capturing eden
Working with, rather than against the sun, can turn a solid image into one that sparkles, like this shot at Bryce Canyon.
The use of light shadows, such as that seen here on the striped ground at Zion National Park, makes an image pop.
Watch the light
Experience the landscapes of the West on our America’s Majestic National Parks vacation: www.gct.com/npt2015
Don’t forget to consider the angle of the light; if your subject is evenly lit from the front, it can f latten your image
(filters will help a lot here, too). Try to take your pictures from the side, or at a time of day when you can see some shadows on the surface—a slightly sideways, or “raking,” light is ideal.
The U.S. National Park system provides photography lovers a dazzling assortment of images just waiting to be taken, such as this hot spring at Yellowstone National Park.
Let the sun shine in: Film speed, shutter speed, and aperture well you understand and respond to the amount of light. You’ll want to be aware of your “ISO” number, or film speed. A lower number means that light will be absorbed more slowly; an image will take longer to develop and require a steadier hand, but when it does it will be very clean. A high ISO is useful when a subject is moving, but too high and your image can turn out grainy. Film packaging will print the ISO number prominently—50 is considered slow, 100 is a generaluse level, and 400 is fairly fast. Digital camera sensors work similarly, and can be adjusted on most cameras. Serious photographers know that the secret of amazing images isn’t expensive gear or a glamorous subject—instead, what makes or breaks every photo is how
Shutter speed is a measure of how long the film or sensor is exposed to light. Measured in fractions of a second, shutter speed makes a huge difference in
determining how much light reaches your film or sensor. One-sixtieth of a second (usually printed as “1/60” or “60” on your camera) is about the slowest shutter speed one can use without needing to rest the camera on something stable; though some cameras have shutter speeds of as high as 1/4000. The aperture, also often called the “F stop,” is the size of the opening that allows light into your camera. Somewhat confusingly for beginners, a high F stop denotes a smaller aperture, allowing less light in—a useful setting in broad daylight or bright snow, for example—while a low F stop means that the aperture is open wider.
CAPTURING EDEN
A how-to guide for photographing the U.S. National Parks by Julia Hudson and Christina Micek
The National Parks of the United States draw travelers by the millions every year, and it’s no wonder. These protected spaces are havens for wild animals, indigenous plants, and landscapes that range from the buttes of Montana to the chasms of the Grand Canyon. The parks are a dream destination for professional and amateur photographers alike, but the best photography doesn’t happen in Photoshop—it happens right there when you click the shutter. To capture the spirit of these iconic locations, and get the most out of your visit, consider these helpful tips.
NPT2015-IHF
0040_NPT2015_IHF.indd 4-1
7/30/14 4:11 PM
Know your filters
The right filter can help you capture the iconic nature of your destination, such as Wyoming’s Grand Teton National Park.
Managing glare in the daytime is a major challenge for many landscape photographers, so you’ll want to plan ahead and bring a filter for your camera lens. Filters come in a variety of functions, from protecting the lens from scratches, to blocking ultraviolet light—these invisible rays can end up affecting your final image, producing purple halos or a general haziness. Polarizing filters eliminate the brightness of ref lective surfaces such as water, and heighten contrast; beyond these, there are filters for color adjustment, special effects, and graduated exposure (part of the filter is darker than the rest, which is particularly useful when shooting landscapes with sky above). Make sure you practice a bit at home first with your chosen filters, so you don’t spend precious travel time figuring them out!
Composition matters In the National Parks, beautiful photographic subjects are easy to come by—everything from a f lower to a canyon can feel particularly moving in the majestic environment of a park. But a photograph can seem f lat without the right composition—so it’s important to consider how you organize your shot as much as what it contains.
See the “rule of thirds” at play here in Monument Valley? Note the horizontal split: the sky, the background rock formations, and the foreground.
The traditional guideline is known as the “rule of thirds.” Basically, the photographer mentally imposes a 3x3 grid on top of the image, and attempts to have something of interest in each of the nine squares. However, don’t let this supposed law control your shots; rather, experiment with different positioning and see what interests you. It might mean lying on the ground to get an eye-level photograph of an animal, or it may mean framing an image with a nearby plant, or climbing on a nearby rock. Just remember: In photography, as in travel, the goal is to find a new point of view.
