Outdoor Photographer 09.2021

feasting on plants such as sedge grass, Raven, the creator of all things, of Above: Lying on a sandbar 20 yards
berries, nuts and fruits while they wait ice and snow. First Nation elders kept from this grizzly, I felt completely safe
for the salmon run to begin in late sum- the existence of spirit bears secret as she contentedly dug for clams.
mer or early fall. By the end of salmon for decades, fearing that they would She knew I was there but had no
season, the bears are fully nourished, be killed by fur or trophy hunters. interest in me so long as I respected
some seeming so heavy that they can Protection is a priority—Kermode her boundaries and didn’t make any
barely move. bears don’t survive in captivity, and sudden movements. The versatility
it’s estimated that fewer than 200 of of my 200-400mm lens allowed me
Touching Spirit them exist in the wild. If you compare to get the framing I wanted without
Of all the remarkable beauty of the that to the 1,800 panda bears in both invading the bear’s personal space.
GBR, one of its most distinctive char- zoos and in the wild, it underscores
acteristics is the Kermode, or spirit the rarity of the Kermode. Opposite: Scouting for bears in
bear. Often incorrectly believed to be the Khutzeymateen Inlet, we spied
albino, Kermode bears have white or Getting to the GBR is an adventure in a bald eagle in a tree at the water’s
cream-colored fur caused by a reces- itself. Days of travel include multiple edge. With lenses pointed at the sky,
sive gene that must be present in both commercial flights, a floatplane, sail- we waited for him to take off. I took
of its black bear parents to produce ing for days, scouting from the Zodiac plenty of decent-enough shots of it
the anomaly. The term “spirit bear” is and hiking through the forest, all in sitting in the tree, but the decisive
derived from a story told by Canada’s search of these majestic creatures. The moment came after a 10-minute
indigenous Kitasoo/Xai’Xais Nation spirit bear’s survival relies on the cold, wait. The eagle took flight, and I was
that the bears were made to remind nutrient-dense waters of the northern ready. I panned with his movement
Pacific Ocean. Saltwater streams fed by using my handheld 500mm lens and
this was the only image I got of his
journey through the trees.

the ocean teem with salmon, the bears’ Above: As I waited to catch a glimpse of a Kermode, I noticed a beautiful shaft
primary food source, so camping out of light on a trail beside a salmon stream. I previsualized my image and preset
by the salmon-filled river was the best my exposure in anticipation of a bear sighting. I knew this might be my only
bet for a possible sighting. I was ready. chance for a shot—it was the riskiest photo of the trip. Eventually, a rustle in the
I waited, in the rain, for what seemed leaves told me the wait was going to be worth it. A lone bear emerged from
like endless hours. the rainforest into that tiny pool of light, resulting in one of the most magical
moments of my photographic career.
I knew there was a risk of not even
catching sight of the elusive Kermode, Opposite: I’d love to say that photographing sea lions is only a matter of skill,
but just as I wondered if it was all for but it also takes a decent amount of luck—and a willingness to be battered and
nothing, a flash of white emerged from bruised by these playful creatures. While diving with Steller sea lions on Hornby
behind the green forest wall. Nothing Island in the Strait of Georgia, I pre-focused my camera and set the strobe
could have prepared me for how that exposure for a specific distance. There’s no way to do it in the moment; they
felt. I’ve studied the photographs in move so quickly that framing and shooting are almost reflexive. When I saw this
National Geographic with great curi- sea lion come within the strobe’s range, I hit the shutter. The light reflected in
osity and wonder, but seeing a spirit the white of its eye is exactly what I’d hoped to capture. Without the strobe, this
bear for the first time was like seeing photograph wouldn’t be as compelling.
a ghost come to life.

