When I returned home from my cross country bike trip last September, I needed a temporary job to pay off some of my bills and to give me something to do since I was no longer spending every day on my bike, covering 70 miles each day in pursuit of the Pacific coast.  I ended up getting hired to work at a custom frame shop in October, and spent the entire holiday season framing photos, katubahs, diplomas, oils on canvas, watercolors, cross stitches, sports jerseys, and more.  As it turns out, retail isn’t really my thing (surprise surprise), so I’ll be handing in my framing apron next week.

I did learn a thing or two while in the frame shop though.  For one, it’s changed the way I view printing my own photographs.  I quickly learned that photographs printed with a plain border made handling the prints, as well as mounting them, much easier.  Signed artwork and prints required special considerations when framing, sometimes making mounting difficult if the signature was too close to the border of the print.  Large prints printed on thin photographic paper were all too easy to bend and quite difficult to handle without damaging the print in some way.  Prints and posters rolled up and shipped in tubes were just annoying to deal with.

As a photographer, I want those purchasing my photographic prints to be able to enjoy them as much as possible.  Since most people will display my prints by framing them, I want to make that process as foolproof as possible.  Anything I can do as a photographer to make a framer’s job easier and lessen the likelihood that they will damage or otherwise compromise the artistic vision of my photograph is going to make for a happier customer, a less annoyed framer, and subsequently a better liked photographer.

Here are my tips for easier to frame photographic prints:

1) Print images with a white border on two or more sides.  Borderless photographic prints may look cool, but they are difficult to handle without damaging the image in some way.  The edges of the print will always be subject to fingerprints, bends, frays, dents, and scuffs, so by giving your prints a plain border, you can prevent this damage from extending onto image itself.  A plain border also makes mounting much easier.  Framers who use tape of any kind (even acid-free archival tape) to mount prints can apply the tape to the white border, further reducing the risk of damage to the print from chemical contaminants, finger prints, or handling. Framers who use mounting strips or mounting corners, which are preferred for archival mounting since no adhesives of any kind come in contact with the print, can then come in less on the edges of a print when sizing mats, allowing more of the image to show.  Mounting strips and corners need to cover some of the print itself in order to hold it in place.  Using the smallest mounting corners readily available, most framers will need to come in 1/4″ from each side of the image in order for the corners not to show, meaning 1/2″ of the image gets lost from top to bottom and side to side.  If a print has a white border, framers using archival mounting corners (my preferred way of holding a print) can size the mat to almost the exact size of a image, coming in only 1/16-1/8″ on each side.  Those who want to put a frame directly around the print can trim the white border off if needed, but a border can’t be added on if it is not there to begin with.  I’ve found that most people choose to mat photographic prints before adding a frame.  (*Note: Wood frames also overlap the edges of a print by 1/4″ all around in order to hold the glass, mat, image, and backing in place.  Metal frames may overlap images even more than wood frames, generally up to 1/2″ inch on each side.)

2) Different framers and shops have different policies regarding signed and numbered work, but in general once you put a number on a piece (or any mark that implies the piece would be difficult or impossible to replace), the framer will treat it differently.  Differently doesn’t necessarily mean better.  In the shop I work in, it means we won’t trim or dry mount the print.  This may or may not matter to you as the photographer, but it is something to keep in mind.  Signed prints don’t necessarily carry the same restrictions that a signed and numbered piece does, but the signature is often considered in the framing process.  If you do sign your prints, carefully consider whether you sign on the image itself or the border, and if you sign the image itself, be sure to come in at least 1/4″ inch from the edges of the print (a little more if you want your signature to have a pleasing space cushion between it and the edge of the mat or frame).  Also, sign your images with an acid free pen that won’t bleed, or a soft pencil if it won’t damage the photographic emulsion (pencils are best used on cotton rag papers and papers without a glossy or satin finish).

3) Use a quality, heavyweight photographic paper for large prints.  Thin flimsy papers are less durable and get damaged more easily, and large prints are very difficult to handle without them folding on themselves resulting in bends and kinks in the paper surface.  Consider mounting large prints on mat board, foam core, or another substrate, or having them printed on canvas, which is a bit more durable than photographic paper.  I have found that photos sized 16×20 or larger (or similar sized photos such as 12×18) tend to be temperamental and benefit from a sturdier backing.  The thickness of foam core adds another component to the framing process, but it is easy to work around and provides for a much sturdier print than one just on paper.  Mat board is thinner and can be easier to mount with photo mounting strips or corners, but a bit heavier.  Avoid using very heavy products, like Masonite, which can complicate the framing process due to the weight of the image.  Mounting on a substrate also helps the prints lie flat.