Don’t come too physically close to these animals, since their protected status means they aren’t necessarily used to coming in contact with people. This is why a telephoto lens is a must, although exactly how long will depend on the skittishness of the animal. If you’re planning to travel with a long lens, you’ll want to think about bringing a tripod— or, since you’ll likely be doing some walking through the parks, a “monopod” that can double as a walking stick. For many travelers, a teleconverter is a good solution—these smaller and lighter lens options are easier to pack and carry. Try alternating between close-ups of the animal, and wider shots that incorporate its environment. This may require swapping out narrow- and wide-angle lenses, but it’s worth it to have a variety of pictures to choose from later.
By taking advantage of your surroundings—benefiting from incredible wildlife and breathtaking landscapes—you can compose prized images here in the U.S.
Capturing the big stuff The National Parks are full of mountains and other massive subjects. It can be tricky to photograph these without losing some of their majesty, but a well-planned image can convey an impressive sense of grandeur—so it’s well worth the effort!
If you’re shooting from the base of a mountain, for example, you can emphasize height more dramatically with a portrait, or even a telephoto, lens, which will help you to compress the subject without too much distortion. If you’re further away from your subject, you can emphasize distance
with a wide-angle lens—our photography team recommends trying a focal length of 20-30mm. A wide-angle lens increases the depth of field, or distance at which the image remains in focus, so your viewer can take in the full scale of the landscape.
No lions or tigers, but maybe a bear
U.S. National Parks offer prime opportunity to capture iconic wildlife, such as this buffalo, in a perfect shot.
0040_NPT2015_IHF.indd 2-3
The National Parks are rich habitats for so many animals, and there is nothing that compares with the thrill of spotting bison, mountain lions, or other iconic American creatures in the wild. But a word of caution: You won’t want to miss the sometimes quick glimpses of these creatures, so get very familiar with your camera settings and equipment beforehand!
... or taking a wide-angle approach to What a difference perspective makes: You can take two very different approaches to capturing an iconic image. For instance, you can enjoy a close portrait of George Washington at Mount Rushmore (left), or take a wide-angle approach to capture the entire group of carved stone busts (right).
7/30/14 4:12 PM
The use of light shadows, such as that seen here on the striped ground at Zion National Park, makes an image pop.
Watch the light
Experience the landscapes of the West on our America’s Majestic National Parks vacation: www.gct.com/npt2015
Don’t forget to consider the angle of the light; if your subject is evenly lit from the front, it can f latten your image
(filters will help a lot here, too). Try to take your pictures from the side, or at a time of day when you can see some shadows on the surface—a slightly sideways, or “raking,” light is ideal.
The U.S. National Park system provides photography lovers a dazzling assortment of images just waiting to be taken, such as this hot spring at Yellowstone National Park.
Let the sun shine in: Film speed, shutter speed, and aperture well you understand and respond to the amount of light. You’ll want to be aware of your “ISO” number, or film speed. A lower number means that light will be absorbed more slowly; an image will take longer to develop and require a steadier hand, but when it does it will be very clean. A high ISO is useful when a subject is moving, but too high and your image can turn out grainy. Film packaging will print the ISO number prominently—50 is considered slow, 100 is a generaluse level, and 400 is fairly fast. Digital camera sensors work similarly, and can be adjusted on most cameras. Serious photographers know that the secret of amazing images isn’t expensive gear or a glamorous subject—instead, what makes or breaks every photo is how
Shutter speed is a measure of how long the film or sensor is exposed to light. Measured in fractions of a second, shutter speed makes a huge difference in
determining how much light reaches your film or sensor. One-sixtieth of a second (usually printed as “1/60” or “60” on your camera) is about the slowest shutter speed one can use without needing to rest the camera on something stable; though some cameras have shutter speeds of as high as 1/4000. The aperture, also often called the “F stop,” is the size of the opening that allows light into your camera. Somewhat confusingly for beginners, a high F stop denotes a smaller aperture, allowing less light in—a useful setting in broad daylight or bright snow, for example—while a low F stop means that the aperture is open wider.
