What’s on Your List?

Be passionate and bold. Always keep learning. You stop doing useful things if you don’t learn. So the last part to me is the key, especially if you have had some initial success. It becomes even more critical that you have the learning ‘bit’ always switched on.       –Satya Nadella

No, not “that” list … Not the “what I want for” list. I’m talking about the OTHER one–the one you make that holds all the things you want to do or learn or master. Whether you have it written down on paper or in your head, we all have one. My list continually grows, ebbs and flows. In fact, so do all my lists. I have at least two lists–one with things I want to learn and another with reminders. I don’t refer to either of these as my “bucket list.” That’s another one entirely.

Soft peach azalea blooms blended with lace curtains. The azalea image was taken in Magnolia Plantation, Charleston, SC. The lace curtain image was taken in Canada. Experimenting with the paring of unrelated images.

THE WORD LIST

I have one list with just words to keep me mindful. You can call this one THE REMINDER. This list has had one word at the top for the last three years. The word? INTENTION. I keep this word in my mind and bring it out when I’m photographing. Often, I find that asking myself what my intentions are in the field is helpful. It keeps me on track and focused. The other helpful word is OPEN. It’s easy to have the best intentions, but when the results don’t match, being open to something different is incredibly helpful. Another word that helps keep me sane and focused is PATIENCE. This one reminds me to be patient with the elements (like wind and light) and with myself. There are times when everything comes together smoothly and others when nothing seems to be working. Having or practicing patience can make a world of difference. There are more words, but those are my favorites.

THE OTHER LIST

So, what’s on that other list – the one that has that I want to learn or master? You can call this one THE LEARN AND GROW.” This list never ever gets shorter. One thing I know for sure is that there is never nothing to learn. When we stop learning or think we know it all, we stop growing. That is why this list will never end …

Blended images of Baptisia blooms. The background images is a portion of a motion blur of the same flowers.

Therefore, my favorite list keeps getting bigger and longer – even though I check things off now and then. Many different things land on this list, and there are many ways that it grows. For starters,everything on it begins with inspiration. I’m continually amazed at the creativity that abounds in all things from photography to art and beyond. Visual artistry in photography is an evolutionary process. It begins with a subject or an idea and an approach and incorporates an attitude of openness. The words “should” and “can’t” are not allowed in. Guiding light comes from words like, “what if” and “I wonder.” And the learning lessons come from trying and doing. So, back to the list … Here are just a few things I’ve been exploring more deeply.

Blending flower ruffles with rust. With this image, I pulled two completely unrelated images and played to see if there was something I could do in the blending of them that was pleasing to me.

Textures and Image Blending  – I’ve been watching what others do and am amazed and often in awe. I’ve been learning and practicing and exploring more of this in the last year and plan to keep moving forward. What I know is that I haven’t even tapped into more than the surface of potential in this area, but I am excited and inspired. A lot happens in the doing. It also helps tremendously to refuel with the knowledge and experience of others who have been digging deep in this area. When I ask myself, where can I go from here, the answer seems to be “anywhere you want.”

Teddy on my sister’s handmade blanket. Textures helped to hide a busy sofa background.

Lightbox WorkIf you love flowers like I do, it’s likely you may have seen the work that Harold Davis does with translucent flowers on a lightbox. I love it and am inspired to learn how to do it! This explains a recent purchase of a large, flat-panel lightbox. I haven’t had time to do much with this large one, but made a few attempts on a small one from the “slide-viewing” days.

Pink bloom on lightbox and interpreted with Topaz Impression, Van Gogh

I am eternally in love with flowers. And, I see tons of potential for creative interpretations with this tool. I plan to play, experiment, learn and master “the box” so I can open up even more levels of creativity in my work. As this happens, I will discover that there is more to learn. I am open and excited.

Focus Stacking – Now, this is a more technical technique that has its own level of potential in the macro world as well as the larger landscapes. Since one of my passions is macro and close-up photography, I see this as an area to study and practice more. And, while my style of macro is more “interpretive” and leans heavily toward selective and soft focus, there are subjects that simply “need” focus stacking to achieve the maximum level of depth of field. One thing I’ve learned, so far, with some of my spontaneous efforts is that one likely needs more slices of focus (more images) than one would think for the optimum results. I know. I’ve tried, and I’ve learned.

Close-up of fucshia and gold orchid with focus stacking (11 images) Lesson learned was that this subject could have used even more images in the stack.

WAITING IN THE WINGS LIST

Those things above are just three of the many things on my “Learn and Grow” list. Among other items that are waiting in the wings (or just not first in line) is to learn more about still life and working with black backgrounds. I’ve been playing with the black backgrounds more than I thought and lately had a race with light, black fabric and dahlias.

