In the Moment:
Michael Frye's Landscape Photography Blog
by Michael Frye | Dec 31, 2015 | Announcements
Ross’s geese lifting off from a San Joaquin Valley marsh, CA, USA
Happy New Year everyone! May all your dreams take flight in 2016.
Tomorrow I’ll be posting the nominees for my best photos of 2015, and you’ll get a chance to vote for your favorites and help me pick the top ten. Keep an eye out for the post! You can see last year’s nominees here, and the winners here.
Here are a few images from a recent trip to the San Joaquin Valley. Every year millions of migrating birds make their way to California’s Central Valley to spend the winter. Watching and listening to these massive flocks as they land and take flight is one of our favorite things to do, so Claudia and I try to get down there every chance we get over the brief winter season. We’ve only managed one bird-photography day so far this winter, but it was a good one, as we got to witness several mass goose takeoffs in beautiful light.
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by Michael Frye | Sep 24, 2015 | Announcements
Curious deer, Yosemite NP, CA, USA
I just sent my prints to the G2 Gallery in Venice, California, for their upcoming exhibit, “Off the Beaten Path: Views From Yosemite.” This looks like a wonderful show, with photographs by Alan Ross, Robin Black, Art Wolfe, Franka Gabler, Ian Shive, Clyde Butcher, Marc Muench, and many others. They chose two of my Yosemite wildlife images for the exhibit, Curious Deer, and Coyote in Snow. The show runs from September 29th to November 15th. Unfortunately I won’t be able to make it to the reception on October 3rd, but I’m sure I’ll be missing a fun event. If you’re in southern California I hope you’ll have a chance to check out the show or attend the reception. You can find more information and see some photographs from the exhibit here.
— Michael Frye
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by Michael Frye | Feb 15, 2015 | Composition, Light and Weather
Ross’s geese taking flight at sunset, San Joaquin Valley, CA, USA
It should come as no surprise to any photographer that the interaction between subject and light is important. In fact, I’d say that this interaction is the essence of the whole thing; it’s what photography is all about.
But which comes first? Do you look for an interesting subject, and then find the right light for it? Or do you look at the light first, and then find a subject that fits the light?
I think both approaches can work. But having said that, I almost always think about light first. What’s the light now? What might happen to the light in the next five minutes, ten minutes, hour, or two hours? I try to anticipate how the light and weather might change, decide what kind of subject(s) could work with that light, and only then decide where to go.
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by Michael Frye | Jan 11, 2015 | Composition, Vision and Creativity
Sandhill cranes, fog, and the setting moon, San Joaquin Valley, CA
Although I specialize in photographing landscapes these days, I also enjoy photographing the masses of migrating birds that spend the winter in California’s Central Valley. And while I won’t pass up an opportunity to capture a close-up wildlife portrait, most of the time I’m trying to include some of the animals’ habitat. I’m really attempting to photograph landscapes with birds in them, and, as with other landscapes, use the light, weather, and moment to convey a mood.
Last Tuesday morning Claudia and I made another trip down to one of the wildlife refuges in the Central Valley. As usual, I hoped for fog, but knew that if the fog didn’t materialize there would be a nearly-full moon setting to the west, which also might help to add some mood to the photographs.
As it turned out, we got both. We found some low-lying mist, but it wasn’t thick enough to obscure the moon. I just needed some birds to add to the mix, and fortunately we found a flock of sandhill cranes roosting in a pond with the moon behind them.
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by Michael Frye | Feb 6, 2014 | Vision and Creativity
Great egret landing, San Joaquin Valley, CA, USA
This image was a lucky accident. I was standing next to my car along a tour route at one the wildlife refuges in the Central Valley, looking at a large flock of sandhill cranes and Ross’s geese, when I saw this egret flying by. I quickly turned, pressed the autofocus button on the back of the camera, followed the bird, and held the shutter button down as the egret landed.
The photograph languished in my archives for awhile before I processed it. Maybe I didn’t realize its potential right away because it was such a grab shot. But I did finally process it recently, and found several things to like about it.
First, there’s the contrast. Most of the frame is dark, but the two key elements – the bird and the road – are lighter, so they stand out. Any time you can place a light subject against a dark background, and have that subject stand out cleanly and distinctly against its surroundings, you have the potential for a strong image. There’s no sunlight in this photo, so the contrast isn’t created by sun and shade, but by the juxtaposition of a white bird against dark vegetation. But it doesn’t matter how the contrast is created, as long as it’s there. (The same idea also works for dark subjects against light backgrounds. I talk more about both kinds of contrast in this post.)
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