ASSATEAGUE, CHINCOTEAGUE - HORSES OR PONIES?

Chincoteague Ponies. 1/1600 @ f5.6, ISO 400. Nikon D4S, 300mm 2.8 with 2x teleconvertor.

For a couple of years, I've had Assateague and Chincoteague on my photographic trip list and with a few days off I finally decided to make it a reality. But first, I was a little confused about the difference between the two locations.

I'll try and break it down. The whole island is Assateague and is located in both Virginia and Maryland. The Chincoteague National Wildlife Refuge is on Assateague Island but located in Virginia. Assateague Island National Seashore is located in Maryland and is a U.S. National Park. 

Well, are they horses or ponies? Apparently they are referred to as Assateague Horses and Chincoteague Ponies, although they really are all ponies due to their size. At the Assateague National Seashore, the horses are free to roam while on the Chincoteague National Wildlife Refuge they are penned in and not free to roam Assateague Island. Confused?

It really doesn't matter because both locations should be on your trip list and I saw plenty of horses, or should I say ponies, in both locations as well as plenty of other wildlife and many great locations to photograph during a day and a half visit.

Assateague sunset. 1/10 @ f20, ISO 200. Nikon D4S, 14-24mm at 14mm.

I arrived at Assateague National Seashore around noon and spent the remainder of the day taking short hikes, scouting locations, and of course stalking horses. One thing I noticed after crossing the bridge to the island and before I arrived at the park entrance was how close the marsh was to Bayberry Drive and that in several spots there was room to pull over. I knew then that it would be a great place to photograph the sunset.

And it was at one of these spots that I took the photograph above. Setting my tripod low in order to emphasize the foreground I was drawn to the green plant life in the water as well as the interesting pattern created by the marsh itself. This all came together and It actually makes this a much better photo despite what turned out to be a mediocre sunset.

Assateague Horses. 1/2000 @ f5.6, ISO 400. Nikon D4S with a 300mm 2.8 and 2x teleconverter.

I spotted these horses while on the Life of the Marsh trail which is a short loop boardwalk trail located off of Bayside Drive. And it's a good thing it was short because initially I only had the 80-400mm lens with me when I first spotted them so I returned to my car and retrieved a 300mm lens and 2x teleconverter to get this shot.

I like the two pools of water in the foreground marsh which adds some depth and helps bring you into the frame. These horses and ponies spend a lot of time with their heads in the grass eating, so patience and timing are needed in order to catch even one of them looking up. 

Chincoteague sunrise. 1/640 @ f5.3, ISO 200. Nikon D4S, 80-400mm at 195mm.

Chincoteague is about one and a half hours drive from Assateague so it is possible to photograph them both in a single day, at least during this time of year. Or, as I found out if you "camp" in Walmart parking lots, spending half the night in Fruitland, Maryland, and half the night in Ocean City, Maryland, it is a much longer trip than it should be and because of that, I almost missed the sunrise. Next time I'm camping on the beach in the National Park or staying in a hotel on Chincoteague Island, both better alternatives.

One tip I read prior to the trip is that if you wanted to see the ponies on Chincoteague you should drive along Beach Road until you come to a section where marsh is on each side and there is ample room to pull over. Ponies will be to the right, but I found it to be a great spot to catch the sun rising over Swans Cove Pool on the left. This tip saved the day and my sunrise shots.

Swans Cove Pool, Chincoteague. 1/800 @ f5.6, ISO 400. Nikon D4S with a 300mm 2.8 and 2x teleconvertor.

After the sun cleared the horizon, I began to focus on the various birds that were gathering in the foreground. There was still some great warm light coming from behind the birds, so I just waited for them to take flight and used that strong backlight to ensure separation from the background.

Assateague Lighthouse. 1/340 @ f5.6, ISO 200, exposure compensation +0.7. Fujifilm X-Pro2 with a 35mm (50mm equivalent).

One thing I always consider after choosing a photo destination is how I will spend the middle of the day. It could be a nap, long lunch, exploring the visitor center, or scouting locations, but on Chincoteague, it was the Assateague Lighthouse that captured my attention.

Sometimes a scene just presents itself and as entered the small clearing following a very short hike, I was immediately struck by the geometric patterns of the buildings and tower, the contrast between the white trim and red body and the light and shadows created by the surrounding trees. I also knew that this would look great in black and white.

