The determined pursuit of excellence leads photographer to venture far from home

Debra Harder lives in southern Oregon among a wealth of nearby photographic opportunities, but that doesn't keep her from also traveling afar -- by herself or with photo workshops. "My interest in photography began when I was an art student in college," says Debra, "but due to the demands of starting a family business, I put photography aside for several years. Three years ago, I returned to serious photography, purchasing my first digital SLR and becoming forever inspired to capture memorable images.

"Since then, I have worked on both my technical skills and artistic vision through workshops and on-line classes, and by exchanging ideas and information with many other photographers. As I became serious about digital photography, I was fortunate to learn the basics from Neil and Sue Silverman. They directed me to Singh-Ray filters, and I have been extremely happy with the quality and versatility of my filters and how often they help me manage difficult exposure conditions and gain creative control over my images. I never travel without them.

"When I captured this classic scene of San Giorgio Maggiore in Venice, Italy, with the gondolas in the foreground, I wanted to capture the light from the setting sun and convey the movement of the gondolas in the gentle tide. Not wanting to substantially increase my ISO just to freeze the gondolas, I instead used their bobbing movement to creatively enhance my image with the blurred effect. Even with the very low light level, I used my Vari-ND Variable Neutral Density Filter to slow the exposure sufficiently.

"When I captured this image of an early morning in the Palouse Valley, Washington, the low light was hazy and I really wanted to punch up the color. The Singh-Ray LB ColorCombo Filter was the perfect solution. It cut through the hazy light to create the exact effect I had in mind. Not only did it reduce the haze, but the built-in LB Color Intensifier also accented the beautiful colors to really showcase this abstract image of the Palouse landscape.

"My absolute favorite is the 4x6" Reverse ND Grad Filter. For the image above, taken from the Ponte Santa Trinita Bridge in Florence, Italy, I had a tough exposure because of a bright sky. By using the Reverse ND Grad Filter, however, I was able to create the lighting balance I was hoping for.

"I also encountered similar lighting conditions when photographing this image in Stonington, Maine. For this shot, I again used my 4x6" Reverse ND Grad Filter to balance the strong light along the horizon and on the sunlit buildings. To match the uneven tree line horizon, I positioned my filter at an appropriate diagonal. Then, by gently moving the filter up and down during the exposure, I was able to create a smooth transition in the final image from sky to foreground.

"Although I have worked with HDR (high dynamic range) software to manage some exposure problems at the post-processing stage, the results are not always natural and inherently pleasing to me. Whenever possible, I prefer to manage all types of exposure issues and effects with my Singh-Ray filters, and not rely on post processing any more than is necessary. I believe the better I can manage to balance my exposure levels in the original image to match my initial concept, the greater the chance that my finished image will live up to my original vision."

Debra considers the study of photography to be a lifelong journey and passion. Although influenced by her college art student experience with black and white film and the visual tradition of Ansel Adams, she feels her use of digital technology in both image creation and post processing more fully enhances her artistic vision. More examples of her work can be viewed on her website.

For RAW files "bursting with rich colors," he turns to the Vari-N-Duo

When 26-year-old Michael Bielat is not busy operating his wedding and portrait photography business in Buffalo, NY, or serving his online photo workshop clients, you're likely to find him photographing for his landscape and wildlife conservation projects. Get the picture? "Time is precious to me," says Michael. "I am a photographer who would rather be with my family or out shooting than being bogged down behind a computer spending my time in post-processing. That means getting the image right in camera and one of the ways I do that is by using Singh-Ray filters.

"My Graduated ND filters are most essential for any landscape photography, but my latest discovery is the Singh-Ray Vari-N-Duo filter which combines both the Vari-ND variable neutral density filter with the LB Warming Polarizer. This versatile filter has enabled me to achieve some astounding images. It's particularly useful when I'm photographing scenes with any kind of moving water.

"I was able to put this filter to very good use during a recent trip to Letchworth State Park in Castile, New York. Referred to by many as the Grand Canyon of the East, the beautiful forest scenery along the Genesee River can really keep a photographer busy. I was especially attracted to these two waterfalls and decided to shoot several test images at different settings for my future reference. I couldn’t believe how the image looked on my camera’s LCD. It was as if I were staring at my finished image right there.

“Figure 1 above shows the comparison of a selected scene taken with the Vari-N-Duo's neutral density ring dialed almost to the MAX setting to achieve a 30-second exposure at f/16 and ISO 200. The first shot (at left) had the polarizer dial turned for minimum polarization. For the second shot, I kept the same density setting, but used a strong polarizer setting to hold back more of the reflections. (Click the image to enlarge for closer comparison.)

“I have previously noticed that many images were lacking some oomph, but I just blamed it on the RAW file not preserving any in-camera picture styles from the camera. I guess I can’t say that anymore because my RAW files are just bursting with rich colors. By having this palette of colors in the image file right from the start, I end up with an image that is an accurate portrayal of what I saw. It also means that I don’t have to try capturing those colors in post processing.

