PENTAX K-3 III • TAMRON 150-500MM SUPER ZOOM FOR SONY
S C ENIC W IL DL IF E TRAV E L S PORTS
SEPTEMBER 2021
Tamron 150-500mm f/5-6.7
Di III VC VXD at 500mm,
shot on the Sony a7R IV at
500mm. Exposure: 1/640
sec., ƒ/6.7, ISO 6400.
to longest focal length. Speaking of Impressive Throughout continues to perform well. Sharpness
focal length, a Flex Zoom Lock mecha- The Range remains good across the frame when
nism allows you to lock the lens at any Inside the Tamron 150-500mm lens are shooting wide open at ƒ/5.6. The lens
focal length, which is handy. Though 25 elements in 16 groups. Among these delivers good detail, color and con-
it’s a relatively large, heavy lens— elements are numerous specialized pieces trast across the frame without notice-
as you’d expect for a super-tele with of glass, including hybrid aspherical ele- able vignette or issues with chromatic
this range—it balances nicely on the ments to control chromatic aberrations. aberrations.
Sony a7R IV at most focal lengths; at The complex optical design results in
500mm, the lens feels a bit front-heavy. solid image quality throughout the focal If you’re purchasing a telephoto zoom
At its smallest, the lens is 8.3 inches length range. Plus, the lens works with lens, you’re likely primarily interested in
long, but when you zoom to 500mm, Sony’s in-camera lens correction for how the lens performs at its longest focal
the lens extends to 11.1 inches long. It shading (vignette), chromatic aberration length, or at least close to it. At 500mm,
weighs in at 4.14 pounds. and distortion. there’s a bit of a change in image quality
with this lens. Center sharpness at the
Compared to its primary Sony-branded At its maximum aperture of ƒ/5, the somewhat slow maximum aperture of
competition, the Tamron is heavier and Tamron 150-500mm lens is reasonably ƒ/6.7 is good, but moving to the extreme
bigger than the Sony 100-400mm f/4.5- sharp across the frame at 150mm. There corners of the frame, it’s quite a bit softer
5.6 GM OSS ($2,500) but lighter and is a slight softness, at least when com- than the corners at 150mm and 300mm.
more compact than the Sony 200-600mm pared to the image quality at ƒ/5.6 and For most subjects shot at 500mm, corner
f/5.6-6.3 G OSS ($2,000). ƒ/8, but it’s usable and quite impressive sharpness isn’t a big deal, but it’s some-
overall. It’s worth noting that the corner thing to keep in mind.
The build quality of the Tamron 150- sharpness is good at ƒ/5, too, which is
500mm Di III VXD lens is impressive, surprising for a telephoto lens at either By stopping down to ƒ/8, center sharp-
especially for its price. The lens fea- extreme focal length. There’s a slight ness improves slightly, although corner
tures moisture-resistant construction vignette, but it’s not very noticeable. performance remains soft. This is true
via leak-resistant seals at the mount and still at ƒ/11. In fact, at 500mm, there’s
throughout the barrel on the edges of In the middle of the range, around not a lot you can do to improve corner
rings and seams. 300mm, the Tamron 150-500mm lens performance. You could shoot on an
22 Outdoor Photographer outdoorphotographer.com
APS-C camera body, as that image frame lens and performs well in a diverse range Di III VC VXD is designed to offer an
is excellent, but if you’re using the lens of situations. It’s not the fastest lens in
on a full-frame camera, soft corners are terms of maximum aperture, and that can impressive telephoto range for full-frame
just the reality of a $1,400 super-tele- limit its usability in low-light situations
photo zoom lens. or when trying to shoot with very fast sensors at relatively low cost and with
shutter speeds.
You can’t have it all with any zoom a reasonably compact form factor, and
lens, but the Tamron 150-500mm f/5-6.7 A super-telephoto zoom can’t be both
Di III VC VXD gives you an awful lot affordable and have a fast maximum that’s precisely what it does. OP
for the money. The lens exhibits good aperture. Tamron has done a great job
center sharpness across its entire focal balancing performance, price and size Jeremy Gray is the reviews editor of
length range and edge-to-edge sharpness with this lens. The 150-500mm f/5-6.7 our network website Imaging Resource.
across much of its range. The lens also Read an extended version of this
displays very good control of aberrations review and check out additional sample
and distortion. images at imaging-resource.com.