4) Ship and store prints flat whenever possible.  Obviously very big prints are easiest to ship and store in tubes, but prints are like inflatable camp sleeping pads and then tend to stay however they are stored.  Advise your customers to remove shipped prints from their tubes and store them sandwiched between two sturdy pieces of acid-free cardboard (or stored in an acid free clear bag to protect the image) before framing.  Photographic prints that refuse to lie flat are more likely to accidentally get bent during the framing process.

5) Provide contact information on or with your prints. Any good framer will replace art damaged in their possession, and having your contact info makes doing so that much easier for the framer should something happen to your print once it is in their hands.  I wouldn’t recommend writing your website or phone number on a print, but shipping and selling prints with your business card in the box or bag, is a good idea.  If you get your prints outsourced and your printer prints the file name or other code on the back of the print, see if they can include your website.  Even if the framer doesn’t damage your work, he or she may like it so much that they’ll buy a print for themselves!

Framers don’t want to damage your artwork any more than you do.  By keeping in mind what they have to do during the framing process, you can take a few steps to make their job easier for them and allow your finished and displayed prints to look their best.

Every year I, like thousands of other hopeful nature photographers, enter a few big name photography competitions in hopes of earning myself a little much needed recognition.  In years past, I’ve entered competitions sponsored by Nature’s Best Photography Magazine, the National Wildlife Federation, and the BBC, and I have been lucky enough to have a few photographs advance within the competitions, although I have yet to have a winning image.

Each year the style of winning photographs tends to change, and I find it impossible to predict which photographs the judges will or won’t like.  This year, I was struggling with deciding which photographs to enter in the Veolia Wildlife Photographer of the Year Competition (formerly the BBC/Shell competition where I had my Eric Hosking portfolio entry make it to the finals in 2007), when I noticed a pretty significant rule change: “File size requirements for all entries: For the initial submission, images must be 1400 pixels on the longest dimension. Digital images must have been taken on a sufficiently high resolution camera – at least ten (10) million pixels, on the highest setting.”

All of the most recent crop of digital SLRs meet that requirement, but what about photographers who don’t have the latest and greatest camera bodies?  My first DSLR was a Nikon D70 (6MP), which I purchased back in late 2004, only six years ago.  I upgraded to a 10MP D200 for a bit before switching to Canon in early 2007, when my first body was the then current professional model, an 8MP 1D Mark II N.  I’ve had that camera ever since, and only last year did I purchase any camera with higher resolution, first a 5D Mark II (22MP) and then a Canon G10 point-and-shoot (15MP).  The majority of my shots are still with the 1D2N, and therefore ineligible for entry in this year’s competition.

I think its a stupid move by the contest organizers to be honest.  8MP is more than enough resolution to yield good quality enlargements, and in the past photographs taken with the 4MP Canon D1 have been blown up and displayed and looked fine!  Last year, images that won categories within the Veolia contest were photographed with 8MP cameras.  So why the rule change this year?

Fellow photographer Jan Wegener emailed the competition for an explanation and received the following response:

“”We require images to have been taken on a camera with a resolution of at least 10 million pixels so that we can reproduce them to a high standard in the exhibition, book etc. We have been advised that setting this level will ensure that the files produced meet our needs. Unfortunately we would not be able to progress any images taken on a camera with a lower resolution. We hope this is not too disappointing for you – we understand that there was limited notice given of this rule change and will endeavour to notify potential entrants of any similar changes at an earlier date for future competitions.”

I find it entertaining and disappointing when the organizers of a well respected and highly competitive contest fail to realize that a high quality 8MP file will enlarge much better than a poor quality 10MP file.  Or that just because an image came from a 10MP camera doesn’t mean that photographers won’t crop their photos and enter 8MP files from a 10MP camera.  Or that a higher resolution camera will begin to pick up the flaws of a lens or a photographers technique, and may yield a poorer quality image than a smaller resolution, technically superior photograph.  Or… you get the picture.

The winner of last year’s Veolia competition was recently disqualified for using a captive, trained wolf for his winning image “Storybook Wolf.”  Immediately after the selection was publicized, internet rumors began to circle about the origins of the wolf, location of the photo, and behavior exhibited.  Eventually, it was concluded that the photo was a set-up, using a captive trained wolf from a zoo, and the winner was disqualified.  This year, I predict the Veolia awards will do a good job of irritating photographers yet again, either by sticking to this seemingly poorly thought out rule change and disqualifying worthy images based entirely on a number, or by realizing that a 10MP camera resolution requirement has nothing to do with how good a photograph is and letting images from 8MP cameras squeeze by into the winning images causing an uproar among those who didn’t bother to enter due to the new rule.