“The comparison illustrated by Figure 2 was also captured in Letchworth Park at Wolf’s Creek. The neutral density setting was modestly used to allow for an exposure time of 5 seconds at f/16 and ISO 200. The shot at left was taken with minimum polarization applied, and the shot at right was taken with full polarization. This is a good example of how the warming polarizer brings out the colors in the foliage and cuts through the surface reflection on the water.

“As I mentioned before, my Singh-Ray filters are an essential part of my gear and my way of working in the field. I tried the rest and couldn’t believe what I was settling for all that time. I now appreciate that any post-production time I can eliminate, by using my filters in the field, is that much more time I can spend with my family. What a deal."

All images were photographed with a Nikon D700, Nikkor 24-70mm lens, and the Singh-Ray Vari-N-Duo filter. RAW files were simply imported to Lightroom and exported to JPEGs without any post-processing applied.

Michael's photos have appeared in Outdoor Photographer and other publications, and he's also founder of the inLIGHTin Workshop, which provides online learning and seminars to photographers. Or stop by his Paramour Photography site to see more of his portrait and wedding work.

Photographer wraps up a busy year visiting many of North America's natural wonders

One year ago we posted the initial 'field report' from Canadian nature photographer Ethan Meleg as he launched his dream photography trip -- as a full-time nature and wildlife photographer. Ethan explains how it all started. "Two years ago I was sitting in my living room planning to buy an expensive leather couch when it struck me... what was the couch going to contribute to the quality of my life? There was nothing wrong with the one I already had. That money could be put to better use... an epic photo trip!

"Most normal people would have been satisfied to keep the old couch and do a short trip, but I craved more. So I sold my house and most of my possessions (camera gear excluded), bought a VW camper van and took off in October of last year for a year of wanderlust travel to some of our continent's best photo locations.

"The trip ended last week after a full year of living on the road. You know what's interesting? The one thing I missed the most during the trip was a comfortable couch to sit on. Go figure!

"Over the course of the past year, I logged 49,000 miles of driving and 700 miles trekking on foot with my camera gear. The winter months were spent roaming around the American southwest and west coast, the spring bird migrations drew me to Texas and Ontario, and then I moved east through Canada's Atlantic provinces during the past summer before racing back to catch fall colors in Ontario at the end of the trip.

"I visited some extraordinary landscape and wildlife photography spots, but a few experiences stand out in my mind: Enduring the painfully rugged drive to the Racetrack in Death Valley National Park. Finding compositions among the otherworldly trees and boulders in Joshua Tree National Park. Frigid nights camping in the Alabama Hills to catch alpenglow on the Sierra Nevada. The warm hospitality and hearty fish dinners that can only be found on the spectacular coast of Newfoundland.

"But nothing beat the giant redwoods of northern California. After days shooting the towering trees in drenching rain and fog, the sun finally broke through for a few moments -- illuminating the forest with magical beams of light. It was was one of the most awe-inspiring experiences of my life.

"Photographing every day in a wide range of conditions and in places I might never get to again, I relied heavily on my gear -- especially filters. Almost every landscape photo I shot was using a Singh-Ray polarizer -- either an LB Warming Polarizer, LB ColorCombo or the Gold-n-Blue. If there was a horizon in the photo, I handheld one or more of my 4x6" Singh-Ray ND Grads in front of the lens to balance the exposure range and contrast.

"Thought you might be interested in a few more basic trip stats from the year:
- 87,000 photos taken
- $16,500 spent on van repairs/maintenance
- 433 bird species seen
- favorite place: giant redwood forests of northern California
- 19,000 different visitors to my blog

If you've been following my blog, you'll be pleased to know that I did not break my 6 day record of wearing the same t-shirt. And I only ate 3 bags of Oreos during the entire trip!

"So what's next? I've parted ways with "Turtle", my VW Westfalia van/home for the past year. Why the name 'Turtle,' you ask? It was my shell, providing refuge from intense desert sun, frigid nights and coastal downpours during my travels. And like most VW Westy vans, it was very slow... especially on hills! Turtle and I had a love/hate relationship, exploring incredible landscapes but also stopping frequently to share my life savings with repair shops. A young couple bought the van recently to begin their own journey southwest. Lucky for them, most of the major repairs have been completed!

"With some extra cash in my pocket from selling the van, I've just bought the new Canon 24mm Tilt-Shift lens. There have been some great reports about this lens from other photographers (FYI, I never buy a piece of camera gear as soon as it's released... I wait for several months until its been tested by others). I'm now back living on the Bruce Peninsula - renting a big house with a comfortable couch! When I'm not editing and marketing the thousands of photos I shot this past year, I'll be out shooting more pictures and preparing for the next big trip."

We can all be sure that Ethan's photographic travels and workshop activities will continue for years to come, and we can all follow along by visiting his website and very instructive blog.

When planning that trip to Hawaii, consider which filters you don't dare leave behind

“It's interesting,” says photographer Joel Addams, “how people tend to trim down the amount of photo equipment they take on vacations in order to travel 'lighter.' As I see it, they should be thinking how MUCH camera gear they can take along. Our camera bags should be at least half full, not half empty.” Based on his own current experience shooting constantly in the islands, Joel offers some practical advice to anyone who may be planning their “filter portfolio” for an upcoming Hawaii trip.

