Black and White: Learning to See Opportunities While Out in Nature

October 13, 2023 Sarah Marino

Midday light can work well for black and white photography. I headed out into these sand dunes in the early afternoon and found opportunities for photography through sunset. Canon R, 24mm, f/14, 1/2500 sec, ISO 400.

If you spend much time looking at nature photography on social media, you have probably seen a common type of post: a photographer, lamenting the poor conditions at the time, explains how they tried to salvage a photo by converting it to black and white. Before you read any further, I’m asking you to forever dismiss this kind of thinking about working in black and white. Instead of seeing black and white as a backup processing option when the conditions you hoped for do not materialize, I encourage you to instead think about black and white nature photography as an expressive form that stands on its own and holds the potential to open up many new creative avenues for sharing the connections you make with the natural world. A key step in shifting this mindset is learning to see opportunities for black and white photography while you are out in nature.

Monthly Review: Alaska, Photo Backlogs, and Stuff Peppers (#1.September 2023)

October 3, 2023 Sarah Marino

A few minutes of pretty light at Mount Rainier National Park. Canon R5, 2 seconds, 76mm, f/16, ISO 200.

This series is for our readers and for me. I am quite good at generating ideas but I need some help with discipline and follow-through. I plan to share a wrap-up like this at the end of each month through the end of 2024 to see if it helps me stay more accountable to myself. The basic format: an inventory of how I spent the last month with regard to nature photography and our photo business, a casual discussion about the things that are on my mind, and a few non-photography recommendations at the end. Thank you to Alex Kunz for the format inspiration.

Making the Most of Autumn: Essential Lessons for Nature Photographers

September 27, 2023 Sarah Marino

Golden light on ice-covered terraces, with a cottonwood leaf on top. As direct light hit the cliffs above, the warm light reflected on the landscape below. Building your observation skills will hope you notice this kind of lighting situation when you are out in nature. Zion National Park. Canon R5, 472mm, f/16, 1/4 sec, ISO 100, 15 file focus stack.

Years ago, I saw this cynical comment on a website or forum related to nature and landscape photography: “The world does not need another aspen photo.” I’ll get to that sentiment later but before doing so, I’ll acknowledge that the same could be said about this blog post: “The world does not need another article about fall nature photography.” This morning, an email landed in my inbox with what I thought included some bad advice for photographing fall colors and that email started a journey into the Google rabbit hole of articles on this topic. After reading some of the articles at the top of my search results, I decided I had a bit more to add on the topic than is generally covered.

Nearly all of these “how to photograph fall colors” articles set photographers up for disappointment and encourage limited thinking by emphasizing the importance of getting your timing perfect for peak fall colors and seeking out the “best” weather, light, and locations. These ideas suggest that everything needs to align to create worthwhile photography conditions. My years of experience conversely show that conditions are rarely optimal so cultivating a different mindset and greater adaptability can both enhance the experience of being outside during autumn and result in a more interesting, personal, and diverse body of work.

Generally, our thinking and practices can limit our opportunities or expand them. I want to choose the practices and ideas, like the four lessons I share below, that expand my opportunities.

Notes From an Over-Photographed Landscape

September 22, 2022 Sarah Marino

Afternoon shadows fall across the Grapevine Mountains in Death Valley National Park.

PREFACE: This is the introductory essay for ebook portfolios covering my extended 2021-22 trip to Death Valley National Park. You can download these ebooks, for free, here to see the full collection of photographs.

With our Airstream RV trailer, we are able to work remotely for long stretches, so we packed up for the desert and arrived in Death Valley National Park right before Christmas, 2021. We stayed through late February, 2022, giving us about eight weeks in the park. Aside from two weeks of formal work (teaching workshops), I photographed, hiked, or both almost every day. This portfolio is the result of those efforts.

By the time we left to return home, the list of Death Valley canyons I have visited had many new entries, for a total of fifty-four. I can now say I have backpacked across Death Valley’s floor, an experience that makes the incredible vastness of the park feel much more profound than contemplating those same distances from the roadside. The scenery, as always, was endlessly enchanting. Solitude was easy to find. With photography friends coming and going, the trip felt a little like summer camp. As with every trip to this park, the list of new things I want to see is much longer than the list I had when I arrived. With the weather getting increasingly warm in late February, I knew it was time to head home but still tried to convince Ron that we should stay for just one more week. Just one more.

Ron's Recent Work from Death Valley

April 5, 2022 Ron Coscorrosa

After a busy fall in Colorado, the Adirondacks, Vermont, Maine, and Zion we took a needed break before heading to Death Valley in late December with our trailer and staying there nearly 8 weeks. That is a long time in a single place, but like every visit to Death Valley, we only scratched the surface of what is there to see and explore. Most free weekends were spent exploring the many canyons in and near the park. I have now visited over 60 Death Valley canyons - many without names and most with a few surprises.

Canyons (and the rocks within them) make up a large portion of my recent gallery of photographs from Death Valley, I have included a few favorites in this post, but see the full gallery for much more.

Ron's Recent Work and 2021 Favorites

December 11, 2021 Ron Coscorrosa

“Mountain of the Sunrise” - A colorful sunrise in Zion’s backcountry

Sarah and I have had a busy last few months. Since late August we’ve driven to Chicago and photographed the Chicago Botanic Gardens, drove home to briefly photograph fall in Colorado, drove east to photograph Acadia with a quick stop in Vermont, drove home and left two days later for Zion National Park where we spent three weeks in the trailer and a few nights in our tent. All of this while working (me as a full time software developer, and Sarah by teaching at many of the places we were visiting). By the end, actually well before the end, we were exhausted!