I just hope I get my money back.

The Kari Post Photography recently made the list of “50 Amazing Nature Photography Bloggers” by the Photography Colleges website.  Pretty cool!  See my blog (and a bunch of other neat ones to follow) on the list here: http://www.photography-colleges.org/50-amazing-nature-photography-bloggers/

Last weekend, I spent Thursday through Sunday in New England visiting a grad school in New Hampshire and then hanging out with my friends Taylor Yeager and Tabitha Hobbs, also photographers, at their home in Massachusetts.  While up in Mass, I presented a photography program called “A Voice in the Wilderness” to the Stony Brook Camera Club and had a blast.  What a great group of folks!  My current next camera club talk is set for April, when I will be presenting a collection of my favorite images (along with a bit of inspiration) to the Pocono Photo Club in Pennsylvania.

This weekend, I’m heading up to the Adirondacks in upstate New York to do some ice climbing with a group of college students from UPenn and catch up with a couple of former co-workers I haven’t seen in a while.  Then, its back to the usual for a bit, and hopefully I’ll have the time to add some new photos and posts.

The other day, I was having a great discussion with Jasper Doest, a fantastic nature photographer based in The Netherlands, and the topic of experiencing nature came up.  I asked him about his upcoming Svalbard workshop, as I’ve been having an inkling to visit Norway lately, and he told me that he has only three participants on the Svalbard workshop and takes six on his popular gray seals workshop.  Why?  To allow each participant to really experience the location and subjects, and to offer them the most personalized attention and photographic opportunities possible.  “That’s just the way I would want it done,” he told me.

What a noble thought.  But it brings up a good point.  How often do photographers head out into the field with the sole purpose of creating a photograph, and as a result, return home with hundreds of photographs that don’t really mean anything?  Even when visiting a beautiful and fantastic location, I think photographers too stuck in the mindset of capturing an image often end up with photographs that are uninspired and forced.

I believe that unique, creative photographs are the product of love.  That’s why I photograph predominantly nature subjects. I love the natural world, and landscapes, wildlife, and the colors and patterns of nature are what inspire and motivate me.

Lately, I’ve been spending more time outdoors, more time alone with nature, and less time with a camera in hand.  I think that’s important.  It’s valuable to be able to see and experience beautiful things, and not have to capture them in an image.  If you happen to have a camera and time to compose a beautiful image, great, but if not, does it make the experience any less?  It shouldn’t.  I think a lot of times photographers get too caught up in photographing and forget to experience what exactly it is they are trying to share with others.

That was exactly what Jasper was trying to get at.  He’s been doing fewer workshops and focusing more on his own photography and experiences.  He believes that when you actually explore the natural world around and shoot a bit less, that the shots you do take matter more and end up being better than if you spent your entire time stuck behind a lens.  I think he’s right.

I know one thing, I’m happier when I spend more time outside.  I like snow and rain and sunshine and cloudy days.  I was never a huge fan of wind, but lately, I even like that too.  I love being outside, I love fresh air, and I love nature.  For me, being able to enjoy nature, camera in hand or not, makes me a happier, healthier person, and sometimes I enjoy it more when I’m not lugging 30lbs of gear around or worrying about slipping and smashing up a lens.  If I go out on a hike just to hike, not with the goal of photographing, I’m never disappointed.  It’s only when I get hung up on taking a picture and forget to be where I am, that I begin to get frustrated by the process.

Yesterday, the area where I live in northern New Jersey got 10-12 inches of thick, wet snow.  It was our first real good snow this season, as last weekend, when south Jersey, Maryland, Virginia, and other areas more south got dumped on, we didn’t get a single flake.  I wanted to go out and photograph the snow, but the roads were a bit too sketchy to drive on, at least with my little Saturn that hates the snow, so I went for a walk.  There is a county park that passes through my town with 13.7 miles of paved paths that I can access by walking about half a mile down my street and the main road, then hopping down a bank or crossing the road and jumping onto a wooded trail that connects to the main path.  I go there almost every day, usually to run or bike, sometimes just to explore.  It’s my tiny sanctuary in the busy, crowded suburb I grew up in, and I’m pretty sure I’d be entirely miserable without it to escape to.