Below the Surface
Venturing under water, the wonderland
of the GBR transitions into forests of
kelp, anemones and extraordinary ani-
mals, none more fascinating to me than
the giant Pacific octopus. There’s noth-
ing quite like coming face-to-tentacle
with one of these geniuses—with three

50 Outdoor Photographer outdoorphotographer.com

outdoorphotographer.com September 2021 51



hearts, nine brains and an arm span of Above: A dip below the ocean’s surface reveals a wonderland of anemones and
up to 20 feet—while deep in the ocean. kelp, proving the lush environment doesn’t stop at the shoreline. The murky
Far from intimidating, they’re curious depths usually require strobes to capture ocean life, resulting in images that
and playful; one octopus wrapped a more closely resemble studio photography, but I wanted to use natural light
tentacle around my camera’s strobes for this image, so I stayed closer to the surface and opted for a more traditional
to soak up the warmth. My encounters landscape composition.
with these Pacific giants have proven
who’s in control, and it’s not me. Once Opposite top: Humpback whales repeatedly lunge when feeding in the
the octopus has satisfied its curiosity, nutrient-rich waters of the coastal rainforest channels, offering plenty of time
it’s gone in a flash of color. All you to set up this shot. Before breaching, the whales blow bubbles around schools
can do is watch and be grateful that of fish to clump them together. By lowering a hydrophone into the water, I
you were a guest in the sublime world heard the same whale make the call before every breach, so I was ready with my
of the octopus. 500mm lens as soon as they broke the surface.

The GBR is also home to a large Opposite bottom: Diving near Browning Pass, I was approximately 50 feet
population of Steller sea lions that, below the surface when I spotted this male wolf eel (technically a fish, despite
after spending calm, contemplative the name) hanging out in its den. There was still some natural light at that
time with the octopus, felt like a full depth, but I knew I would need strobes because much of the color had been
circus act. Big, fast and a little too stripped away by the water. I placed one strobe on each side of the den, dialed
playful, these beasts are intimidating. in my exposure and waited for the eel to poke its head out once again.
After two hours in the water with them,
I understood what it must be like to be outdoorphotographer.com September 2021 53
a dog’s chew toy. Much like puppies,
none of their bites are meant to be
harmful, but at 800 pounds, even their
gentlest nibble can leave a big bruise!
But their natural curiosity makes for
great photographs because they love
getting up close to look at their reflec-
tions in the dome of the camera, cre-
ating fun, wide-eyed portraits.

Preserving The Wild
Conservation efforts have brought world-
wide attention to this 25,000-square-mile
section of British Columbia’s western
coastline and, accordingly, an awareness
of the importance of protecting the land,
ocean and animals of the GBR. The sig-
nificance of safeguarding this area has
been made more tangible through the
power of photography. Images provide
a sense of how remarkable it is that the
GBR exists at all. And as much as it
will exist forever in photographs, it now
has a chance to exist physically forever
as well. In February 2016, the Cana-
dian government, together with local
First Nations, officially protected the
old-growth forest, assuring a long-term
home for North America’s biggest and
most charismatic animals—and preserv-
ing it as one of the world’s truly wild
places. We all need more of that. OP

See more of Jon McCormack’s work at
jonmccormack.com.

behind the shot

Spectrum

Upper Peninsula,
Michigan

Text & Photography By Dan Mitler

When it comes to things to time, I might have been disappointed and explore a more unique perspective.
see and do outdoors, Mich- with the lackluster dawn, but the soft light There were quite a few small lakes
igan has a lot to offer. Those was perfect for photographing foliage, as
willing to make the lengthy journey to it saturated the colors and avoided the nearby, some areas where the transition
its Upper Peninsula are rewarded with issue of patchy forest light. Once I was to fall had barely begun and others where
waterfalls, wildlife, lakes, forests, sand- done shooting, I made sure there was no it was well underway. One area with great
stone cliffs and tree-covered mountains. one else around who might be disturbed color was a flight of just a minute or two
In the winter, there are also unique snow- and sent up my drone to look around away, so off my drone went. I flew first
shoeing and snowmobiling opportunities higher, then lower, tilting the camera up,
to explore impressive ice caves.