Autofocus & Stabilization
Autofocus is driven by Tamron’s Voice-
coil eXtreme-torque Drive (VXD) linear
motor focus mechanism. VXD promises
high-speed, precise movement for respon-
sive focus. Across the focal length range,
in real-world use with the Sony a7R IV,
the Tamron 150-500mm delivers quick
and accurate autofocus. I was particularly
impressed by how quick the autofocus
performance is at 500mm. Switching
between focusing on a close subject and
a distant one is generally fast. The lens
isn’t the fastest I’ve used, but it’s still swift.
Subject tracking performance was very
good with the a7R IV, and it’s compatible
with Sony’s Fast Hybrid AF, Eye AF and
Direct Manual Focus (DMF) features. The
lens can focus as close as 23.6 inches at
150mm and 70.9 inches at 500mm.
The lens includes Tamron’s Vibration
Compensation (VC) built-in to help
keep your shots steady and sharp. This
is especially important when shooting at
long focal lengths, as even a little bit of
shake can lead to a noticeable decrease
in sharpness. It’s also important because
the lens is a bit slow in terms of aperture,
meaning that you may need to use slower
shutter speeds regularly. There are three
VC modes: Standard, Panning and Fram-
ing priority. Mode 3 activates the VC
system as soon as you turn the camera
on. It makes a bit of noise and can drain
the battery faster, but it can help to frame
subjects since the viewfinder image is
stable, even when you’re not shooting.
A Versatile Value
Overall, the Tamron 150-500mm lens for
Sony E-mount is a versatile, enjoyable
new gear & tech
NIKKOR Z DX NIKKOR Z DX 16-50mm f/3.5-6.3 VR RETRO NIKON Z FC
18-140mm f/3.5-6.3 VR MIRRORLESS CAMERA
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the big picture
Sands Of Time
Explorations in a unique wilderness
Text & Photography By Amy Gulick
Strong winds blast through the San- by snow-capped mountains and forested and in front of me is a 75-foot wall of
gre de Cristo Mountains and rip the foothills. When viewed in geologic time, sand. I scramble up, two steps forward,
tent from my hands. Long-needled it makes sense. Most of the sand origi- one step back in the steep and soft dune.
branches of ponderosa pine trees whip nates from the San Juan Mountains 65 I crest the top, and the whole geologic
around their sturdy yet creaky trunks. The miles to the west. Prevailing southwesterly story unfolds: mountains, valley, dunes.
forest floor is bone dry, but the smell of winds transport and pile the sand beneath As the sun begins its evening descent, I
moisture is in the air. Grabbing the billow- the Sangre de Cristo Mountains looming find a vantage point to watch the show.
ing tent, I stake the corners and manage to above my campsite. Storm winds from the
erect a shelter. Dinner is a quick huddle northeast then push the sand back on itself
around a boiling pot of rehydrated mush- into the valley between the two moun-
room risotto while wearing every layer of tain ranges. It’s a battle between oppos-
clothing I stuffed in my backpack. I shove ing winds, with billions and billions of
a chocolate bar down my throat for dessert grains of sand caught in the middle. This
and sprint for the tent, leaving footsteps process has sculpted the dunes for close
in the dusting of snow now covering the to 440,000 years. Last night’s storm was
ground. As the wind roars and the tent an educational moment in the powerful
walls shudder, I shiver to sleep in my not- forces of dune formation.
so-warm bag.
Most visitors to the park experience just
At daybreak, sunlight bathes the tent, and a small portion of the exposed dunefield,
I crawl out of my now-too-warm sleeping hiking to the top of Star Dune, the tallest
bag. A friendly breeze wafts through the at 755 feet, or sliding down the hills on a
treetops. The snow is gone, replaced by sandboard. In the hot spring and summer
a fine coating of sand on everything. And temperatures, people cool off at the base
that’s why I’m here—wind and sand. of the dunefield in shallow Medano Creek,
filled by snowmelt from the surrounding
I’m camped on a massive sand mountains. I came here to explore the
deposit—330 square miles, about the size unique backcountry wilderness compris-
of San Diego, California. Close to 90 per- ing close to 90 percent of the park. It’s
cent of all that sand has been anchored and just me, with everything I need on my
concealed by grasses, shrubs and trees like back—the best way to connect with this
those found in my forested campsite, but place and reconnect to my true self.