“If I could suggest just one filter every landscape photographer must have in Hawaii, I would choose a Singh-Ray 3-stop Reverse ND Grad. Hawaii’s oceanscapes are the main attraction for photographers, and this filter offers the best way to balance the brilliant sunrise and sunset light from the darker foreground and overhead skies. The “reverse” nature of the filter leaves most of the density (and therefore holding power) in the middle of the filter where the brightest, harshest light will be at sunrise and sunset. The above image of Turtle Bay has only minimal sky, but the Reverse Neutral Density filter allowed me to balance the sky to the long waves that were rolling in. Moreover, the proper exposure of the sky left the natural orange tones, instead of a bright and 'blown out' sky.

“So, let's say you’re able to bring along two filters. After the Reverse Graduated ND filter, Hawaiian shots benefit immensely from the LB ColorCombo. Combining an LB Warming Polarizer and an LB Color Intensifier, this filter offers the ability to cut the glare off the ocean or off green foliage, and -- in addition -- the color intensifier adds a slight boost to the bright colors of the island. This second image from the North Shore used the Reverse Neutral Graduated filter as well as the LB Color Combo to produce the simultaneous effects of cutting the glare, balancing the sky’s exposure with the foreground, and boosting the blues of the scene which had shifted from orange after the sun had set. The amount of light in the scene, which was obviously less than when direct sunlight had hit the area, was actually an advantage. It allowed the shutter to remain open for an additional few seconds and gave a smooth, velvety texture to the water.

“The combination of these two filters was also used in this image of the Um Mamori Jizo, a Guardian of the Sea, a stone placed in the 1930’s to warn fishers of the violent seas. After a Vietnamese Buddhist visited the area in 2007, a statue of Quad Am Nam Hai, a Vietnamese Buddhist goddess was added to the site. I wanted to capture a sense of place with the statue and include the sunset as well as the nearby highway. The LB Color Combo helped to keep the colors of the sky intact and added a small amount of density, again helping to keep the shutter open longer in order to blur the headlights.

“I recommend the Reverse Graduated Neutral Density filter as the essential filter for Hawaii, but any of the Reverse Graduated or standard Graduated Neutral Density filters are very helpful in 1 ,2 , or 3-stops, depending on how much light the photographer needs to hold back from a scene. Besides a small collection of these, the LB Warming Polarizer is an excellent filter to add as a third option. The obviously pink and orange sunsets are sometimes simply handled best with this warming filter mixed with a polarizer. I caught this surfer at the last moments before the sun dropped when the orange of the sky was the most intense. The LB Warming Polarizer enhanced this and cut through the glare of the water to leave a simple scene of color with a human element."

Joel’s advice is pack all the filters you can, as you never know what you may encounter. He continues to relentlessly use the Graduated and Reverse Graduated Neutral Density filters from Singh-Ray in all of his landscape photography and looks forward to shooting on the Big Island of Hawaii next month, as well as offer a photo course there over Memorial Day weekend -- May 28-30, 2010. For more information or to follow his work, visit his website or find him on Facebook.

Singh-Ray filters help capture the natural beauty of Norway's sub-arctic environment

Born in Seoul, S. Korea, outdoor photographer Seung Kye Lee is now based just outside Oslo, Norway. He loves to hike, ski and to sleep under the stars in the Norwegian wilderness, exploring and photographing its unique sub-arctic nature. His favorite subjects are grand landscapes, but he also loves to shoot close-up and macro images as well.

"This first image (above) was made in June on one of my treks into Rondane National Park in eastern Norway. Waking up in the middle of the night is a challenge for most landscape photographers, but we all know how often it can result in spectacular photographs. On this cloudy night I woke at 3 a.m. and hiked for an hour to arrive and be ready for sunrise here at Storulfossen Waterfall on the rugged Ula River. Located just above the treeline with the snow covered Smiubelgen Peak (6621 feet) in the background, this rocky scene is really moody and takes on an almost pre-historic look until the sun begins to rise above the horizon.

"To capture this image I used the Singh-Ray LB Warming Polarizer. Even though the horizon line is quite straight, except for Smiubelgen Peak, the difference of light levels from foreground to sky was too extreme to capture with my Graduated ND filters alone. Even though 90% of my images are captured as one RAW exposure, there are the 10% of scenes, such as this, where the light conditions or other characteristics of a landscape are too much for a single in-camera exposure to handle. For this scene, I shot one exposure for the sky and one for the foreground landscape. I then manually blended them on my computer to make it look like the scene as I experienced it. The LB Warming Polarizer allowed me to get a short enough exposure to keep the details in the water and to warm up the scene a little bit. I used a 17-40mm f/4 USM on my Canon 5D, tripod, mirror lock-up, and remote shutter release.