CAPTURING EDEN
A how-to guide for photographing the U.S. National Parks by Julia Hudson and Christina Micek
The National Parks of the United States draw travelers by the millions every year, and it’s no wonder. These protected spaces are havens for wild animals, indigenous plants, and landscapes that range from the buttes of Montana to the chasms of the Grand Canyon. The parks are a dream destination for professional and amateur photographers alike, but the best photography doesn’t happen in Photoshop—it happens right there when you click the shutter. To capture the spirit of these iconic locations, and get the most out of your visit, consider these helpful tips.
NPT2015-IHF
0040_NPT2015_IHF.indd 4-1
7/30/14 4:11 PM
Know your filters
The right filter can help you capture the iconic nature of your destination, such as Wyoming’s Grand Teton National Park.
Managing glare in the daytime is a major challenge for many landscape photographers, so you’ll want to plan ahead and bring a filter for your camera lens. Filters come in a variety of functions, from protecting the lens from scratches, to blocking ultraviolet light—these invisible rays can end up affecting your final image, producing purple halos or a general haziness. Polarizing filters eliminate the brightness of ref lective surfaces such as water, and heighten contrast; beyond these, there are filters for color adjustment, special effects, and graduated exposure (part of the filter is darker than the rest, which is particularly useful when shooting landscapes with sky above). Make sure you practice a bit at home first with your chosen filters, so you don’t spend precious travel time figuring them out!
Composition matters In the National Parks, beautiful photographic subjects are easy to come by—everything from a f lower to a canyon can feel particularly moving in the majestic environment of a park. But a photograph can seem f lat without the right composition—so it’s important to consider how you organize your shot as much as what it contains.
See the “rule of thirds” at play here in Monument Valley? Note the horizontal split: the sky, the background rock formations, and the foreground.
The traditional guideline is known as the “rule of thirds.” Basically, the photographer mentally imposes a 3x3 grid on top of the image, and attempts to have something of interest in each of the nine squares. However, don’t let this supposed law control your shots; rather, experiment with different positioning and see what interests you. It might mean lying on the ground to get an eye-level photograph of an animal, or it may mean framing an image with a nearby plant, or climbing on a nearby rock. Just remember: In photography, as in travel, the goal is to find a new point of view.
Don’t come too physically close to these animals, since their protected status means they aren’t necessarily used to coming in contact with people. This is why a telephoto lens is a must, although exactly how long will depend on the skittishness of the animal. If you’re planning to travel with a long lens, you’ll want to think about bringing a tripod— or, since you’ll likely be doing some walking through the parks, a “monopod” that can double as a walking stick. For many travelers, a teleconverter is a good solution—these smaller and lighter lens options are easier to pack and carry. Try alternating between close-ups of the animal, and wider shots that incorporate its environment. This may require swapping out narrow- and wide-angle lenses, but it’s worth it to have a variety of pictures to choose from later.
By taking advantage of your surroundings—benefiting from incredible wildlife and breathtaking landscapes—you can compose prized images here in the U.S.
Capturing the big stuff The National Parks are full of mountains and other massive subjects. It can be tricky to photograph these without losing some of their majesty, but a well-planned image can convey an impressive sense of grandeur—so it’s well worth the effort!
If you’re shooting from the base of a mountain, for example, you can emphasize height more dramatically with a portrait, or even a telephoto, lens, which will help you to compress the subject without too much distortion. If you’re further away from your subject, you can emphasize distance
with a wide-angle lens—our photography team recommends trying a focal length of 20-30mm. A wide-angle lens increases the depth of field, or distance at which the image remains in focus, so your viewer can take in the full scale of the landscape.
No lions or tigers, but maybe a bear
U.S. National Parks offer prime opportunity to capture iconic wildlife, such as this buffalo, in a perfect shot.
0040_NPT2015_IHF.indd 2-3
The National Parks are rich habitats for so many animals, and there is nothing that compares with the thrill of spotting bison, mountain lions, or other iconic American creatures in the wild. But a word of caution: You won’t want to miss the sometimes quick glimpses of these creatures, so get very familiar with your camera settings and equipment beforehand!
... or taking a wide-angle approach to What a difference perspective makes: You can take two very different approaches to capturing an iconic image. For instance, you can enjoy a close portrait of George Washington at Mount Rushmore (left), or take a wide-angle approach to capture the entire group of carved stone busts (right).
7/30/14 4:12 PM