a pinch of grit in every meal, a silt-coated
tent and fine sediment at the bottom of Near my tent, two white-breasted nut-
a water bottle are constant reminders of hatches inspect a pinyon snag, perhaps
where I am. All I need to do is look past looking for a nest site. Yellow warblers
the forest edge to see North America’s flit among juniper branches calling “sweet
tallest sand dunes in Great Sand Dunes sweet sweet.” The pungent smell of pine
National Park & National Preserve in invades my nose as I set out to explore.
southern Colorado. Wandering through the forest, the trail
dips down to Little Medano Creek. In
It’s a strange juxtaposition—towering two leaps, I’m on the other side, and the
golden curvy sand dunes, like some- whole world changes. Behind me is forest,
thing out of the Sahara Desert, flanked
26 Outdoor Photographer outdoorphotographer.com
Serpentine shadows snake across the will be like in another 440,000 years. Photographers. Her latest book, The
dunes. Gusts of wind whip up dust devils Salmon Way: An Alaska State of Mind,
and leave ripples in the sand. Rock to sand, sand to dune. As the last is the winner of both a Nautilus and
Independent Publisher Book Award and
From my perch, I see the transfor- of the light fades, I walk back to camp has been named a Best Indie Book by
mation of solid mountains to countless Kirkus Reviews. See more of her work
grains of sand. As the mountains erode, in the stillness of dusk. OP at amygulick.com.
the dunes rise. I wonder what this place
Amy Gulick is a founding Fellow of the
International League of Conservation
outdoorphotographer.com September 2021 27
favorite places
High Falls Of The
Pigeon River
Grand Portage State Park, Minnesota
Text & Photography By Max Foster
Location
High Falls of the Pigeon River sits on the border of Minnesota
and Ontario, Canada, and is the tallest waterfall in Minnesota at
120 feet. The waterfall can be reached by hiking an easy 1-mile
trail from the visitor center at Grand Portage State Park. The
park is day-use only, but several other state parks along Lake
Superior offer camping year-round. With numerous hiking
trails, lakes, rivers, beaches and forests spanning the 150-mile
shoreline, the North Shore of Lake Superior provides endless
photographic opportunities.
Weather without harsh contrast, but since the waterfall faces east, sunset
Northern Minnesota experiences significant weather changes
each season. In winter, it’s not unusual to experience several is also a great time to shoot. In the early morning, spray from
days of temperatures below zero, along with snowstorms and
windy conditions. Spring is relatively mild with temperatures the falls can create rainbows, which are a nice complement to
in the 30s to 50s. Summer heat is tempered by the proximity
to Lake Superior, which can keep temperatures 5 to 10 degrees the scene. I recommend using a wide angle to capture the falls
cooler than farther inland. Autumn has the highest average
precipitation levels but also brings a decrease in mosquitoes and surrounding forest, but telephoto lenses can also be used
due to the first freezes of the year.
to capture the intimate details of the water cascading down
Photo Experience
High Falls is undoubtedly one of the most picturesque waterfalls the rock ledges. With abundant foliage and water, a polarizer
in Minnesota. The North Shore area of Lake Superior is known
for its rocky and rugged terrain, and High Falls is no excep- filter is a must. OP
tion. At the end of the boardwalk trail, there’s a platform that
offers unobstructed views of the falls. The foreground foliage See more of Max Foster’s work at maxfosterphotography.com.
nicely frames the falls while the mixed forest of evergreen and
broadleaf trees rises above the falls on both sides of the river.
Overcast days offer the best chance at photographing the falls
28 Outdoor Photographer outdoorphotographer.com
MINNESOTA Best Times Minnesota’s North Shore, so it’s best to
arrive early in the morning or near sunset to
Each season offers quite different conditions >Û` Ì
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³ Nikon Z 7, NIKKOR Z 14-30mm f/4 S at
>iÃ Ì i > }}>ÌV Vi ÃVÕ«ÌÕÀi° 14mm, Really Right Stuff TVC-34L tripod with
Perhaps the most photogenic time of year is BH-55 ball head, LEE Circular Polarizer. Expo-
autumn, when the surrounding foliage bursts sure: 1 sec., ƒ/13, ISO 64.