I tossed my landscape gear into a pack on my back, dodged the plows, and headed for my little bit of woods.  It was snowing pretty heavily, but I just wanted to get outside and enjoy it.  If I was able to get some good photographs in the meantime, even better.

I’m happy to say I wasn’t the only one with that idea, because when I reached the dirt trail that winds through the woods next to the main path, there was a set of tracks ahead of me.  Sometimes, I really like having a place to myself, but yesterday, I was glad to see that not everyone who lives in my area are complete cowards.  I followed the trail, enjoying the beauty of the trees drenched in snow, snapping many photos.  The wooded area of the park is not particularly photogenic, but its pretty in its own way.  Snow of course, makes everything seem even more beautiful.

I came to this tree that had fallen across the trail and liked the way it looked.  The person ahead of me had walked around it.  In the past, I often would have avoided elements of a photo that spoke of human presence, but these days, I’m taking much more of an interest to scenes that show the connection between people and nature.  Here, the log provided a beautiful diagonal line to lead into the photo, and the trees on either side of the path framed the tracks in the snow, which, I felt, added some texture to the scene.

Of course, photography involves thinking about the shot, about having a vision and making it come to life.  The skills we develop as photographers are necessary to execute our vision.  But its not just skills and practice and planning and thought that make photos work.  It’s something else too.  It’s feeling.  It’s about being there.  It’s about the experience behind the photograph as much as the photograph itself.

I see hundreds and thousands of good photographs online every day, but only a handful really speak to me and stand out as being something special.  Anyone with enough knowledge and practice can take a technically excellent photograph.  But the best photographs have soul, have a voice, and that doesn’t come from books or workshops or online forums.  It comes from the heart and from experience.   When we become too focused on the technical aspects of a photograph, we as photographers often lose sight of the very thing that makes photographs so powerful, the soul behind them.  It’s only when we get back to our roots, to our passion, to nature, that we can really capture all of the beauty this planet has to offer.

I think this photo works.  Why?  Because I took it with a smile on my face, and when I came home from my trek in the park, I felt alive and rejuvenated and happy.  It says something.  It shows a relationship, a connection between people and the planet.  Its not just a mathematical balance of light and dark, lines and shapes.  It’s dynamic.  It has a story and an experience behind it.

I believe its important to experience the world we live in in order to accurately capture the world we live in.  So do yourself a favor.  Get outside.  Go for a walk and leave your camera at home.  Dare to miss the shot.  Dare to experience a place before you photograph it.  Explore with more that just your camera.  Open up your mind and your heart.  Begin to see and feel what it is that makes something special.  Take it all in before trying to share it with someone else.  And then, when you finally take out your camera, you might find that you actually have something to say.

When I woke up yesterday morning, I was quite excited to find that it was snowing.  The view outside my window was drenched in a light coat of white and bit fat snowflakes were fluttering down from the sky.  Sweet!  After doing a few morning chores, including checking the weather forecast, I headed out to Harriman State Park in New York in hopes of photographing some local winter scenes with snow.  The natural areas around where I live really are quite beautiful, so I’m hoping to capture more local landscapes before heading off to grad school later this year and leaving the area.   New Jersey gets a bad rap, but really, once you can get away from all the people, its a great state with a ton of natural beauty.

Admittedly, I did head over the border and into New York state for yesterday’s morning snow, but Harriman is only about 1/2 hour from my house, and I love this creek that runs through the park.  The weather forecast predicted that the snow would turn to rain by noon in my area, but north and west of where I am it was just supposed to stop snowing, so I decided to head out a bit farther in hopes of having more time to photograph.  As it turns out, nearly all of the snow had melted by 2PM and this morning, it is impossible to tell that it had ever snowed at all.

I’m hoping we get more fresh snow soon, and I can take advantage of some of my other local hiking trails, but I’m pretty happy with being able to grab some wintery shots in the short time frame I had.

I DID get to test out my new Gitzo GT1541T tripod for the first time yesterday.  I purchased this tripod specifically for landscapes, as I wanted something lighter and more compact for hiking and backpacking, and I’m quite impressed.  It packs up nice and small and fits into the side pocket of my Osprey Talon 44 pack, where I don’t even notice it while hiking.  Set-up is a breeze with the rotating leg locks, and the closures that spread the legs out from the base plate are different from the heavier duty Gitzo’s I’ve used and I think an improvement.  Of course I’ll have to put it through a few more trials before I can really offer a thorough review, but so far my impressions are extremely positive.