Thanks to the abundance of maple,
aspen, larch and other trees whose foliage
grows brighter and more colorful as the
days grow shorter, the Upper Peninsula
is a premier destination to experience
fall colors. Thanks to the many state and
national forests and parks, wildlife ref-
uges, scenic areas and abundant roads
and trails throughout the “UP,” as it’s
known, it’s not difficult to find a quiet
area to listen to the breeze rustle the crisp
autumn leaves or gaze out along the chilly
waters of a lake, Great or otherwise.

Trying to plan a foliage trip in advance
can be tough to do, as peak color can vary
year to year, and there’s always the risk
of a cold snap or strong winds. I followed
the foliage reports of a few dedicated
locals and went up in early October. The
long drive meant that I got in and set up
camp after dark, so I didn’t have a chance
to see my surroundings but decided to go
to a nearby undeveloped lake for sunrise.

A storm system came through over-
night, and some cloud cover lingered
to make for a muted sunrise as light fog
hung above the small lake. Any other

54 Outdoor Photographer outdoorphotographer.com

then down, trying to find a good aerial through to the drone’s camera sensor. Mountains—which I’d highly recom-
composition. I wanted to emphasize After flying over to check out some
the texture and brilliant colors of the mend if you’re in the area. OP
treetops, so I angled the camera straight of the nearby lakes, I landed the drone
down and stayed low. Thanks to its and hiked to explore a few of the spots I ³ >ۈV Ó *Àœ] *œ>À*Àœ
* w-
gimbal system, I was able to take a few scouted from above. I didn’t have long as ter. Exposure: 1/30 sec., ƒ/4, ISO 100.
sharp images at relatively slow shutter more rain was on the way, but I enjoyed
speeds to make sure enough light got the time I did have before heading farther See more of Dan Mitler’s work, includ-
west to Bond Falls and the Porcupine ing location reports and trip guides, at
wildlandsphoto.com.

outdoorphotographer.com September 2021 55

SHARING YOUR WORK, PART 4

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of images through slideshows, PDFs and books

Text & Photography By Jason Bradley

These days, social media has photographs. In fact, many of you may Lightroom Classic, what formats to
become the most popular way shoot for a project, essay or theme choose and why, how to resize, how to
for photographers to share their where your images are intended to be sharpen, set your resolution, add water-
work. It’s an addicting feedback mech- presented as a portfolio. Some of you marks and even automate the whole
anism that has allowed artists to build may want to present your work in front export process. Now we’ll wrap this
audiences in new and exciting ways. I of a live audience, to clients who have series up with a discussion of how to
also suspect that most of us use similar hired you for a job or to individuals create slideshows, export videos from
sharing workflows. Speaking generally, interested in sifting through your work those slideshows and export PDF port-
I’ve picked a resolution for my JPEGs to buy prints. Sharing your work can, folios using either the Slideshow or
that I use for almost all the images I and should, go beyond simply export- Book Modules.
export out of Lightroom, I use a water- ing for “likes” on social media.
mark when appropriate, throw in a little Exporting From The
output sharpening, and that’s the bulk In this final installment on sharing Slideshow Module
of what I do. Sound familiar? your work with Lightroom Classic, Slideshows are a versatile way to pres-
I’ll walk you through the basics of ent portfolios of work for all kinds of
Still, there are additional applica- alternative ways to showcase your applications. You can create slideshows
tions to consider and other reasons for best images. If you’ve been following with small sets of images and manually
sharing. For starters, not all imagery along, you know we’ve gone step-by- move from one slide to the next or you
is intended to be shared as individual step through how to export photos from

56 Outdoor Photographer outdoorphotographer.com

Left: Figure 1. Sharing your work doesn’t
begin and end with exporting individual
images. Think about sharing sets of
images or portfolios with Lightroom
Classic’s Slideshow and Book Modules.

Right top: Figure 2. To stylize your
slideshow presentation, you have seven
panels on the right side of the module.