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outdoorphotographer.com September 2021 29
Bull moose in Grand Teton National Park, Wyoming.
FALL FOR THE
Wild
Autumn colors
provide a uniquely
beautiful backdrop for
wildlife photographs
Text & Photography
By Melissa Groo
F all ushers in new
frontiers for wildlife
photography. The
shortening of the days profoundly
affects both plants and animals,
and there’s a sense of quickening
to everything, an urgency in the
air that’s contagious. This season
provides perhaps the best oppor-
tunity for wildlife photographers
to show the connection between
animals and their habitats in col-
orful, vivid ways.
It’s a crucial season for wildlife
in North America. Animals are
either preparing for migration with
its host of challenges or hunker-
ing down in place for winter and
30 Outdoor Photographer outdoorphotographer.com
the lean, hard times that season inevitably
means for any creature that lives outdoors
100 percent of the time. Blue jays and squir-
rels are busily gathering and stashing acorns,
migrating warblers are alternately resting and
frenzy feeding before continuing for thou-
sands of miles to their wintering grounds.
Though birds and many animals are done
raising families until the spring, autumn
means mating season for some ungulates
such as elk and moose. The young of many
species, like foxes, are dispersing from their
families and learning to survive on their own.
Finding Your Subject
This fall, consider investing time in pho-
tographing a particular species that inter-
ests you. I firmly believe that spending
deep time with one species is the best way
to come away with unique and powerful
images. Of course, this may mean trav-
eling to a place where that species can
readily be seen, such as moose in Grand
Teton National Park, Wyoming; the elk of
Benezette, Pennsylvania; or the black bears
of Albemarle Peninsula, North Carolina.
Look locally for a spot where animals
congregate because of food, safety or water.
This time of year, birds are particularly
sociable, gathering and moving about in
flocks. This is true for birds from warblers
to waterfowl. Parks in cities and suburbs
are a particularly good place to find them,
as they’re often more concentrated due to
limited habitat and more accustomed to
people on foot. Ducks, in particular, are
done with their molting process and are
back to sporting “basic plumage” when
they look their best.
Head For The Water
A portrait of a bird, insect or lizard in the
water can go from pleasing to extraordinary
when surrounded by the reflection of color-
ful leaves. Look for the still water of a pond
or lake, or the moving water of a stream
or river for different creative possibilities.
More than at any other time of year, water
offers the potential for stunning photos in
fall. In fact, you don’t even need a wild
subject when you have color reflected—
the reflections alone can be your subject,
whether they’re simply abstracts or recog-
nizable objects like leaves or buildings.
Keep in mind that the height from
which you photograph will make a big
32 Outdoor Photographer outdoorphotographer.com
Young white-tailed deer on a
hiking trail in upstate New York.
outdoorphotographer.com September 2021 33
difference. If you want a reflection, you colorful vegetation, and then compose Look Down
won’t want to be too low. When you your shot such that those leaves are rel- As fall progresses, sometimes the pret-
find a good situation, make sure you atively close to you and shoot through tiest view ends up being on the ground.
really work it. Try different heights to them. This can create a lovely, blurred When leaves fall and create a multi-
see what offers the most compelling frame that adds a sense of depth. colored carpet on a sidewalk or forest
composition and color. Get inventive floor, grab a tripod and a macro lens,
and find ways to elevate yourself. With Get High and stop down (use a smaller aperture)
moving water, use a long exposure to Look for high vantage points around you to get most of the leaves in focus.
make it look silky. Consider bringing in order to get a sweeping view of what’s
along a polarizing filter to cut down on going on with foliage. Maybe there’s an Look Up
glare from the surface of the water. overlook you know about or a partic- The colors of leaves along with the
ularly high hill. Head there and use a shapes of branches can make for stark
Frame With Foliage long lens to compress distance, focusing and stunning graphic images against
Look for ways to use the warm colors in tight on a small, particularly colorful sky. Lie down under a colorful tree
of fall foliage to frame your subject. area. Try taking overlapping photos with and aim up. Try this with cloudy
But don’t just stop at photographing a a wide-angle lens for later stitching into skies and overexpose for a high-key
bird among leaves. Look around you for a panorama. effect, or make use of blue sky as a
34 Outdoor Photographer outdoorphotographer.com
A wood duck drake flaps his Fallen leaves and berries from
wings on a pond colored by the a burning bush plant. Great fall
images may be at your feet.
reflection of fall foliage.