I’ve decided to sell my trusted Canon 1D Mark II N digital SLR.  It is a USA model, with the usual wear marks but no big accidents, digs, or dents or be concerned with.  It has a brand new shutter with less than 4000 actuations on it and includes all of the original packaged items, plus three additional Canon brand batteries, and a Really Right Stuff L-plate.  A used camera in similar condition (8 or 8+) sells on B&H for $1349 to $1499.  I’m asking $1300 for the package, which includes the three extra OEM batteries ($109 each), a brand NEW shutter (about $400), and the RRS L-plate (a $183 value).   Price does not include shipping, insurance, and any credit card fees.

If you are interested, please send me an email.  Thanks!

If you’ve ever opened up a B&H catalog, visited their superstore in New York City, or walked around the exhibition hall at a big photo expo, you are probably well aware that the sky’s the limit when it comes to photography gear. From cameras and lenses to tripods and backpacks to software and memory and every little gadget in between, you could easily fill your entire house with photography related equipment if you wanted to. It’s easy to get caught up in the hype and think you need all the bells and whistles when it comes to gear, but in reality you don’t need it all and there is no way you would use it all if you had it. I believe a lot of photographers get caught up in buying tons of equipment in preparation for every single possible scenario they may possibly encounter in the field with money (or lack thereof) being the only object holding them back in their quest to own more gear than kitchen utensils. While it may not sound like a bad idea, this concept is flawed. First, a photographer with this philosophy will easily end up spending a great deal of money on equipment he will rarely use. Second, he will likely be tempted to pack much more gear than he really needs for any given task, and will end up lugging around several unused lenses and inducing unnecessary fatigue, whether it be hiking up a mountain, skirting through city streets, or running down the sidelines. If the photographer packs lighter and finds himself in a scenario that demands a lens that he left at home, he may become frustrated, and instead of trying to look at the scene in a new light and capture it with what he has, the opportunity is wasted.

I fell into that trap too, but not very long ago I realized how wasteful it was to carry around a lot of gear only to use maybe half of it. I had surgery back in January 2005 to repair two torn ligaments and torn cartilage in my knee, but my knee has never been the same since, and every so often it acts up.  A few years ago, after lugging 22 lbs of poorly balanced gear up and down the Barnegat lighthouse and jetty only to not be able to walk for a day and a half later that week, I decided I needed to clean up my act and went on a selling/buying spree to get rid of the gear I rarely used and buy gear I would feel more comfortable with and want to use more.

So how do you go about deciding what you do and don’t need?  There are actually two parts to this question: 1) the gear you should own and therefore what you need to buy and 2) the gear you should pack with you for a given outing.  What gear you need is largely dependent on what you shoot.  Because I photograph nature and wildlife, the equipment I will use is much different from the equipment a wedding or fashion photographer might invest in.  My camera equipment is specific to my needs, which is specific to the subjects I photograph and the conditions in which I photograph them.  Get the gear that fits your requirements best.

My equipment can be divided into three basic kits, depending on the subject and style of shooting I am doing.  For each kit, I carefully consider the camera, lenses, lighting, and support.

For landscapes, I require a high resolution camera with mirror lock-up capability and the ability to use either a self-timer or remote.  I like to have the option of shooting from wide angle to short telephoto, depending on the scene.  Because I am aiming for sharpness and high depth of field when shooting landscapes, it is not important to me to have fast lenses with wide apertures.  I shoot all my landscapes with natural light, and I require steady support to hold the camera still during longer exposures.  Sometimes, I find a circular polarizing filter or neutral density filter invaluable to me. One camera, one to two lenses covering wide-angle to short-tele, a good tripod and head, and a couple filters.  That’s it.  That’s all you really need.  My current landscape set-up consists of a 5D Mark II, 17-40mm f/4L, and 70-200mm f/4L IS lens with a Really Right Stuff ballhead and Gitzo tripod, plus a polarizer and single solid ND filter.  Sure I could have a super-wide lens, or a mid range zoom to fill the gap from 40mm to 70mm, but really, I don’t need them.  I don’t need f/2.8 lenses, because I shoot all my landscapes at f/8 or smaller apertures.  If I’m creative in the field, I can get an endless variety of shots with my setup.  Why should I burden myself with more gear if I don’t need it?