Right middle: Figure 3. The Overlays
panel allows you to choose between
a variety of overlays such as Identity
Plate, Watermark, Rating Stars and Text
Overlays.

Right bottom: Figure 4. The Backdrop
panel allows you to control the color
of your background or you can add a
background image.

can create slideshows with large portfo- can create a border around your images
lios where the images move quickly and that you can add color or a color gra-
automatically along a timeline that can dient to or you can fill the frame. On
synchronize to music. You can include the bottom of the panel is an Aspect
captions, filenames and watermarks. Preview where you can change your
You can control the color of your slide- canvas from Screen to 16:9 and 4:3. Do
show’s backdrop or even have a tonal note that 2:3 isn’t an available option,
gradient behind your images. and most people shoot 2:3 or 35mm
format. So, even if you zero out all the
The list is long, and there are plenty sliders with a 2:3 aspect ratio image,
of options to stylize, but that’s not all. you’ll never be able to fill the canvas
You can export your slideshows as vid- with that image. If that’s a must for
eos that can be uploaded to your web- you, you’ll have to crop your image to
site, YouTube, Vimeo or anywhere else one of the available aspect ratios. I’m
that hosts videos. You can even export baffled why Adobe doesn’t offer this
your slideshows as PDFs that your cli- option, but such is life. Lastly, there’s
ents can browse through in full-screen a checkbox at the top to Show Guides,
mode on their computers or devices. but I suggest leaving that unchecked as
Let me walk you through the Slideshow it adds lines to your canvas.
Module to provide a feel for the many
options available. Third is the Overlays panel, which
consists of five subpanels, as shown
There are seven panels on the right in Figure 3. You can add an Identity
side of the Slideshow Module, as shown Plate. You can add a Watermark that
in Figure 2. You should get familiar will appear on all the images in your
with these panels to stylize your pre- slideshow. You can overlay the Rating
sentation. Going from top to bottom, Stars that you have set for your images.
first is the Options panel with its three You can add custom text, and you can
sub-panels. Each sub-panel has its own add drop shadows to that text.
checkbox to activate it. You can Zoom
to Fill Frame, add a Stroke Border to Following is the Backdrop Panel as
highlight the edge of your photos and shown in Figure 4. Here you can add
Cast Shadow on the border to add some background colors or color gradients
depth to the edge. to your slideshow’s canvas. To add a
gradient, you’ll need to select a back-
Next is the Layout panel. The slid- ground color first. Next, create a Color
ers in this panel allow you to control Wash tone and then control what side
the margins between the edge of your of the background that color shows up
image and the edge of the canvas. You

outdoorphotographer.com September 2021 57

Above: Figure 5. When you’re running slideshows automatically, Lightroom-
generated title slides don’t always cut it. Instead, I add my logo as its own slide in the
show and create virtual copies, so it stays on screen longer than the rest of my slides.

Middle: Figure 6. The Music panel is simple. All you need to do is click on the
+ symbol and find the track or tracks you want to add to your show. You can add
up to 10.

Bottom: Figure 7. A lot happens in the Playback panel. You can control your
music tracks, how long your slides play, the duration of the transitions between
slides and much more.