A common merganser pair on a
contrasting color to the red and orange pond lit by reflecting foliage.
of the leaves.
Watch Weather Reports
Weather and the ensuing quality of light
are as important to your planning as
the progression of fall color across the
landscape. Low sun at the beginning and
end of the day (the golden hours) can
greatly enhance red, yellow and orange
hues, while sun in the middle of the
day can result in harsh brightness and
shadows. Workarounds on this are going
in super tight on an object in full sun
or shooting fully in the shade of a tree.
Bright overcast conditions are wonder-
ful for foliage because they allow you
A great gray owl hunts in shade
against a backdrop of sunlit fall
foliage in Wilson, Wyoming.
A common redpoll foraging for
seeds among fallen leaves.
A blue jay rests after foraging
on the ground for acorns.
to shoot all day long and can often most Taking pan blurs of trees can be a lot will progress for the entire United States
effectively showcase saturated colors. of fun, producing an endless variation on and specific destinations within it. You
a theme. Using a slow shutter speed, pan can also simply try searching for “fall
Use wind, or the absence of it, to your vertically up or down a tree. Experiment foliage map” for your state or country
advantage, too. Still conditions make with shutter speed, depth of field and and see what turns up.
precise macro photography much more the speed of your own movement as you
possible, while wind can present the pan. Or while a passenger in someone’s There may also be online webcams of
opportunity to use a slow shutter speed car, pan horizontally across trees as the vistas around you or of destinations you’re
on moving leaves to capture that motion, car moves past them. The possibilities planning to visit. These provide a real-time
resulting in a more dynamic and perhaps are limitless. Many of the shots may be look at weather and foliage conditions.
abstract image. unsuccessful, but you’ll find that occa-
sionally an image will stop you in your Ethical Considerations
A special circumstance to always be tracks with its abstract beauty.
on the alert for is the presence of frost It bears repeating that this is an urgent
on colorful leaves. Whenever you hear Use a wide-angle lens on wildlife in a
of frost forecast for the next morning, landscape that’s clearly wearing its man- time of year for all animals, and when
get ready and get out early. The visual tle of autumn. It’s a wonderful chance
combination of frost and autumn foliage to tell a fuller story of an animal and the in their territory, we must be especially
speaks so beautifully to the impending integral way it’s essentially woven into
transition into winter. the fabric of its habitat. sensitive to their needs and their vulner-
Get Creative Track Foliage Hotspots Online abilities. If you find your actions appear
Fall is a wonderful time to try differ- Check in with online maps that show the
ent creative techniques. Double expo- progress of foliage across the continent. to be keeping them from successfully
sure, whether done in camera or later in The data-based, interactive Fall Foliage
post-processing, can be a particularly art- Prediction Map released annually by foraging, resting, remaining near young
ful representation of the wistful, ephem- SmokyMountains.com reveals how fall
eral quality of this season. or safely traveling on their journey, con-
sider retreating or leaving entirely. Wild
animals face so many challenges in our
modern world. Careful field ethics are
more important than ever. OP
See more of Melissa Groo’s work at
melissagroo.com.
outdoorphotographer.com September 2021 37
38 Outdoor Photographer outdoorphotographer.com
Exploring
Fall Color
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nature’s stunning autumn displays
Text & Photography By Josh Miller
outdoorphotographer.com September 2021 39
While every season has Above: Isolate your subject with a long lens. This image of aspen trunks against
something unique to a darker background illustrates the effects of shooting with a longer focal length
offer nature photogra- to isolate a subject from distracting elements. At first, I shot this grove with a
phers, fall has to be the absolute best wider lens, but I kept noticing distracting branches and trees that drew the eye
time of year for landscape images. out of the frame. As I started zooming in, the tighter I got, the fewer of these
The brightly colored leaves, increased distractions remained. I ended up zooming into almost 400mm to cut out a tiny
chances of dramatic weather and, in portion of a big scene.
some parts of the country, the chance
of an early snowstorm that puts a white Opposite: For this image, by using a circular polarizer, I was able to help remove
dusting on trees and makes the col- some of the reflection off the rocks and leaves, thus adding saturation to the
ors really pop all combine to make image while also slowing down my shutter speed and thus creating more of a
this an incredibly photogenic time of water blur in the process.
year. Here I’ll share my best advice to
help you get the most out of your next Previous page: This image of Lake Tahoe is one of my favorites. It combines a
autumn adventure. feeling of place as well as season. Part of why I like this image so much is that it
has a colorful foreground subject that catches the eye and then leads it through
Reading The Light the middle ground into the background, giving a feeling of depth to the image.
