At some point or another everyone has been on a trip where the weather gods chose not to cooperate with any intended or hopeful plans. In fact, why would it be otherwise? If we plan a trip or vacation, we hope for good weather. But for scenic landscape or nature photographers we often hope for storms. Now granted, none of us may feel like spending day after day stuck in the rain, but sometimes that's the price we pay because we're waiting for the special light which happens with breaks in the storm, or as the storm front is passing. The dramatic light which occurs as a storm is clearing, especially at sunrise or sunset, can create those portfolio-worthy shots that many scenic shooters define as ultimate trophy shot.

When reviewing portfolios of students, workshop, or consulting clients, I'd often remark, "There is no excuse for messing up a still life photo." The reason is simple; the photographer is in complete control of every choice needing to be made to get the shot. Yet I've seen countless cases where photographers who are wonderful at studio and still life images fall completely flat when it comes to taking outdoor scenic, nature, or travel photos. On one hand, they produce work in the studio that is beautifully lit with expert control and perfect composition, yet once they step out the front door, their images suddenly lose some of that special character.

I have been using telephoto lenses for decades and my favorite use is to choose a variable zoom or fixed prime telephoto lens and shoot the amazing landscapes that I come across in my travels. What I just said is "old news" to many of those that have been doing this already. But for those of you that have not considered using telephoto lenses for capturing landscape images that go beyond the ordinary or have been "taught" that wide-angle lenses are the only way to capture the grand landscape, let me show you some examples of what you can do with only one long lens. In this case a 300mm f/4.0 prime telephoto.

When most photographers think of Patagonia, they envision rugged wild landscapes, extreme weather patterns and incredibly beautiful light. After having recently spent 3 weeks traveling throughout the Patagonian region of Southern Chile and Argentina with my wife...I can tell you that those ideas are not far from the truth.

Recently I, along with the seven other members of SouthLight Salon, were asked to create a series of images to represent the beauty of the Harpeth Watershed here in middle Tennessee. My first trip out was Father's Day. I left the house long before sunrise in order to be on location, and ready, just as the sun first appeared. The skies were clear with a strong hint of humidity in the air. I had no idea where my first location would be, as I was following small red dots on roadmap, that were suggestions from someone with the watershed association.

When looking up at the sky on a clear night, sometimes we are able to get a sense of just how vast the universe really is. If you are fortunate enough to be far away from a city then you will be dazzled with billions upon billions of these tiny reflecting gas giants. As a photographer, one can't help but get excited at the notion of how much beauty one can find in a night sky, however most people feel daunted when it comes trying to capture a starry night. With a simple search on Flickr you can find hundreds of thousands of photos of the night sky.  Every once in a while you will come across an image that was executed so perfectly, that you almost feel as if you were there. You might ask yourself, how did they do that? How do they compose that image in the dark? Where would I set my focus on? How do you light up a tent correctly during a long exposure? Lets see if we can answer a few of these questions...

Like a farmer, the landscape photographers day is scheduled around the sun. As we all know light is the essential element in any photo of any subject, but so often those who study photography keep hearing that term “Great Light”. What separates light from great light?

Landscape photographers cant control the lights as studio photographers can, which can be both the good news and the bad. Instead of having the burden of learning how to light a scene or subject you have to walk around until you find it.

Years ago while looking through a loop at a 4x5 chrome, I discovered a star created by the sun in one of my pictures. Though unintended I was immediately addicted to the look and have been having fun ever since.  A “star” is basically the flairs surrounding the sun in a photograph, one of many illusions created by a camera, in fact it is created by the lens. The long arms stretching out from the sun can make a rather dull sky interesting, or add the kiss of light in a dark scene, I call them “legs”.

The rule when using a fisheye lens is very simple, get real close! I enjoy taking pictures with my fisheye now more than ever. Back in the dark ages before digital, I rarely took a photo without my eye peering through the viewfinder. Now most of the images I have captured with my fisheye are with my arms outstretched holding the camera in some funky local hoping nothing bad happens to me, or worse yet, the camera. I do this because I cant get my head behind the camera to compose and meter, forcing me to guess the composition and exposure until I chimp enough times that I get what I want.

When everyone else goes to sleep, it’s time for photographers to break out the flash lights. There is a very simple method of creating light exactly where you want it, and that is in the dark with a flash light. I have always attempted to blend the artificial light such as flashlight or strobe with the ambient to demand a second glance from the viewer. I hope to provoke the question, Is that real?

Middle of the day can be the worst light for landscape photographers, or not! Recently I was in Hawaii and marveled at the light that reaches way down into the clear tropical waters during high noon. Taking photos of this amazing blue green colored water is as addicting to me as swimming in it. Thankfully this effect occurs well after the usual pre dawn hours, which normally get me out of bed to find good landscapes.