"In recent weeks, the fall foliage has been quite stunning in certain parts of Norway. One special place where fall colors and a wild river converge perfectly is Asdøljuvet Gorge, one of the most famous geological areas in the world. Some 250 million years ago, there was volcanic activity there and it is one of the only places in Norway where volcanic rocks are still visibly present. This image was shot on a rainy day along a more or less hidden part of the river. Again, the LB Warming Polarizer came to my rescue by warming up the light and foliage on a heavily clouded day deep in the forest. In shade, a normal polarizer can add a slight blue cast, especially in the shadow areas of an image. As a RAW shooter, I am well aware of how we can adjust white balance in post-processing to warm up the image, but in many cases the overall WB becomes too warm in the process. And, if I can capture what I want on location, I also minimize the time spent behind my computer. A blue cast was not a part of my vision for this image and at the same time I wanted the shortest exposure possible to keep the details in the running water. I quickly arranged a few leaves on the foreground rock to add some interest, and halfway into the 3-second exposure I breathed slightly on the lens to fog it up which created a luminosity that I think enhanced the magic of the scene.

"Taken at Tyri Fjord in September, 2009, about half an hour after the sunset image I had been hoping for never materialized. I decided to shoot some very long exposures to pull out as much available light as possible, even colors that were not visible to the naked eyes at the time. If I shot this image with my standard sunset setup (LB Warming Polarizer and Graduated ND filter for the sky), the color palette in this image would not be recorded by the sensor. But, by using two Singh-Ray 3-stop ND Grad filters (one used as a solid ND-filter with the dense part pulled over the entire lens opening and the other positioned carefully over the sky and horizon) together with the Singh-Ray LB Warming Polarizer I was able to shoot 'Tides Of Time" at 135 seconds. And the image on the LCD had everything I could have wished for.

"In addition to landscapes, I enjoy photographing interesting details found in nature. Whenever I shoot insects using a macro lens, I enter a totally different world of photography. This Coenagrionoidea (damsel fly) was captured at a small lake near my home in Akershus, Norway in June -- just as the first morning rays lit up the background with warm, soothing colors. By using a tiny mirror, the size of a fingernail, I reflected the light exclusively onto the damsel fly to create an unusual image. In the early morning, damsel flies have not yet started their daily activities and this one was a very cooperative subject. I used my LB Warming Polarizer with a 100mm f2.8 macro lens. I have found that a polarizer is a must for macro shooting to get rid of distractions like bright reflections on leaves, flowers, and water. Since many of my macro images rely on light and background, it can be a real pain if I already have a good image, but a blown-out highlight distracts the viewer's experience.

"This next image, taken at Østensjøvannet Lake near Oslo in April, is one that could easily have been lost if the technique and equipment were not just right. There are many ways of capturing moving subjects, from very short shutter speeds to freeze the action to longer shutter speeds to create the impression of movement. I had spent the entire day on the same spot -- shooting different kinds of birds -- and I kept hoping for that some of the swans in the farthest end of the lake would come close enough. In late afternoon, they heard my silent prayers, and these two swans came flying gracefully towards me. I had just enough time to dial in a sufficient shutter speed to capture a little motion and still have the point of focus sharp before their feet touched the water surface and I panned their motion. Again, if I had used an ordinary polarizer I would need to either turn up the ISO or dial in a longer shutter speed and accept a different kind of image that would result in more blur of details. The Singh-Ray LB Warming Polarizer -- with its lighter, brighter quality (66% more light transmission than previous polarizers) -- became crucial in making this image as the sun was already approaching the horizon. For this image, I used my 70-300mm lens on my Canon 5D."

To appreciate more of Seung Kye's award-winning images, as well as the dramatic beauty of Norway, you'll want to visit his website: www.leeseungkye.com and his blog: seungkyelee.wordpress.com

What's most "special" about the Gold-N-Blue Polarizer is its exceptional versatility

About five years ago, Robert Servranckx combined his life-long passion for nature and wildlife with a decision to become a skilled outdoor photographer. Being the webmaster for noted nature photographers Gustav W. Verderber and Roy Toft certainly influenced that decision and provided much of the support he needed to become a part-time professional.

Rob considers his recent decision to buy a Singh-Ray Gold-N-Blue Polarizer as "the best way to increase my chances of getting some 'keeper' images on every outing. My day job leaves just a few hours on most weekends to do my own shooting. Now, even when the weather, lighting and travel schedule prove challenging, I'm often able save the day by going to the Gold-N-Blue Polarizer. That's why I’m always surprised to hear people describe the Gold-N-Blue as a 'specialty' filter... For me, it's more of a multi-purpose tool -- or a Swiss army knife -- that can be used in many different situations.

"If Mother Nature can't supply the colors I need to get 'the shot,' out comes my Gold-N-Blue Polarizer! The versatility of this filter never ceases to amaze me. It does wonders on water; on wet rocks, asphalt and cement; on hazy skies, and on anything that shines. As far as I am concerned, this is a “must-have” multi-purpose filter that can really save the day. Here are four examples of different weather and lighting situations the Gold-N-Blue helped me solve.

