Flowers are the music of the ground. From earth’s lips spoken without sound.

— Edwin Curran

Yes, I do realize that we are still in the middle of winter. However, in my mind, there’s no better time than right now to prepare and look forward to photographing flowers in the gardens. Plus, with the availability of flowers “for hire” waiting in stores or online, what better time than now to consider flexing our creative and technical muscles in the comfort of our homes.

In the world of flower photography, the styles of interpretation run from documentary to artistic to abstract. Each of these areas have their place and purpose. And, yet, there is not a “mutually exclusive” clause that says you, as the photographer and visual artist, must live in only one zone. The technical aspects of photography are important. A clearly defined subject in a well-composed and well exposed frame matters and clearly makes a difference.

Knowing or learning how to achieve a “technically correct” image is important in that being comfortable in those areas allows you to “veer” in the direction of your own creative vision and style. It allows you to be intentional in your making of the image. Knowing how to operate your camera without an effervescent flow of “whoops” and fumbling or fiddling and hoping things work will also allow you to find your way in all areas of photography, not just in the flowers and gardens.

Redbuds signal the coming spring

Cherry blossoms fill the air and trees with beauty

RECOGNIZING YOUR STYLE

We all have a particular leaning in our thinking and in how we approach our subjects. Whatever our dominant style is, we need to embrace it, but not be afraid to meander out of our comfort zones and enter “new territory.” Sometimes, that is led by profession (conservation) and other times by personality (left/right brain leanings). My style of photography, especially with flowers and gardens, leans strongly in the artistic and interpretive zone. Though I’m not averse to the documentary image, the interpretive and even abstract floral image feeds my soul. The process allows me to get in a zone and go with the flow.

Even imperfect tulips sing spring

Tulips sing of romance in reds

Photography is my passion and my therapy. My images reflect that most of the time. With three macro lenses, more than a handful of close-up accessories, and a roller bag full of Lensbabies, I embrace getting close and discovering hidden gems within the blooms. I have a tendency to get “lost in the folds” of florals, regardless of whether I’m photographing in the field or at home.

I have to remind myself to take reference images (even if I don’t like them) so that I can identify the flowers when they evolve from tight macros into abstracts that celebrate colors, shapes, lines and textures. There have been times when all I could say is that the image was of a flower, but I dug in so quickly that the “big picture” escaped me. If this happens to you, start making it a habit of taking the reference photo before you start or before you leave a subject. It never hurts to have an environmental portrait.

Magnolias splaying their undulating petals

Small ranunculus filled with amazing details

“INTENTIONAL APPROACH” OFFERS MORE SUCCESS

There are times when we’re hit with a field of flowers or gardens that overwhelm our senses, and we’re so in awe that we don’t know where to start. When this happens, stop. Settle down and be where you are. Slow down, take it all in. DON’T plant your camera and tripod somewhere and start shooting mindlessly. Keep your eyes and mind open. If you’re in the middle of an “ocean of blooms,” look for the one that holds your attention. Before you start shooting, ask yourself, “Who’s the star? And the supporting characters?” And, articulate the “why.” Then, move around your subject and find the best angle/perspective. Where do you need to be? What lens do you need? What’s the light doing for or against your subject? How can you work with these elements? What “stuff” do you need? Gather all your tools together, and, now, start connecting with your subject. (Keep in mind, this approach applies to more than flowers.)

When I identify the “star” and the “why,” I am usually working from the “big” (smaller) picture inward. This means that I’m likely choosing one of my macro lenses, making sure I have diopters ready to add, along with my tripod, diffuser/reflector set and small flashlight or Litra cube with diffusion dome. Most of these accessories fit inside the diffuser case, which I attach to a belt loop or my camera bag with a carabiner. Oh, and one more thing, I almost always (like 99% of the time) use a circular polarizer for my flower and nature photography. The only time it is off is if I’m indoors or the light is so low that it’s not helping to temper glare and sheen off my subjects.

Camelias provide winters with color

Plentiful swoops of lilacs welcome the spring

If I don’t have a “star” in mind to get started with, it’s entirely possible that I’m “crap-shooting.” I could go home with images that elicit a “what was I thinking?” response as I review them. Time in the field with beautiful flowers is precious and therapeutic. I want to see that emotional response in the images I bring home. And while they all won’t “speak to me,” there’s always one that stands out and reminds me that the slower pace allows for more depth in exploration. More frames in the camera does not guarantee success. More time with your subject almost always does. Slow down. Don’t leave before the party starts… And, don’t leave before you see what stopped you, what held your attention, on the back of your camera. If it