The biggest part of landscape photog- It took me several years of trying to have all the conditions come together for this
raphy is learning to read the light. Yes, image, which proves the value of having favorite subjects close to home that you
we all get hung up on gear and camera can visit regularly.
settings, but over time as you grow as a
photographer, those things become eas- One of the first things about reading Don’t trust your eyes. By that, I mean
ier, and it’s ultimately your ability to read light is understanding the type of light the human eye and mind do an amazing
and adapt to the light that will set your that’s best for a given subject. While the job at compensating for harsh lighting
work above others. principle applies in all outdoor photog- and shadows in a way that your camera
raphy, it’s even more noticeable when just can’t. Learn to perceive how your
shooting fall color. The first lesson: camera “sees” and its limitations, rather
40 Outdoor Photographer outdoorphotographer.com
than how your eyes see. This will enable Above: Use your circular polarizer. This pond didn’t look like much from the
you to make technical adjustments to road where I saw it, but I figured it was worth exploring a bit more up close.
compensate for issues like extreme con- As it turned out, with a little help from my circular polarizer to control how the
trast in a scene. reflection appeared in the water, I was able to get several images from this little
pond that have ended up in calendars and have been very successful prints.
Shooting In The Shade
While it may seem counterintuitive, if Opposite: Shooting in the sun. This image of the Sierra Crest illustrates the
you really want to make those fall colors impact of strong, high-contrast sunlight on distant subjects. I lucked out with a
pop and have great detail in your photos, fresh dusting of snow combined with bright contrasty light on the peaks while
then shooting when your subject is in having a bit of thin cloud cover diffusing the light in the foreground. Thus, the
the shade or under overcast skies is best. contrast increases the farther away you go from the camera. Add in the dusting of
snow to reflect the light, and the image pops off the page.
Of the photos I’ve included with this
article, nearly all of them were shot in the long lens shots in the shade, which I’ll giving photos a stronger sense of depth.
shade or under cloud cover. This reduces get to in a moment. Think of shooting far-off mountains.
the contrast and removes any harsh shad-
ows cast from bright sun filtering through Shooting In The Sun When the light is flat (shade), the moun-
the trees. It allows the colors to appear While most of the time I prefer to shoot tains just don’t jump out at the viewer.
more vibrant and the image to appear in the shade, there are definitely times Once you add in some interesting (sun-
sharper. when the added contrast of sunlight helps rise/sunset/storm) light hitting the moun-
make a photograph come alive. While tains, they suddenly pop.
Shooting in the shade may also lead to closer shots usually do well with reduced
longer shutter speeds. This can create an contrast in the shade, the sun adds much- The best of both worlds would be when
issue if the wind is moving the leaves, needed contrast for more distant shots, you can have a beautiful shaded aspen
but it also makes shooting flowing water grove in the foreground with an amazing
easier. Personally, I have an affinity for light show going on in the mountains
42 Outdoor Photographer outdoorphotographer.com
Left: Shooting in the shade. This
image of an aspen trunk was shot in
the shade while most of the grove
was already in the direct sunlight. By
finding a small patch of shade, I was
able to continue working well beyond
sunrise and eliminate the harsh
contrast the sun would have added
to the scene.
Opposite: This is another example
of using a telephoto to isolate out
a small part of a larger scene—and
wishing I had done better in the
field. The original image was shot at
70mm, but the image you see here is
a substantial crop from the original
(probably to about 150mm). This
is a great example of me learning
from my mistakes. If I were to do it
over again, I would have shot both
the wide images that I did shoot, as
well as tighter images like this one
in the field to avoid major crops in
post-processing. It does go to show
the value of modern high-resolution
sensors and how they make it
possible to recompose on the
computer when you want a tighter
composition.