For birds and wildlife, my needs are different.  My subjects are smaller and farther away, plus they move, so I need longer lenses and fast, reliable autofocus.  A sturdy tripod is again necessary because my equipment for shooting birds and wildlife is much heavier, and the longer telephoto lenses magnify any movement I make when the shutter is pressed.  With the exception of wider angle environmental portraits when I can get close to wildlife, I do all my shooting with a single, very sharp, very fast lens and teleconverters.  My primary setup is a 1D Mark II N and a 300mm f/2.8L IS lens, with a combination of 1.4x and 2x teleconverters.  My setup weighs less and is easier to handle than a 500mm or 600mm lens, and it has the added versitility of allowing me to shoot 300mm at f/2.8, 420mm at f/4, or 600mm at f/5.6.  The Canon 300mm f/2.8 is so sharp that it produces excellent results with the 2x converter, even wide open.  My camera of choice, the 1D Mark II N has excellent autofocus and a fast frame rate to capture moving subjects.  I also have a flash and better beamer for adding fill light to subjects, but I’ll admit I’m not much of a flash person and tend to use natural light whenever possible.

For close-ups of small subjects, I used to have a dedicated macro lens, but I used it so rarely that I have sold it and now use my 70-200 in combination with extension tubes and teleconverters.  This works well for me because it enables me to have less gear, but still get the results I’m looking for.  I plan to get a 500D close-up filter by spring for times when I need to get even closer.  Because I have been careful about my gear selection, I require no specialty equipment, save for a few small, lightweight tubes, to do my close-up work.

All of my gear can fit into a single backpack, which makes packing easy when I travel.  I use the Gura Gear Kiboko Bag because it is lightweight, small enough to fit into the overhead compartment of a plane, and has a harness that collapses into the bag itself, making storage easy.  However, I also have a backpacking pack that I use when splitting up my gear for different trips.  If I’m going backpacking, I only bring my landscape gear and extension tubes so I can do landscape and macro work.  If I’m going to an area to shoot songbirds, I leave my wide-angle lenses and filters in the car.  It just doesn’t make sense to carry around what I don’t need.  Carrying extra gear will make you tire more quickly, even if only going a short distance, and it also puts your gear at risk.  Any time your gear is outside it runs the risk of being dropped, stolen, weathered, etc.  Why subject your gear to added stresses when you aren’t even planning to use it?

If you carefully select gear that meets your needs and is versatile, you’ll be able to get more shooting done with less equipment.  If you pack wisely, you’ll be able to travel longer and farther on foot, and you’ll have a better time shooting.  With my two cameras, three lenses, tripod, ballhead, and some accessories, I’ve been able to photograph everything from mountains to flowers and sparrows to seals.  I’m not limited to paved roads or tourist traps, and I get out, see more, and shoot more.  Sure there are times when I wish I had specialty items to get a shot, but 99% of the time I can get along just fine with what I have.  Having less gear forces you to think about your shooting more, to be more creative, and to try harder, but overall that will make you a better photographer, and really, isn’t that the point?

Announcing my January Print Giveaway Event! For every 100 fans I have on Facebook, I will give away an 8×12 print (or equivalent size for prints not available in 8×12) of choice to one lucky, randomly selected winner. A winner will be selected every time the counter reaches a new hundred members, so the sooner you become a fan and the more fans you recruit, the better your chances are of winning. The first winners will be announced the next time my fan counter rounds the next hundred mark and the drawing will run through January 31st.

To be eligible, all you need to do is become a fan of Kari Post Photography on Facebook.  Once a fan, you can increase your odds by recruiting more fans.  Remember, I will do a drawing every time the counter rolls past 100, so the more fans, the more free print giveaways, and the sooner you join, the more times you’ll be entered to win!

I took a quick trip to Barnegat yesterday in hopes of photographing a couple of much needed species, one of which was the Long-tailed Duck.  This year, they are pretty common at Barnegat, and when I arrived around 11AM the light was good enough to allow for some flight shots.  Barnegat is one of those places where long lenses are a must and my 1D Mark II N, 300mm f/2.8 IS, and 2x converter were just not long enough to allow for full frame flight shots, so all of the photos I managed of the birds in flight are pretty big crops.

This photograph of a male Long-tailed Duck touching down on the surface of the water is one example.  I like the pose, I just wish the original was closer to full frame!

In addition to Long-tailed Ducks, I also photographed Harlequin Ducks, Surf Scoters, Red-breasted Mergansers, Common Mergansers, Common Loon, Brant, and even Harbor Seal!  I also spotted Eider, Black Scoter, Double-crested Cormorant, and Red-throated Loon from a distance, but none were close enough for any good photo ops.  The shorebirds were pretty much vacant from the jetty, although I spotted Ruddy Turnstone, Purple Sandpiper, and Black-bellied Plover, and Herring Gulls were present as well.