"The image above was taken late one morning, on a recent trip to explore new photo locations near my home. I ended up at the Coteau-du-Lac National Historic Site southwest of Montréal on the shores of the St. Lawrence River. The skies were clouding over, but with the gray skies and the neutral-colored water of the river, it seemed nearly impossible to get a dramatic shot -- there was simply no color to be seen at this time of the day. So I placed the Gold-N-Blue polarizer on my lens behind a George Lepp 4-stop Solid ND filter (to slow the exposure and blur the water) and the Singh-Ray Galen Rowell 3-stop hard-edged Graduated ND filter (to darken the cloudy sky) and... POW! A more powerful, dramatic and much more colorful image was created. Both the gold (lower-left to upper-right diagonal) and the blue (upper-left and lower-right) colors were added by the Gold-N-Blue Polarizer. It should be noted the clouds were also slightly polarized with gold (right) and blue (left), so I de-saturated these colors a bit in Photoshop to even out the sky. But this image was truly created by using these amazing Singh-Ray filters.

This past Labour Day, I headed out for a sunset shot to my favourite spot overlooking the Lake of Two Mountains just west of Montreal. On this occasion, the skies were completely clear and just a touch hazy -- really not a good combination to get good sunset colors in the sky. I popped on the Gold-N-Blue, looked through my camera’s viewfinder and turned the filter to get blue polarization on the foreground and the sky, and my jaw just dropped. The hazy sky picked up so much color, the foreground rocks turned a bit blue. Simply beautiful! I also used two additional filters on this shot: a 2-stop Graduated ND positioned about 1/3 of the way up from the bottom, and a 3-stop Graduated ND at the horizon to hold back the very bright sky.

"Spring is always an exciting time of year for me with the long, cold winter months finally coming to an end and the warm spring air promising good things to come. But during an outing at a nearby marsh in late March, I realized I was a just a bit too anxious to start spring photography. With the harsh sunlight of the late morning, the colors of the plants were completely washed out and the sky was a milky blue. I had tried using a regular polarizer to see if it would improve the image, but the sun was too high in the sky and at the wrong angle (almost directly behind me) to turn the sky blue. In this situation, popping on the Gold-N-Blue turned the milky blue sky a rich and beautiful blue and also added a warming touch of yellow to the plants. OK, so this image is not 'spectacular' -- it’s more of an environmental/natural history image... but it shows what the Gold-N-Blue can do in harsh sunlight conditions.

"Of course, there are times when you don’t need to use the Gold-N-Blue polarizer. This next image of Moss Glen falls, near Granville, Vermont, would have been gorgeous even if I had used a normal polarizer. But it's sometimes fun to try different things. Notice how the rocks have a beautiful golden hue? All thanks to the Gold-N-Blue!

"What I really find amazing when using my Singh-Ray filters is that they’ve almost completely eliminated my time spent in Photoshop. At this point, 99% of my image adjustments are simply done in my RAW converter (Adobe Camera Raw) when I convert my images, so that I can spend a lot less time behind the computer, and more time doing what I love most: nature photography."

You can see more of Rob’s work on the Sojourns In Nature website and on their blog.

Photographing the ocean calls for caution as well as all the filters you can bring with you

In addition to teaching photography to high schoolers, nature photographer Brian Rueb is now teaming with fellow Singh-Ray blogger, Stephen Oachs, to help launch the Aperture Academy in Campbell, California. "Fortunately, I can still find some time to do my own shooting, too. On a recent visit to the northern California coast, I had the chance to use several of my Singh-Ray Graduated ND Filters to create these images. Sadly, however, it was the last trip for one.

"I don’t think any place provides more dramatic photo opportunities than the Pacific coast. In my opinion, however, the ocean is also the most difficult place to photograph. When working in a river, lake, or near a waterfall, the water flows in a somewhat predictable pattern and safety is not as big an issue. The ocean, however, is constantly changing and the churning waves and currents don’t remain the same for more than a moment. Every potentially great image also holds the potential for disaster if you’re not paying enough attention to the incoming waves and slippery rocks you’re standing on. Using filters in such conditions calls for added caution.

"The image above was captured shortly after the sunlight had left for the day. There was a dense fog bank in the area, so I knew a fantastic sunset was out of the question. On days like this I opt to go for different compositions by shooting 'square format.' My DSLR camera won’t, obviously, shoot square frames, so I have to do some visualization ahead of time. In this instance I really liked the rocks, and the details I saw on their living surface. A Singh-Ray Vari-N-Duo filter allowed me to slow down the exposure time enough to get a glassy smooth surf. I added my 3-stop soft-step ND Grad to balance out the sky, which was considerably brighter than the foreground. The polarizer in the Vari-N-Duo filter helped bring out added detail in the rocks and gave the image more depth.

