought down a bit.  As-is, my eye tends to find them first and wants to keep going back to them, drawing my attention from the rest of the beautiful landscape.  This should be a subtle burning in of the lightest areas as you don’t want to lose the nice contrast in the clouds.  The image also feels a little bit soft, which is easy to fix with a touch more sharpening.  All in all, Scott’s got a great image to work with and it is clear that he started with a quality capture.

My comments on this image mirror those of the first image, with a couple exceptions.  I think new landscape photographers some times try too hard to incorporate a near/far perspective in their compositions.  This image breaks from that convention and provides us with a lovely portrait of this beautiful badland.  This was likely accomplished through the use of a longer lens, which shows that Scott is using all the tools at his disposal to create dynamic imagery.  The clouds are perfectly exposed, their highlights bright and nicely contrasting with the darker sections of cloud and sky. 

I would like to see the sunlit sections of rock a bit brighter.  The shadows are good as-is, and dodging the mid-tones and highlights in the landscape (not in the clouds) will give the image a little more ”pop”.  I would be tempted to crop out the sliver of sunlit grass at the bottom of the image as it’s a touch distracting to my eye.  I’d rather have the shadows at the bottom to anchor the composition.  As with the previous image, this is a fine photograph that could be made even better with a couple minor tweaks.

I hope these critiques have been helpful to you all and especially to Scott.  It isn’t easy to put your work out to be critiqued in such a public forum.  I owe Scott a big thanks for his willingness to do just that. 

I’ll end with one final thought: image critiques are a great learning experience for the photographer AND the critiquer.  There is great value in critiquing a photograph you didn’t create.  We’re often too close to our own work to be able to effectively analyze the good and bad.  Not sure where to start?  Read my blog post about nature photography critique forums I like to get you started.

Over the years I’ve received much great advice that has contributed significantly to my growth as a photographer.  While guiding a photographer last week who was only bitten by the photo bug a few months ago, I offered a simple piece of advice: “Sweep the edges of your viewfinder before making an exposure.”  It was something I learned ten years ago while reading a “how-to” book published by Arizona Highways.  At the end of the day I was happy to hear her say that she learned more during our few hours together than she had in several months on her own.  I always find it rewarding to help other photographers learn and grow as artists.

On the drive home I began to reminisce about all the little nuggets of wisdom I’ve learned in the past eleven years.  Some came from books, others from magazines and even more from other photographers.  Regardless of their origin, each one has benefitted me in some way.  Like many of you, I never want to stop learning.  No doubt, the advice below is only the beginning of what will surely be an even longer list in another eleven years.

Sweep the Edges - Since I mentioned this one in the introduction to the article I thought I’d start off with it.  It’s also one of my favorites and something I do every time I compose an image without even thinking about it.  Very simply, once you have composed a scene in your viewfinder do one final visual sweep of the edges of the frame before depressing the shutter button.  You’re looking for little distractions.  It might be a branch intruding into the frame, a bright spot in a corner or even the foot of your tripod creeping into the bottom of your composition.  This will also force you to slow down and spend more time crafting a deliberate composition.

Don’t Forget to Turn Around - I read this very early in my career in a “how-to” book published by Arizona Highways that seems to have been discontinued.  The author’s point is simple: no matter how awesome the scene before you is, always remember to glance over your shoulder because it just might be even better behind you.  I follow this advice on nearly every photography outing and it has netted me some of my favorite images.

Don’t Forget to Look Down - I learned this lesson while viewing Tom Till’s image of colorful desert wildflowers pushing through cracks in mud.  The placard next to it explained that while Tom was photographing a grand landscape he happened to look down and found a scene far more original and interesting than the one he had intended to photograph.  You just never know what you’ll find if you keep an open mind!

Include People in Your Photos - This one certainly won’t apply to everyone.  However, it’s a valuable tidbit of advice that has certainly been favorable to my bank account.  My good friend Todd Caudle, who has been one of the most generous and inspirational pro’s for the entire length of my career, is responsible for this one.  While photographing wildflowers at Lost Dutchman State Park about ten years ago, Todd suggested that I consider including people in my photos.  Todd suggested that photographing my girlfriend at the time while hiking, climbing, canyoneering and mountain biking would open doors to some of the outdoor magazines.  I didn’t take his advice seriously until I met my wife, Melissa, a few years later.  It’s a shame I waited.  Had I immediately began following Todd’s advice I surely would have been published much sooner.

Look For and Exploit Reflected Light - We’ve all seen photos of Antelope Canyon’s sculpted walls glowing neon with reflected light.  Until I gathered this piece of advice from uber-talented photographer and friend Guy Tal, I wasn’t aware that reflected light was so prevalent in nature.  And, it even happens on a grand scale.  Clouds reflect light back down on to the landscape and massive cliffs bounce light all the way across the Colorado River canyon near Moab.  Snow reflects light into shadows.  Once you learn to identify reflected light you can easily use it to your advantage – even when photographing in mid-day.

Don’t Immediately Set Up Your Tripod - I can’t remember where I learned this but it’s made a huge difference in the quality of my compositions.  Upon arriving at a location spend some time exploring the area before you plant your tripod.  Experiment with different vantage points.  Try getting low to the ground or finding an elevated perch.  Maybe you’d originally intended to go wide angle but a more interesting scene in the distance demands a telephoto?  Even a few steps to the left or right of you’re standing could make a dramatic difference.

Bad Weather = Good Photography - Another great piece of advice whose origin escapes me.  Bad weather often creates the most dynamic conditions for photography.  Menacing clouds, storm light, fog, rain and snow can all contribute to amazing photography.  Or they can flat out suck.  That’s the chance you take when you wander out on a stormy day to make photographs.  But instead of bemoaning the fact that rain is in the forecast, get excited by it.  Overcast?  You couldn’t ask for better light for intimate landscapes.  Fog?  If it’s winter you might find hoar frost.  Summer?  Look for features in the landscape playing hide and seek behind a veil of fog.

Adapt to the Conditions - This one ties in nicely with the one above.  Most of us have probably taken a trip to a far off location with the intent of photographing our hearts out only to find lousy weather upon our arrival.  There is always something to photograph.  It may not be what you came for, but if you stay positive and learn to adapt you will be able to make images.  I don’t remember where this one came from but it’s advice I’ve learned to follow.  Bonus: Not only do I get to make photos regardless of the conditions, but I’m much happier and less stressed out, too.

A Bad Day in the Mountains is Better Than a Good Day in the Office - This one comes to us from Todd Caudle.  And you know what?  He’s right.  Wouldn’t you rather hike ten miles into the mountains to photograph sunrise at an alpine lake only to be defeated by a dull gray overcast than spend one stinkin’ minute staring at your computer monitor?  I would.  I will add one small caveat: A bad day in the mountains is better than a good day in the office – so long as you don’t have to cut off your own arm!

Certainly you’ve all received some sage advice over the years.  Why not share it with us in the comments section below?  I, for one, am always open to good advice!