So here it is, my first photograph of the new year.  I snapped this photo of a Dark-eyed Junco in my backyard, where it was feeding on some black oil sunflower seeds my mom put out.  It’s nothing special, but I really like juncos and have been trying to get a decent shot of one for at least a couple years now.  This is far from what I’d consider ideal, but I’ll take it for now and just keep on trying.

Having really cool photographs isn’t really much good when they just sit on the computer all day.  The true fun of photography is seeing your work in print, and printing, framing, and displaying your own work can be a lot of fun.  When I returned home in autumn after riding my bike across the country this summer, I took a job at a custom frame shop so I could learn the skills and art behind photo framing.  Custom framing can be very expensive, so for me it was worth learning to do so that I could frame my own artwork and save a bit of money by buying materials wholesale and doing the labor myself.  Plus, I like the added control I get over the final product.  It’s nice knowing exactly what materials and techniques have gone into one of my custom framed pieces.

I actually don’t have any of my own work up on display, because even with all my cost cutting practices, printing and framing pieces still isn’t cheap.  I decided that really needed to change, so I picked one photo I really like, my “Bull Elk on the Madison” photograph from Yellowstone National Park, had it printed on canvas.  One of my incredibly talented photographer friends, Paul Leverington, prints on canvas regularly and after seeing some absolutely breathtaking canvas prints he has produced, I really wanted to give it a try.  I wanted to print something on the bigger side so I chose the “Bulk Elk on the Madison” print because the quality and subject matter made it suitable for a larger print.  In my opinion, not all photos make good large prints, as some subjects, such as tiny birds like chickadees, are better suited to smaller pieces of art regardless of the quality of the photograph.  Eight inch tall chickadees just look funny.

Landscapes and large mammals, on the other hand, can generally be printed as big as possible and still look appropriate.  So had my elk image printed to 14×20 on canvas, purchased stretcher bars and a frame, and assembled the piece myself.  The end result is one I’m pretty happy with.  I think the frame works really well with the printed canvas and finishes the look nicely.  Here is the final piece, propped up against the wall via a table in my dining room.  Silly me forgot to grab picture hooks from the shop last night, so right now it won’t hang on the wall.  I’ll fix that soon, but I was just too eager to share my excitement to wait until it was up.

FYI, I do sell prints on canvas as well as custom framed pieces.  Because they take a bit longer (and my website is currently undergoing some major changes) I don’t have them listed right now, but you can contact me via email if you are interested in purchasing one of these beautiful pieces of artwork.

“But everybody does it!”

Okay, maybe the worst excuse ever, but a bunch of my photographer friends have been posting their favorite photos from the past year on their blogs, in Twitter, Facebook, Flickr, etc.  So I figured, why not?

Here are my three favorite photographs from 2009.  I’ll be the first to admit I didn’t do a whole lot of shooting this past year, but when I did, I think I got some pretty sweet shots.  So here they are, in chronological order.

Feel free to share a link to your top photos of 2009 in the comments section.  I’d love to see them!

Since I haven’t been doing much photography lately, I thought I’d dig up some new old photos from my files.  I decided to dabble in my folder of images taken during a trip to Blackwater Falls State Park and the surrounding area in West Virginia last winter.  Since winter scenes tend to be very monochrome to begin with, I thought I’d try my hand at processing them in black and white using the Nik Silver Efex Pro plug-in.

As the 2009 draws to an end, I thought I’d take a minute and update you all on what has been going on with my photography and website, and also offer a bit of a preview for the upcoming year. 

Currently, my website is being redone.  The new format will be similar to what I have now, but I am integrating the shopping cart into the design and I am also having a search feature put into the site, which will make finding specific images much easier than before.  The new website will feature larger images as well, which will allow users on higher resolution monitors to more fully appreciate my photos.  It will likely be a while before the new site is ready, so just bear with me at the moment.

I will also be readjusting my print offerings for 2010, changing some of the pricing and sizes.  Prices will be reduced (yes, you read that right) on most of my prints, as sharing my images is imperative to my photographic goals.  I realize that times are tough in our current economy and I’d rather make my prints affordable to a wider audience so that more people can enjoy my photographs and share the beauty that nature has to offer with those close to them.  Here are my new prices and sizes for 2010:

• 8×10 / 8×12 – $40
• 10×14 / 11×14 – $55
• 10×20 – $70
• 12×15 / 12×18 – $90
• 16×20 / 16×24 – $150
• 16×32 – $225
• 20×28 / 20×30 – $200
• 24×30 / 24×36 – $300
• 30×45 – $400 

In addition to reducing prices, I have decided that 20% of the proceeds of every print sale will be donated to charity.  It is more important to me to give back to others, and there are a number of fantastic groups out there who are protecting wildlife, educating the public about nature, promoting green action, and otherwise making a difference I believe in.  I have a couple of non-profits in mind at the moment, but would like to get a few more in the rotation, so that I can select a new beneficiary every couple of months or so.  If you know of any non-profit organizations committed to educating about, promoting, and protecting nature, wildlife, and the environment, please let me know and I will gladly consider them.