"This next image was taken on my second night of the trip. The fog had vanished along a section of the coast and a wonderful sunset appeared. If you’ve tried photographing the northern California coast during the late summer you know how rare great sunsets are. I like to have my Singh-Ray filters always ready to help capture such shots. I can easily balance the exposure range within the scene by using ND Grads to reduce the time spent on the computer when I get home. For this image I also used the Vari-N-Duo -- not as much for additional neutral density as for the its polarization feature -- which gave the colors a bit more pop and increased detail in the clouds.

"Capturing this next image was a bittersweet experience which taught me a great lesson. There is always some debate among photographers about how to hold an ND Grad filter. Do you put it in a filter holder or hand hold it? For a hard-step filter, I like to use a holder so I can line up the horizon with the gradient line on the filter and create a better exposure balance. If I’m using a soft-step, it usually means there are sea stacks or some other item that I’m trying to allow more light to reach. So by hand holding a filter, I can position it in a way that renders the best exposure. In this case I had been using my 3-stop soft-step ND Grad filter and even though the scene would have been great for a hard-step, I opted to keep the soft-step to try and maximize the light on the foreground rock.

"Wearing hip-waders and placing my tripod firmly in the sand, I set up the composition. I must say I was pretty happy with what was showing up on my viewing screen. The waves rolling in were at about low-calf level. However, just after this shot was composed -- as I was looking at my view screen -- the wave you see in the image came in. It was much larger than anything before or after. Water went from gently lapping my legs to rising very quickly, well passed thigh level, filling up my waders with water. I’ve trained myself to save the camera at all costs so I grabbed my gear with one arm and a nearby rock with the other to prevent a total wipeout.

"The hand that had been holding the ND Grad suddenly had to quickly grab the rock for survival and my filter was swept to sea. I was SO bummed! I felt glad I got the shot and managed to save myself and my gear, but I truly loved that filter. It was as valuable to my image making process as any other piece of equipment in my bag. It had been everywhere with me.

"The ocean presents endless compositional possibilities and is a perfect subject for all kinds of filters. This photo was made just 30 minutes after losing my 3-stop soft-step grad. Once I was able to shed the soaked waders and mentally regroup, I changed my location and used the 3-stop Daryl Benson Reverse Graduated ND filter which worked perfectly with the bright sun near the horizon and the nice straight horizon line. Here again I opted for a square composition.

"We learned two good lessons on this trip. First, remember to carry all our filters with us to the ocean when we're looking for dramatic images... they each serve a purpose. The more important lesson, however, is to always pay attention to the constantly changing surroundings and the potential safety risks to our filters, lenses and even our lives when photographing the ocean." In addition to teaching landscape photography workshops for Aperture Academy, Brian is currently planning a two-month trip to photograph Iceland in 2010 and begin work on his first book. You can explore his ever-expanding gallery on his new website.

Five years after giving up all his filters, veteran photographer plans comeback

Dale Wilson is a self-taught professional photographer based in Nova Scotia who has been teaching and writing articles about photography for more than 20 years, most recently as a columnist for Outdoor Photography Canada magazine. Quite recently, he's come back to the world of enthusiastic filter users and agreed to share his experience.

"I was influenced relatively early in my career," says Dale, "by two friends who have gone on to achieve great acclaim in the world of outdoor photography. In December of 1994, good fortune placed me in the frozen environs of Jasper National Park, Alberta, which just happened to be the home shooting turf of Daryl Benson and Darwin Wiggett.

"I knew them both through their widely published images and stellar reputations. Daryl and I were contributing editors to a magazine called Photo Digest, and Darwin was writing for Photo Life. Darwin and I are now -- fifteen years later -- contributing editors with Outdoor Photography Canada, and Daryl just produces big coffee-table photo books about Canada and gets filters named after himself.

"Back in 1994, Daryl and Darwin were successfully photographing with filters more aggressively than any others I knew at that time. Like all good photographers, they had back-up filters, and before I knew it, I was loaded with split grads, colour intensifying filters, and others... a total of around 25 filters in all. For the next ten years I was to see and photograph the world in a variety of exciting colours.

"When digital capture started to take over, my photo clients and stock agencies began telling me they didn’t want to see those 'artificial' colours any longer. Reluctantly I reverted to bare lenses, but what emerged from my camera was oftentimes uninspired imagery. I was left wanting, but my clients were paying the bills and thus directing my results. What a shame that I had fallen into the trap.

"Now let's fast track forward to just last August, some 15 years after that foray into Canada’s Rocky Mountain parks. Yet another Singh-Ray blogger, the itinerant Ethan Meleg, came calling to my home in Nova Scotia. I first met Ethan several years earlier in Toronto -- and when one lives a mere 45-minute drive from the idyllic Peggy’s Cove fishing village and lighthouse, it has to be assumed there can be no better place for two photographers to have some fun. Now, immediately on arrival, I watched Ethan pull from his camera bag a case containing an arsenal of Singh-Ray filters that would make Bob Singh gleam with pride.

"More importantly, I was suddenly envious watching Ethan stack and adjust his filters with such precision and confidence. For me it was déjà vu. I knew I had suffered enough. Ethan was happy to share. I captured the image of the lighthouse (at the top of this story) with an LB Warming Polarizer plus two Galen Rowell Graduated NDs -- a 2-stop hard-step and 3-stop soft-step -- which I feathered together and hand held during the exposure. I used the same LB Polarizer and a 3-stop soft-step ND Grad for the second image.