on by playing with the Angle slider. If create to run automatically, and they that music plays with your slideshow
you don’t want a gradient, simply leave may have slides moving too quickly is set in the Playback panel, as shown
the Color Wash checkbox unchecked. If for a slide you want your audience to in Figure 6. This panel begins with the
you leave both the Color Wash and the read and take in. Considering you have choices of Automatic or Manual. By
Background Color boxes unchecked, no control over how long the title and choosing Manual, you can manually
the default color is black. ending slides linger, fast-moving slides advance your slides from one to the
then mean fast-moving and unreadable other. If you want your slideshow to
The Titles panel allows you to add title slides. Additionally, I have a com- run automatically, just hit the Auto-
title slides to the beginning and the end- pany logo and much prefer adding an matic button. Working in Automatic
ing of your slideshows. As handy as this image with my logo to the slideshow. mode (Figure 7) offers an option to
panel is for the typical slideshow, there Of course, you also don’t have control synchronize your slides to the music
are many instances where it doesn’t over how long a logo lingers, but I have you selected or you can fit your show
work well, so I personally don’t use a hack for that. If you right-click on a to the same music. What’s the differ-
it. For example, some slideshows you logo slide (Windows) or Control-click ence? Let’s say you have music that
on a slide (Mac) to bring up the con- lasts 1 minute, or 60 seconds, and you
textual menu, you can create a Virtual have 20 images in your slideshow.
Copy of your image. So, instead of just If you Fit to Music, then Lightroom
rolling through one image of a logo, Classic will automatically set the Slide
roll through two, three, four or however Length slider for you. Alternatively, if
many you need to create the timing you you Sync Slides to Music, then Light-
desire (see Figure 5). room Classic analyzes your music and
advances the slideshow to the cadence
The last two panels are the Music of the music you’ve selected.
and the Playback panels. The Music
panel is simple. Just hit the + symbol You can also control the length of
and select a music file from your com- time you can show each slide, how
puter. You can add up to 10 tracks. How long it Crossfades between slides, the

58 Outdoor Photographer outdoorphotographer.com

Figure 8. You
can export your
slideshow as a
video. Click on
the Export Video
button in the lower
left corner of the
Slideshow Module
to launch the Export
Slideshow to Video
dialogue.

Audio Balance between the Music and in Figure 8. Starting from the top of the The Quality slider is something I
the Video, Pan and Zoom, whether or dialogue, you can name your new video would suggest using as needed. I tend
not you want the show to repeat or show and add keywords or Tags, which will always to leave it at 100% unless I have
images in a random order automatically help people find your video through a specific need to reduce the size of my
and, finally, the Quality of the show. Google searches if that’s of interest final document. If I do need a smaller
to you and you’re posting your video document, and I can’t reduce the size
Previewing & Finalizing on the web. Video Preset is where you by adjusting the width and height in
Your Slideshow set your video’s resolution or quality. this dialogue, then adjusting the Qual-
Once you’ve stylized your slideshow to For better or worse, you can only cre- ity can help.
look just the way you like, there are a ate videos as large as 1080p. Unfortu-
few paths you can take. At the bottom nately, there’s currently no 4K option. The option “Automatically show full
of the side panel are Preview and Play screen” is kind of self-explanatory. I
buttons. Why are there two options? PRO TIP: If you intend to create almost always use it, and it makes for
The Preview button is great for see- a slideshow that will be exported as a very nice cinema-like experience
ing a quick preview of your slideshow a video, note that all the exportable for your audience when they open the
without the need to wait for the whole resolutions have a 16:9 aspect ratio PDF. Without that box checked, those
show first to render. For example, if except the 640x480 option, which is receiving your PDF will have to man-
you’re playing with the settings and 4:3. Do keep that in mind when you’re ually switch to viewing the portfolio
want to test how things look before stylizing your slideshow in the Layout full screen on their device.
rendering your whole show, the Pre- panel. As mentioned before, you can set
view button offers a low-res version to your canvas’ aspect ratio in the Layout When choosing the height and
see how things are working first. Once panel. width of your PDF, note that there’s
you’re satisfied with the look, hit Play. a dropdown menu for Common Sizes
If you click on Export PDF, you’ll to choose from. However, these sizes
Exporting Slideshows launch the Export Slideshow to PDF are all 4:3 aspect ratios, so do keep
As Videos Or PDFs dialogue, as shown in Figure 9. The top that in mind. Most of you, I suspect,
In addition to simply playing your part of the dialogue allows you to Save shoot 35mm format or a 2:3 aspect
slideshow, you can also export your As a name of your choosing, enter Tags ratio. Thus, if you want your back-
slideshow as a video or a PDF. First, to help with searchability on Google, ground canvas’ aspect ratio to match
look to the lower-left corner of the and determine where you want your your images, then you’ll need to add a
Slideshow Module’s user interface. PDF saved on your computer. With the custom number to those boxes.
There you can find two buttons: Export remainder of the dialogue, you can con-
PDF and Export Video. Clicking on figure the settings for your PDF. You Sharing PDFs From
Export Video will launch the Export have a Quality slider, a checkbox to The Book Module
Slideshow to Video dialogue, as shown show full screen Automatically, and For a more polished look to your PDFs,
the ability to set the height and width visit the Book Module instead of Slide-
of your final export. show. Obviously, creating and printing