behind it. Often, locations like these are of the magic as possible. We thus end I’ve been using filters less and less, but
well-known spots that attract crowds, but up often shooting too wide. We likely I still always carry a circular polarizer for
with some research and exploration, it’s would be better served to isolate a small its ability to cut reflections in water and
often possible to find your own unique part of the chaotic scene with a longer make skies pop a bit more. What many
angle where you can combine both types focal length. people don’t realize is just how much
of lighting at sunrise or sunset. light is reflected from fall leaves, espe-
Aspen groves and other similar fall cially if they are wet. As a result, using
Isolate Your Subject plants are a mess of branches going in a circular polarizer will often remove
With A Long Lens every which way and leading the eye out some of that reflection, and as a result,
So far, I’ve focused mostly on lighting of our compositions. As we get tighter the leaves will appear more saturated and
and conditions, but a big part of getting with longer focal lengths, we start to have more pop.
the most out of your fall photography is eliminate those distracting elements
choosing the right focal length. Notice and simplify our compositions. I think When shooting fall scenes, often I’ll
I didn’t say right “lens” because it’s some of my most successful fall images have a circular polarizer on each of my
less about which lens and more about were shot with focal lengths of 200mm lenses and rotate them as needed to bring
what you choose to include or exclude or above, only showing a tiny portion of out the colors. The only time this is an
in your shot. the larger scene. issue is in low light because circular
polarizer filters reduce the amount of
I think we all fall victim to “widean- Use Your Circular Polarizer light reaching the sensor by anywhere
gleitis” when we see that amazing fall Over the past few years, as editing from 1 to 2 stops. Luckily, with today’s
aspen grove and want to include as much cameras, we can just raise the ISO a lit-
software has become more powerful, tle or use a slower shutter speed with a
tripod.
Shooting In The Rain
After talking about circular polarizers
and reflections, it may seem counterin-
tuitive, but wet leaves often appear to be
more saturated than dry ones (especially
44 Outdoor Photographer outdoorphotographer.com
when a circular polarizer is also used).
Many of my favorite fall shots were made
right after a light rainstorm or even some-
times during one.
Obviously, if it’s dumping rain, you
may risk your gear, and the more mois-
ture falling between your camera and
subject, the softer your images look.
It’s a fine line, but keep an eye on the
weather and watch for opportunities
to photograph wet fall leaves in the
shade with your circular polarizer. Got
a water bottle in your pack? Maybe you
can make it “rain” on those leaves in
your foreground.
Timing & Research fully replaced, never has it been easier to side. Being early to a location means the
Probably the biggest factor in terms of know when and where to be in a location, leaves will still be green and on the trees,
successful fall photography is being even if it’s your first visit. The trick is while being a little late means you may
at the right place at the right time. No that it has become harder than ever to still find some fall leaves in the trees as
amount of money invested in equipment make new and unique images in these well as on the ground, which all make
and training will help you if you show up spots as a result. for interesting compositions. Especially
too early in the season or to a location with that long lens I mentioned earlier,
that turns out to be subpar. Just because Better Late Than Never no one needs to know that the rest of the
your non-photographer friends saw “this Sure, we all want to hit fall colors at their aspen grove didn’t have any leaves left.
aspen grove up on a hill that you just have peak, but sometimes planning that big Just isolate that interesting part and let
to shoot” doesn’t necessarily mean it will trip is hard when nature isn’t running people’s imaginations fill in the rest. OP
line up with the light and background the on schedule. We can do all the research
way you want. in the world and time things as best we See more of Josh Miller’s work and
can but still be wrong. To hedge your bet, learn about his upcoming workshops at
Back in the day when there was no it’s always better to arrive on the later joshmillerphotography.com. Follow him
internet and far fewer landscape photog- side of peak colors rather than the early on Instagram @joshmillerphotography.
raphers, a sort of underground network
developed, with photographers sharing
information on local conditions with
fellow visiting photographers from all
over the country. If you were really tight
with someone, they might even share
their special “secret” location with you.
Today things are far different, and you
don’t need to know a local photographer
in an area you wish to visit for info on
conditions and locations. Now there’s
a wealth of information on the internet,
and for many popular areas, someone
even maintains a daily fall color report
on their website of all the popular loca-
tions in the area. Apps on our phones
like the Photographers Ephemeris or
Photopills help us preplan our shoots
by knowing exact sunrise and sunset
times as well as the paths of the sun,
moon and stars, while others allow us
to previsualize the landscape before we
even arrive.