"I soon found myself looking up at an ominous cloud bank that I knew would most certainly block the setting sun. I also realized that despite the obligatory bus load of tourists that would parade to this beacon precisely 15-minutes prior to sunset, and despite more than five years of using manipulation software instead of Graduated ND filters, I found myself sitting in this scenic sanctuary feeling contented... most contented indeed. Maybe, and hopefully, my own Singh-Ray filter pack will lead me away from the computer screen and back out to the field where I can once again make pictures I find pleasing -- rather than taking pictures that are simply appeasing. Aaagh, now that felt good!"

To enjoy more of Dale's images and helpful photo tips, check out his column in Outdoor Photography Canada or visit his website.

Capturing more fine images in each location calls for an open mind as well as keen eyes

As outdoor photographer Shane McDermott sees it, living in Flagstaff, Arizona, is as good as it gets. "Being so close to many of our nation's outdoor treasures inspires me to explore the surrounding natural world almost every day. But then some days are even better, like my recent 15-hour adventure to photograph the breakout of wildflowers in the high alpine basins of southwest Colorado.

"All five of the images seen here, and more, were taken during the visit to Ice Lake Basin in the San Juan mountains of Colorado's high country. They were captured in the span of one late afternoon and the following morning. One reason for this success was the great weather and atmospheric conditions that produced some exceptional light. We all know it's great to be lucky... to be in the right place at the right time.

"However, I believe more of my success on this trip was the result of opening my mind -- as well as my eyes -- while photographing. I felt determined to respond to whatever magical images I might find awaiting me. Until lately, I have often headed into the field with a relatively fixed or preconceived idea of what I wanted to photograph. I'm increasingly aware that I often become so fixated on capturing the image I pre-visualized that my field work is reduced to a 'seek and conquer mission.' In the past, I'm certain I've overlooked many images my mind never even imagined.

"At Ice Lake Basin, I was working on a way to get around this potential pitfall. I tried to suspend all aspirations and imaginings of specific images I should try to bring back. My intent was to respond to whatever nature had to offer at the time -- allowing myself to be moved by not only what I was seeing but what I was experiencing. So, here are several of the unexpected images I discovered during those 15 hours.

"The image above may be my favorite of the trip, and it's one that I almost walked on. Actually, that colorful little sneeze weed plant is only about 8 inches high. I barely notice it, until I had practically stepped on it. With this scene I wanted to portray the enduring quality of this isolated plant, and the short and precarious life cycle of all the wildflowers that live above 12,000 feet. This landscape was captured about 30 minutes after sunup, normally at a time when the light is already starting to become harsh. Fortunately a thin layer of clouds helped to diffuse the light, creating a beautifully soft glow. However a fairly consistent breeze now started to become a factor in each image that was going to include flowers, so I moved the ISO up to 800 to keep the shutter speed fast enough to prevent blurring of the flower. That wasn't my only challenge though, I also needed to hand-hold my camera for this image, something I almost never do for landscape photographs. The light was changing so quickly, and the rock slope was so unstable that it would have taken too long to establish a solid base in which to position my tripod. I just quickly dropped to the ground, laid on my side and took the picture -- good thing I did, because the light was gone within 30 seconds of capturing the image. My Singh-Ray LB ColorCombo was on the job, reducing glare and adding punch to the sky, while the color intensifier gave the scene a boost. The 'lighter, brighter' formulation gave me a shutter speed advantage that helped minimize motion blur.

"Thankfully the thin cloud cover persisted, which extended my shoot significantly! By this time I had moved back down to the lake surface, and for a brief period of time the wind subsided. The tremendous reflections commanded my attention, and I responded. The spotty yet diffused light provided wonderful opportunities to accentuate deep and dramatic compositions, and really place the light in the best spot to leverage the viewer. I also leveraged the two stones and plant in the foreground to create a strong anchor from which the eye can venture into the scene. The LB ColorCombo allowed me to manage the glare on the lake surface, emphasizing the reflections while allowing the stones in the shallow water to be clearly visible, among other enhancements. As soon as the breeze returned, I went on -- waiting for nature to present herself to me in another new way.

"For me this nearly sunset scene holds a lot of drama and visual depth. Technically, there are atmospheric conditions present that might have discouraged many landscape 'purists' from taking this shot. I personally feel the distant haze adds to the mysterious nature of this image, perhaps like a scene out of 'Lord of the Rings.' My Singh-Ray 2-stop hard-step ND Grad and LB ColorCombo performed perfectly.

"It is a good practice to let go of your own bias and visual preferences, (like mine for big vistas) and allow something different to present itself to you. This image required quite a wait. The light I had hoped for, didn't quite happen; but the scene still lent itself to a strong composition regardless. Many of my other compositions were showcasing the flowers so beautifully, but here I wanted to show the life-giving mountain stream that makes all those brilliant flowers possible. This image added an important piece to my story of Ice Lake, and again, the LB ColorCombo helped add visual intensity to the overall image.