Assateague beach. 1/250 @ f2.8, ISO 200. Fujifilm X-Pro2 with a 35mm (50mm equivalent).

The other thing I did during the middle of the day was to explore the beaches, or more accurately, set up a chair and just enjoyed the sounds and smells of the ocean. You could probably spend most of the day photographing the sand dunes and the birds along the coast. I only took a few photos along the beach but liked the subtle texture and slight warmth of this image.

Do yourself a favor and visit Assateague Island, enjoy the beaches, wildlife, and the beautiful sunsets and sunrises, but I would suggest you do it during the off-season.

PHOTOGRAPHING SUNRISE IN BIG MEADOWS

1/15 @ f18, ISO 200. Nikon D4S, 24-70mm at 70mm.

This is the fourth time I've photographed "Big Meadows", located at mile marker 51 on Skyline Drive in Shenandoah National Park, and each time it produces something different from what I expected. This time I was expecting wildflowers; what I encountered was something more dead than alive.

In order to prevent the meadow from becoming a forest, the park mows a portion, leaves a portion fallow and then burns a portion. Apparently they burned a portion on April 5th, which became apparent as the sky began to light up the field; and also when I looked down at my pants. 

As I worked my way along some of the many paths located in the meadow, I passed many of those burned out spots and I knew that they would provide some interesting photographs, but the sun was rising quickly so I made my way further into the meadow searching for something to put in the foreground. The tree in the above photo caught my eye for two reasons; it was the tallest thing in that part of the meadow and it was the only thing that wasn't brown. I knew the white bark would give me separation from the background and then I moved around looking to place the sun in different parts of the frame. It didn't take long before the sun was up and it was time to move on.

1/15 @ f18, ISO 200. Nikon D4S, 14-24mm at 16mm.

Stripped of ground cover, the patches created by the prescribed burn provided a unique look at what the meadow floor looks like stripped of its cover and with the light low in the sky it created deep shadows which emphasized the roughness of the bare ground.

The other thing I noticed was a difference in color temperature between the warm yellow grass and the cool blue of the bare patches. So I decided to use that as one element to add depth to my photos. The other thing I did was include these little trees that seemed more like someone had just placed sticks in mud. It was just so different from the field of wildflowers I was expecting. Using a wide angle lens and getting close, it made these sticks appear more prominent in the scene and helps to draw you in.

1/20 @ f20, ISO 200. Nikon D4S, 14-24mm at 14mm.

I moved on to another bare patch where a stick on the ground caught my eye. I lowered my tripod in order to emphasize the foreground and then used that stick as an element to lead you into the scene. Again, I also relied on the various color temps to add depth and interest.

1/800 @ f7.1, ISO 200. Nikon D4S, 24-70mm at 62mm.

For the final shot, I switched back to a longer lens and used the trees as a graphic element in the foreground. I like how my attention switches between foreground and background. One moment I'm focused on the trees, the next I'm trying look through them. Those layers provide the depth that draws you into the frame.

I don't know what photos I expect to get at Big Meadows, but I know that I haven't made them yet. In fact even as I look at the photos above, I can't help thinking that I could have done more, embraced the scene and accepted it for what it was and forget that it was not what I expected. I will return and keep an open mind. 

PHOTOGRAPHING INTO THE SUN

This photograph which was taken one hour before sunset exhibits typical lens flare that causes artifacts usually in the shape of the iris. Lens flare is more common when using a zoom lens. ISO 200, f11 @ 1/500, with a Nikon 70-200 2.8 at 200mm.

Light is the key to photography and as we continue to chase that light, more often than not we find ourselves out during the golden hour; that wonderful time around sunrise and sunset. However, after it has risen or while waiting for it to set, we rarely point our cameras in the direction of the sun and that's a shame.  

During two recent visits to Shenandoah National Park, I found myself embracing the idea of pointing my camera into the sun and came away with some beautiful results. 

This photograph was taken one hour after sunrise from high above the valley backlit by the sun. The light shining through the early morning fog gives this image a soft, ethereal feel. ISO 200, f22 @ 1/400 with an Nikon 80-400 4.5/5.6 at 400mm.

One reason, of course, you might avoid shooting in the direction of the sun is lens-flare, but perhaps that is the exact reason you should keep shooting. Traditional we have been told that lens-flare is a mistake, something to avoid, but more and more I'm seeing it used as an artistic effect. I believe it can add an authenticity to a photograph, almost like you did make a mistake, as if you suddenly turned around, grabbed your camera and fired off a frame.