outdoorphotographer.com September 2021 59

Figure 9. To export
your slideshow as
a PDF, look to the
lower-left corner
of the Slideshow
Module and click
on Export PDF to
launch the Export
Slideshow to PDF
dialogue.

Figure 10.
Multiple options
are available in
the Book Settings
panel.

books is another great way to share and you’re done. Alternatively, if you’ve which of the images you’re creating
your work, and the Book Module is an first selected to create a PDF, then look
easy way to create all kinds of looks to the lower-right corner of the user have impact and begin to understand
and styles for your printed masterpiece. interface to Export Book to PDF.
how others are interpreting what you’re
Without walking you through the Creating Art Is Not Enough
whole module, just look at the Book I presume we’re all familiar with that trying to express through your work.
Settings panel in the upper-right corner old question about the tree falling in the
of the user interface, as shown in Figure forest. If it falls and no one is around to And, as we’ve touched on in this
10. Starting with the Book dropdown hear it, does it make a sound? To think
menu, you can choose between creating of it another way, what’s the value of article series, we have so many ways
a layout specifically for a Blurb Photo sound if it’s not perceived? Compar-
Book, Blurb Magazine, Blurb Trade atively, what’s the value of art if not of doing that today. From websites to
Book, PDF or JPEG. Next, under Size, shared?
you have an assortment of different social media, the slideshows you create,
aspect ratios and sizes to select from. That doesn’t mean sharing art is
You can create layouts with as many easy, as it requires taking risks. Sharing books you lay out and the PDFs you
images as you like, creating large or demands that you reveal who you are
small portfolios, and the stylistic pos- as an artist, how technically inclined export, the myriad options available
sibilities are just as endless. you are, your sense of style and your
ability to use your camera as a tool to today offer a profound set of choices to
Doing the actual export to PDF is sim- translate your voice. These are all very
ple. If you’ve first selected to create a personal things. To share, you must be, connect with audiences and show our
Blurb Photo Book, Blurb Magazine or on some level, vulnerable in front of
Blurb Tradebook, and you’ve chosen your friends, family, peers, colleagues, work to clients in ways never before
a Size for your book, then you simply clients and strangers.
look to the bottom-left corner of the possible. The more you do it, the more
Book Module’s user interface and click Here’s something else to consider:
on Export Book to PDF. There’s no fur- There’s no reward without risk. I sug- opportunities you’ll have to grow and
ther dialogue for you to configure sizes gest being vulnerable. Put yourself out
or quality of output as that’s already there. If you do, you’ll get feedback. evolve your craft. OP
done ahead of time in the Book Settings You’ll gain insight into what parts of
panel. Simply name and save your PDF, your work people connect with and See more of Jason Bradley’s work at
bradleyphotographic.com.

60 Outdoor Photographer outdoorphotographer.com

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outdoorphotographer.com September 2021 61

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62 Outdoor Photographer outdoorphotographer.com

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outdoorphotographer.com September 2021 63

last frame

Red Deer In Bracken

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See more of Mike Rowe’s work at mikerowephoto.com.

³ Canon EOS 50D, Canon EF 300mm f/2.8L IS II USM. Exposure: 1/500 sec., ƒ/2.8, ISO 400.

64 Outdoor Photographer outdoorphotographer.com

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Photo by Brett Wells

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