I would much rather have this level of intensity where I spend multiple weeks in a location rather than the weekend warrior style of being at a place for 3 days and not getting a chance to explore it deeply. There is probably a healthier balance out there - one that continues to remains elusive though almost certainly involves less driving.

All of that is a long winded way of saying I have a bunch of new photos from Colorado, Vermont, Acadia, and Zion (over 150, I know…), and because it’s the end of the year, a gallery of my 50-ish favorites from 2021, all linked below.

New Ebook - Lessons from the Landscape: Yellowstone National Park

September 13, 2021 Sarah Marino

I am happy to announce my newest ebook, Lessons from the Landscape: Yellowstone National Park, which includes an almost entirely new portfolio of photographs, eleven personal essays, and six practical case studies. This is my most personal project yet, and I am excited to share it with you.

You can get the ebook for the discounted price of $19.95 through Tuesday, September 14. See below for more details.

New Black and White Plant Photos

June 28, 2021 Sarah Marino

I am continuing to work through my archive of unprocessed files and processed-but-never-finished-and-shared files. At each turn, it feels like the scope of the project grows, mostly because integrating new photos into existing portfolios means that I also need to spend time updating and revising formerly finished files since my tastes have changed significantly over the last few years. I am making slow progress in the right direction so I hope to have a lot of new photos to share as I plod along through my Lightroom catalog.

One of my recent projects focused on finishing some new black and white photos of plants. I added about twenty new photos to our website and then split up a single gallery into three galleries for more cohesive organization.

Badlands from Above: New Photos and Thoughts on Drone Photography

April 27, 2021 Sarah Marino

A few years ago, we added a drone (a DJI Mavic Pro 2) to our photography kit and I have come to have a love/hate relationship with it. To begin with the love, it is an incredible piece of technology - a flying camera that can take sharp photos with exposure times of more than a second in calm conditions. This is worth saying again so we can spend a few seconds marveling together: a flying camera that is affordable enough to add to a nature photography kit! Wow! And it is about the size of a Nalgene water bottle when folded up. Wow again!

One of the things I enjoy most about aerial photography with a drone is how the resulting photos tell a totally different story than the one you experience when walking across the same landscape (if you can, in fact, walk across it). For example, in the photos below, you will see many tiny channels. These channels feel individually consequential when you walk up one of them but then become an extensive sea of branching watercourses when seen from the air. One individual channel becomes only a tiny part of a massive network from this alternative perspective. Every time we use a drone for aerial photography in addition to our typical land-based photography, I walk away with a much greater appreciation for the area and have more context for how different parts of a landscape fit and flow together.

Mindset: A Comparison of Expectation-Driven and Experience-Driven Photography

April 14, 2021 Sarah Marino

Over the weekend, I participated in the Out of Chicago (OOC) LIVE online conference as one of the instructors. This is the third online conference OOC has offered during the pandemic and they all have been such inspirational weekends. (Although the live conference is over, you can still purchase the recordings through April 16 and then access the sessions for the next year.) The organizers always pull together a great mix of inspiration, motivational storytelling, and practical education. I am usually on the side of practical education since that is what comes most naturally to me but last weekend, I had the chance to speak in one of the full conference keynote spots and give an “inspirational” talk. It felt like a big stretch and I was super-nervous leading up to my session but once it was over, I felt like I could do more on the “inspiring” side with some practice.

I chose “shifting your mindset” as the topic of my talk, with a focus on thinking about how you show up and the positive and negative ramifications of the ideas you bring along with you. The role of expectations in nature photography is one of the three areas I talked about, with the encouragement to set aside expectations and show up with an open mind. Generally, I think of expectations as blinders that you put on before you ever get out of the car, often leading to being laser-focused on a preconceived idea that may or may not materialize. By putting the expectations mindset aside, you can instead show up with an openness to serendipity and the opportunities that are in front of you at the moment instead of the conditions or compositions you hoped for that may never materialize.

Ron's Recent Work from Death Valley 2021

April 13, 2021 Ron Coscorrosa

Sarah and I were fortunate to spend almost three weeks in February in one of our favorite places, Death Valley National Park. Like our other two pandemic trips, we packed the trailer to the brim and avoided the need for having to go to a grocery store or laundromat for the entire trip. We focused mostly on canyons (new and old) but explored a few other new areas of the park and also returned to a few favorite locations. A few of my favorite photos are below, but you may wish to view the entire gallery.

This was my first extensive trip with my new camera, a Canon EOS R5 and also the Canon RF 100-500 lens - both of which are amazing. In addition to the extra 100mm reach over my previous 100-400mm lens, the close focusing distance makes the 100-500mm a pseudo-macro lens and opens up a lot of creative possibilities.

Also, as you may have noticed, our website, photo galleries, and online store (along with a new logo) are now at https://smallscenes.com and no longer Nature Photo Guides (though the old links will still work). We felt a change was needed, and Small Scenes, in addition to being easier to remember, shorter, and more unique, also better represents our photography and philosophy.

Sarah's Recent Black & White Photographs

February 1, 2021 Sarah Marino

I planned for this article to be a collection of my favorite black and white photos from 2020 but a few things intervened with that plan. Although I like all of the photos here and think they are worthy of including in my black and white photo collections, only a few feel like they will qualify as “favorites” as time goes on. I also found time to process some photos from previous years as well, broadening the collection a bit. So, below, you will find some recently taken and recently processed black and white photos, with a few stories about our travels during 2020. I hope you enjoy the photos and the stories - and I hope that 2021 is off to a good start for you, despite the complex circumstances of these times.

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