Another reason that you might avoid shooting in the direction of the sun is that it tends to produce flat, monochromatic images. However, it is just that lack of contrast that can give a photograph an otherworldly or ethereal feeling. A sense of being overexposed, but in a good way. 

The sun, just out of the frame at right one half hour before sunset produced this unexpected pinkish hue. Shooting into the light can often result in flat, monochromatic images. ISO 200, f4.5 @ 1/80, with a Nikon 300 2.8.

Don't get me wrong, sometimes lens-flare and flat imagery is not desired, otherwise we could all throw away our lens shades and only purchase inexpensive zoom lenses and place cheap filters on them. 

Keep in mind a few things when shooting into the sun. Use live view instead of looking through your DSLR camera, especially with a long lens. Set your camera to manual mode, both exposure and focus, so you control the effect, otherwise the camera will try to compensate for your "mistake."  

So the next time you are waiting for the sun to set or turning your attention elsewhere after the sun has risen, keep shooting. And if you quickly dismiss a photo because of lens-flare while editing, go back and take another look, you might be surprised.

PHOTOGRAPHING IN THE GREAT SMOKIES - DAY TWO

Low clouds backlit by the rising sun. 1/50 @f22, ISO 400.

What a difference a day makes. I entered the Cades Cove loop through the already open gate at 7 a.m. and headed straight to the location I had decided on yesterday, passing only one other person along the way. The sky was clear and there was a cloud layer that was moving fast across the top of the mountains.

It is exciting to imagine photos coming together in your mind as you are driving along and it took everything I had not to stop and start shooting prior to arriving at my pre-planned destination.

Once I parked and set up my tripod and camera with a 24-70mm, I forced myself to take a breath and relax. While it seems everything is happening fast, often there is more time than you realize. It is better to get it right than realize your ISO was still on 3200 from the night before. In this case, I worked the sunrise for almost 30 minutes before it was completely up over the mountain. In that time I was able to use multiple lenses, bracket, try out my new split neutral density filters and move about 50 yards down the road for a slightly different composition.

Switched to the 24-70mm with a Cokin split neutral density filter just as the sun rose above the clouds. You can see how the clouds just stuck to the top of the mountains. 1/60 @ f22, ISO 200.

Remember as the sun is rising and consuming your attention, all that great light is falling somewhere and that somewhere is behind you. When I did finally turn around I immediately was drawn to the tops of the mountains and those clouds which were slightly backlit, yet at the same time light was falling on the face of the mountain. I only had to cross the street and climb a slight embankment when I saw that the sun was hitting the trees in the foreground.

Once the sun rose above the clouds I turned around and was treated to some wonderful light. 1/40 @ f22, ISO 200.

When I see layers leading into a photograph, I instantly think of long lenses and compression. It doesn't matter if the layers are created by color, tonal quality, or texture, compressing and flattening the scene makes a pleasing photograph.

On my drive in I saw plenty of deer and thought it was time to move to a new location and with only a few other cars on the loop, I was able to exit and re-enter in about 20 minutes. Once back on the loop I stopped a few times and waited in locations where I had seen wildlife the previous day and sure enough, I spotted four deer off in the distance in the same field I had seen the coyotes.

They were a fair distance off so I grabbed my 300mm with a 2x converter. It was then that I noticed there were three bucks and a doe. After waiting and watching it became clear that the bucks were going to interact and sure enough, they locked antlers several times. It also became clear that they were slowly moving in a direction that would have them crossing the road just below where I had spent the morning. I debated staying put, but sometimes you have to take a chance and move.

I'm glad I did. As I parked the deer were still heading in the same direction so I moved to the exact location that I had taken the above photograph earlier. As the deer continued to head in my direction they were still slightly backlit, but after they crossed the road the light was perfect and when they started to run as a car approached, I just started shooting. I had a long lens on which was nice to capture the deer but meant I was unable to include any background or context.

I moved to higher ground in order to capture this photo of a male whitetail deer. Thinking ahead in order to place yourself in the right spot is key to getting the photograph you envision. 1/800 @ f7.1, ISO 200.