While previous scouting and years of
experience in a location can never be
outdoorphotographer.com September 2021 45
Forest photographs tend to be compositionally challenging due
to the visual chaos of so many elements in the scene, and green
can be a bit of a color bully. The Great Bear Rainforest covers
25,000 square miles—equivalent in size to Ireland—so that’s a
lot of green. This shaft of light provided a focal point to balance
the waterfall with the trees on the left, creating an image that
not only conveys the feeling of being there, but also tells the
story of the water, the energy from the sun and the forest.
The Great Bear
Rainforest
Above and below the surface of one of the wildest places on earth
Text & Photography By Jon McCormack
She knows I’m there, but it seems like a mere moment and a lifetime all at once.
Just as I notice my breathing has slowed to mimic hers,
a quiet observer watching while she sleeps. Even my breath she begins to stir, and my pulse quickens. Camera to my
feels loud as I attempt to make my 6-foot-4 frame as small eye and finger hovering above the shutter, I’m lying on my
and unnoticeable as possible. It’s only been 10 minutes, belly just 20 yards from a giant female grizzly.
46 Outdoor Photographer outdoorphotographer.com
She could easily lunge and be right on top of me, but doz- from the grizzly; the sound of cracking clam shells fills the
ens of clams litter the ground between us—and luckily, she air as we creep slowly toward our rigid-hulled inflatable
prefers shellfish over humans. As she stretches and shakes Zodiac. The boat silently slips from the shore as a bald eagle
off her slumber, my guide whispers, “It’s time to move. Go glides overhead. I find myself smiling as I marvel that the
slow but go!” I carefully climb to my feet and back away Great Bear Rainforest exists at all.
outdoorphotographer.com September 2021 47
Pristine Wilderness surface and humpback whales lunge motored along the shoreline and our
A spectacular 250-mile stretch of forest feed on krill and breach in breathtaking guide spotted a grizzly and her cub.
along the central and northern coast displays. Whether on land or at sea, it’s When I thought we were probably close
of British Columbia, Canada’s Great a magical experience, like stepping into enough, the captain cut the engine,
Bear Rainforest (GBR) extends from nature’s fairy tale: peaceful, pristine and we drifted even closer. Calm and
Knight Inlet to the Alaska Panhan- and, at times, surreal. curious, the bears were aware of our
dle. The subject of many an argument presence but not sensing we wanted
between conservationists and develop- Great Grizzly Adventure to cause any harm; they just continued
ers, the GBR remains one of the most There are no roads into the GBR. about their day as if we weren’t there.
unspoiled landscapes in the world, Access is by boat or floatplane, and And in that instant, the rest of the world
largely untouched by humans. Robert only a handful of operators are autho- fell away. I saw that these giants aren’t
F. Kennedy Jr. referred to the Great rized to tour these waters. Limiting the scary monsters but co-inhabitants of
Bear Rainforest as “the planet’s last number of people allowed inside the our planet who, like us, are just trying
large expanse of coastal temperate rain GBR boundaries provides a true sense to make it from one day to the next.
forest.” I’ve photographed in some of of respect between bears and humans,
the most beautiful places in the world, as the animals seem to understand While watching the dynamic between
and this is one of the most awe-inspir- that they’re safe from harm and stay these two bears, I knew the mother was
ing landscapes I’ve ever seen. relaxed, providing for up-close and on alert, but not because of us. Resident
intimate encounters. males will kill her cubs to mate with her
Behind the evergreen curtain of the to produce their own offspring. Cubs
GBR is a healthy habitat of wildlife, As I thought about being near the are born during hibernation, and when
including coastal gray wolves, Sitka bears in their natural environment, the adults emerge from their dens in the
deer, cougars, mountain goats, grizzly “Don’t get near mamas with cubs” spring, they are thin, hungry and at the
bears and the rarest bear in the world, played in a loop in my head. Not out mercy of the ecological systems they
the white Kermode (or spirit) bear. Sea of fear, but more out of a belief I’d rely on to survive. Females are espe-
lions and sea otters play near the beach, formed by what I’d been told my whole cially focused on gaining strength as
orca fins slice through the ocean’s life. That belief was challenged as we quickly as possible to protect the cubs,
48 Outdoor Photographer outdoorphotographer.com
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