I think that’s all for now.  Have a happy new year and be sure to make the most of your last hours of 2009.

I’ve produced a book containing a portfolio of my nature and wildlife photography from 2005-2009.  The book is available for sale on Blurb.com.  It makes a nice book for a coffee table and a great gift.  To preview or purchase the book, please visit http://www.blurb.com/bookstore/detail/1052273.  Thanks!!!

I know it has been quite a while since I have posted much of anything on here, but the truth is, I have been quite preoccupied with other things recently.  In addition to working extra hours because of the upcoming Christmas holiday, I’ve been applying for graduate schools, and doing many other things that involve spending time away from the computer.  Honestly, the computer is my least favorite part of the entire photography process, and spending hours editing makes me feel like a useless vegetable.  So I’ve just been avoiding it lately.

Last night, New Jersey got a nice little snow storm, so I decided to put down the fifth Harry Potter book that I’m reading and finally play with some images.  Well, I ended up browsing through some old folders I have from shooting sporting events years ago when that was my main focus, and I found myself trying out some new plug-in filters I have on some imags from the 2006 NCAA Division III Wrestling Championships hosted at The College of New Jersey, where I got my undergraduate degree.  I had special permission during the event to be on the floor and shoot alongside professional photographers from Sports Illustrated, which was pretty cool.  One of my favorite sports photographs is from this event, so I thought I’d revisit and see what else I might find.  Using Nik Silver Efex, I coverted many of the photographs to black and white, and created a nice little photo essay of shots with a very journalist feel to them.

It’s that time of year again.  My birthday is just one week away and Christmas is right around the corner, so I’ve compiled a list of my most wanted items for the holiday gift giving season.  I never get any of them, unless I buy them for myself, but I think its fun.  Feel free to share or link your photography wish lists here in your comments.

At the top of my list are the Lensbaby Composer with Double Glass Optic for Canon, Gura Gear Kiboko Bag, and Gitzo GT1541T 6x Carbon Fiber Tripod.  I’ve wanted the Lensbaby for a long time.  It is a specialty lens that allows for unique depth of field perspectives and variable focus, and photos taken with it can have a surreal, abstract, or dreamy look to them.  I plan to use mine mostly for flower photography, but I’m interested in exploring the other creative possibilities with it as well.

The Kiboko bag is a photographer friendly bag designed by Andy Biggs, a photographer who concentrates on photographing people and wildlife of Africa.  It is lightweight and compact compared to other bags with similar carrying capacity, and I’ve been very impressed with it.  It won’t be the end all solution to my equipment carrying needs, but it will hold everything I have now quite nicely and much more comfortably than my current bag.

The GT1541T is will be my landscape/hiking/backpacking tripod.  It is much lighter and more compact than my three series Gitzo, which I need for using my telephoto lenses on, and it will be much easier to carry over long distances.  I already have an order in for the Kiboko bag and tripod from the NatureScapes Store.

Of course, my list doesn’t stop there, but those three items are my priorities.  In addition, I would love a dedicated underwater DSLR setup, an infrared converted DSLR, Canon’s 15mm fisheye, 85mm f/1.8, 180mm macro, and 800mm f/5.6 IS lenses, a few bags from Clik Elite and Think Tank, a new MacBook Pro, a Canon 500D close-up filter, a Singh-Ray blue and gold polarizer, and a handful of other items, including at least a dozen photography books and field guys (you can find my neverending wish list on Amazon).  Any one of those items (or just a thick blanket of white snow on Christmas morning) would make my day though.

My “Snowy at Sunset” image is this month’s cover for NatureScapes.Net.  Check it out!

My friend Alex was named Youth Photographer of the Year by Nature’s Best Photography magazine in their annual Windland Smith Rice International Photography Awards. His winning shot of a barred owl is one of my favorites. Congrats Alex!

Check out Alex’s blog http://alexmody.wordpress.com and website http://www.alexmody.com.