"This was the very last image taken on this trip. The cloud cover was breaking as I was walking back to camp thinking I was finished for the trip, but I was still remained alert for further possibilities. I am in the habit of not packing up my camera gear while heading back from a shoot -- just in case I see something of interest. I had been working hard, and felt exhausted and hungry. If I had not been carrying my camera and tripod ready to go, I may have never seen this composition. Had my camera gear been packed, I would have been psychologically and visually done! Good habits in photography often pay off! I'd left my LB ColorCombo on the lens as well, which helped me do justice to the colors nature had to offer me, and my 2-stop hard-step ND Grad let me balance the exposure of the sky as my eye saw the scene.

"And that's my story of interacting with some of the images at Ice Lake Basin, as I allowed them to present themselves to me. But here is an important closing suggestion. If you want to tell a diverse and interesting visual story of one location, pay close attention to what you have already captured, recognize when the same or similar scene re-presents itself to you, and consciously don't shoot it again, move on. Allow something different to capture your imagination. By the end of your day, you may be surprised to discover how many fresh and unique images you have acquired from that same location."

To keep up with Shane's photo excursions and latest stories, you'll want to visit his website and his blog.

The LB ColorCombo is his “go-to” filter to enhance Hawaii’s magical greens and blues

“Some photographers have a ‘go-to’ lens,” says Hawaii-based photographer Joel Addams. “I now have a ‘go-to’ filter for all of my mountain shots here in Hawaii: it's the Singh-Ray LB ColorCombo. I'm currently doing my mountain landscape photography on Oahu -- even though most landscape photographers will tell you that either Kauai or the Big Island is the only place to go. Not so. Oahu’s green foliage is just as vibrant, and there are many hidden gems if we just take the time to discover them. The best way I've found to get exciting color into each shot is to use the LB ColorCombo filter as a standard.

“In Hawaii, you deal with two overwhelming colors. Green and blue. If you're on the coast, think blue and a few of the extra warm sunrise and sunset colors. For the mountains, trails, and forests, however, I am almost overwhelmed by that wonderful color: green. I went out specifically one afternoon to hunt down a bamboo forest on the southern half of Oahu. The well-hiked Manoa Falls trail brought me both a good workout and the bamboo that I was looking for about halfway up the trail. Passing hikers may have thought I was crazy because the forest had started to darken with the fading afternoon sun. Fortunately, Singh-Ray made it easier for me by creating the LB ColorCombo filter, which not only gave me the polarizer that I wanted to cut some of the glare on the bamboo, but also provided the color intensifier which subtly enhanced the radiant greens of the young bamboo shoots. In addition, the 'lighter, brighter' ColorCombo is a full f-stop faster than the previous generation, thereby enabling me to use faster shutter speeds and reduce the possibility of camera movement.

"The green foliage of Oahu’s mountains is unrelenting, and I find much of the ground foliage shines with a waxy layer of resin. Cutting through that glare is essential to improving foliage photography. In the past, I would have had to use a "regular" polarizer plus an intensifier, but the 2 or more f-stops of additional density would have required much slower shutter speeds which could cause the foliage to blur.

"Some flower photographers rely on a large white soft-tent structure to assure glare-free color saturation, but I find the easier and cheaper solution to be the LB ColorCombo which lets me avoid the hassle of carrying more equipment. As a bonus, the color intensifier built into the LB ColorCombo subtly enhances the rich greens in the plants.

“The green vistas should be captured both with and without the LB ColorCombo. You’ll quickly see and appreciate the difference! The following two images were taken on the Olomana Trail leading to three ragged peaks between Honolulu and Kailua. The first one is a sunrise shot overlooking Kailua. I was up and out of the canopy and the warming polarizer portion of the filter did its job well -- cutting through the glare from the sky and adding warmth to the sunlight hitting the background mountains. The color intensifier's contribution is obvious in the foreground foliage which seemed to pop out of my screen. It needed no help from software.”

Joel continues to believe in changing as little as possible in the post-processing. Singh-Ray filters help him to do this without making images look manipulated. Later on in the hike, he let his friend climb the steeps of Peak #2 and #3 in order to capture this final image. “I wanted the east-facing mountains in the background to look distant and retain their faded softness. By using a long lens (200 mm) and the ColorCombo, this late morning shot still retained the greens that covered the jagged peak. It also retained the warmth in the last of the morning light.”

“Having shot for so long with the LB ColorCombo, I think my lens would feel naked without it. It's become my standard filter for all mountain shots here in Hawaii, largely because it handles the greens and blues so well. I would suggest any serious photographer coming to shoot in Hawaii should consider bringing one along."

Joel is looking forward to more landscape and outdoor sports shooting on the islands prior to teaching his first workshop in Hawaii next year. For more details, you can follow his website as well as his profile on Facebook.

Editor's note: to fully appreciate the richness of the detail and color, be sure to 'click to enlarge' the images above.