By mid-morning I decided to pack up and leave Cades Cove and explore more the Great Smoky Mountains, but not before one more stop at Tipton place. Only this time I was across the road photographing the double-pen corn crib and cantilever barn when the dripping water from the roof caught my attention. Up until this point everything, other than wildlife, was a medium or wide angle photograph, so it was nice to get a detail shot.

Sometimes it's about the details. With locations like Cades Cove, the tendency is to focus only on the vistas, but sometimes a photo like this tells the story of melting snow. 1/640 @ f2.8, ISO 200.

On the way to Gatlinburg, I stopped at the Sugarlands visitor center and looked around the museum. This is a great thing to do in the middle of the day and besides giving you a break, it gives you some history and context, which may lead to additional photo ideas. Additionally, rangers can be a wonderful source of information on hidden shooting locations.

After leaving the visitors center, I thought I would drive the 13 miles to the Newfound Gap outlook and scout out locations for the next morning. It is a really pretty drive although it soon became apparent as I increased in elevation that I would be entering the clouds by the time I reached the summit. Of course, these were the same clouds that I had been photographing in the morning.

So before I was fully in the clouds, I stopped about a quarter mile from the top and took a few photos of the clouds moving by which added some softness to the bare trees. Tomorrow I plan on heading back to the summit to photograph the sunrise even though the forecast calls for rain.

Just short of the Newfound Gap summit, the clouds were already rolling in and provided just the right amount of softness you see in this photograph. 1/800 @ f7.1, ISO 200, Exp. Comp. +1

PHOTOGRAPHING SUNRISE AND SUNSET - SO WHAT

The sun sets behind Mitchell Butte in Monument Valley, Arizona, December 2012. Nikon D3S, 1/15 @ f 4.

What am I talking about? I don't want to come off as being anti sunrise or sunset mind you, in fact I enjoy them as much as anyone else. For some reason though, I just don't like photographing them.

Maybe that's a bit of an overstatement, because I do, and have shot them, I mean who doesn't. I talk about light all the time and like most photographers am a big fan of early morning and late afternoon light. In fact, didn't I just write about light in my previous blog post?

And in order to get that great light you normally have to be at a location before the sun comes up and stay after the sun goes down. So naturally you see a lot of sunrises and sunsets.

So why do I dislike photographing them?

Sunset at the site of the Battle of the Wheatfield, Gettysburg, Pennsylvania, November 2002. Nikon D1H, 1/16 @ f16.

Here it is. It never fails. I'll be showing my photographs to family and friends (normally non-photographers) and the one photograph that elicits the biggest response, tops all others, brings the viewer to their knees is... you guessed it, the sunrise or sunset photo. And I don't know why. Is it because they are so colorful, iconic, romantic, or just harder to capture then I think?

By this point you may be wondering if I'm joking. I'm just wondering how I'm going to finish this blog. Maybe the best way is to get over it, embrace the beauty of it all. Or better yet, maybe I could offer five tips on photographing the rising and setting sun.

Sunrise on the Sassafras River off of the Chesapeake Bay, September 2013. Fuji X100S, 1/450 @ f2, exp. comp. -1.0

Here it goes.

1. Turn around. You know that golden light falling on the pond or barn or whatever, well it is coming from somewhere and that somewhere is normally behind you. I've been shocked a few times when I think the light is gone only to turn around and see something amazing.

2. Underexpose. Setting your camera to underexpose the scene by a stop or so will deepen the colors and minimize overexposure of any bright spots. I would also recommend shooting RAW so you have some extra exposure latitude when post processing.

3. Mind your foreground. Putting something interesting in the foreground adds interest and can separate your sunset or sunrise photograph from all the others. Come to think of it, I do like some of my photos when I've incorporated a strong foreground.

4. Wide is fine but think tight. While a wide angle lens can emphasize the grandness, choosing a long lens compresses the scene and if you paid attention to tip number three, then the foreground subject becomes that much more interesting.

5. Bracket, bracket and bracket. You can follow tip number two, but really if there was ever a time to bracket, now is that time. But be mindful of your time, because before you realize it the sun will have risen or set.

Early morning duty in Guantanamo Bay, Cuba, May 2003. Nikon D1H, 1/4000 @ f6.3, exp. comp. - 0.3.

So will I stop shooting sunrises and sunsets? No, of course not. Would I prefer to just sit there and enjoy them, probably, but I'm a photographer after all.