Dahlias cut and arranged on black fabric.

And as one who does not sleep much, night photography is on my list. Surprisingly, I feel the call to rekindle my relationship with my flash and will answer it this coming year. (I used to use it all the time in my macro work in the film days, then veered in the direction of diffusers, reflectors and flashlights. Time to revisit the other light possibilities.)

Another surprise to me is that I’m feeling the urge to equip myself with the proper tools to engage with the birds and wildlife. There are plenty of worthy subjects within a few hours of where I live. And even though I think the bears get the memo that I’m coming and hide on me, I plan to add some bigger glass to my bag. Perhaps, during one of my trips to the refuge, they will have missed the memo. And when that much longer lens gets in my bag, I’ll have no excuse to excuse myself from the party. (It’s been very easy to opt out ever since I sold my “big glass” 200-400mm lens to a bird photographer many moons ago. I wasn’t using it all that much and only periodically missed it.) Recent travels have inspired me to reconsider . . .

Egret preening at Chincoteague NWR, Virginia. Just one of a series across the channel. Paying attention to light and shadows and behavior.

I encourage you to examine your list. I find it helps to write things down. Then again, I love the thrill of the highlighter … you know, when you run it across an item on your list that indicates “complete”. I might have to color-code the highlighter system to indicate progress rather than completion. I’ll keep you posted on the highlighting.

What is on YOUR list? Get going! As Jim Clark would say, “You’re  burnin’ daylight!”

Doe and fawn at water’s edge at Lake Mattamuskeet NWR – interpreted with Topaz Impression.

Arrangement of male and female crab shells. Photographed near fish house, edited for black background in post.

Fall leaves caught in a stream and interpreted with texture, masking out portions of the leaves.

Wasp in Nest – A perfect candidate for focus stacking.

Dahlia and the Lightbox still life

Pick a Number …

At the heart of all photography is an urge to express our deepest personal feelings – to reveal our inner, hidden selves, to unlock the artist. –Galen Rowell

There is value in stepping back from our work and looking at it from different perspectives. In doing so, we will learn more about ourselves and our path and patterns. Our images reveal not only what we see, places we’ve been and what peaks our interest, but also how we see them and, if we’re lucky, how we feel about them. We can observe images and easily recognize and remember our disconnectedness from a subject. We wish for better. Then, there are the images that bring us back to a moment and evoke a palpable sense of engagement and attention. Those are the images and subjects that speak to us and our audience below the surface. Those are the ones we allow to be imperfectly perfect.

MAN ON STREET ACROSS FROM CAPITOL BUILDING This is an image that haunts me. I cannot “un-see” it, and I cannot forget that it was taken immediately after visiting one of the most beautiful buildings I have visited. This man was on the sidewalk across the street.  I wrestled with myself about taking the picture and almost didn’t. In that moment I learned something about myself. I don’t ever want to take another image like this unless I can do more than capture a broken moment in someone’s life. It was only one image, but one I will never forget.

We all know and have seen images that have been worked to perfection on a technical level and yet are void of impact and emotion. (We’ve probably taken them, too.) While we can appreciate the efforts of technical mastery, these are the same images that lose our interest quickly and are easily forgotten. Then, there are images that yank us in, draw our attention and keep us there – not because of technical perfection but because they speak to us on a deeper and more connected emotional or spiritual level. They touch our souls. We as the photographer/artist (and the viewer/audience) connect with what we have chosen to put in the frame and how we have chosen to finish the image in our refinement process.

If you want to learn more about your work, how you see the world, or patterns within your vision, take a closer look. How do you photograph places you spend time in? Are you a “big picture” person, and your images reflect that? Do they speak to the essence of places that touch your heart or do they simply document what you’ve seen and say “I was here”? Do you tend to see and photograph the smaller stories, intimate landscapes, moments that might have been missed by others, or even by you, if you had hurried by? Or do you find yourself going in deeper still to the point that “context” and place are not part of the stories you tell?

FLOWING IN THE PETALS OF A DAHLIA – This image was created using the Tamron 90mm macro lens with Nikon 6T supplemental close-up lens.

Take a good, long look. See what you learn about yourself by looking at the images. Can you remember what made you stop? What held your attention then? What holds your attention now? Are they the same? Do you see something more or different? Do your images reflect those moments? Do they bring you back in time? Challenge yourself to gather a cohesive collection (or more) from your archives. See what you discover.

One way to embark on the challenge is to follow the “Seeing in Sixes” project by Lenswork. To give you some insight, Lenswork describes these sets as “a visual cousin to the haiku or six-word storya compact expression of a single nature, possibly a story, definitely a theme, held together stylistically, and making a whole that is greater than the sum of its parts. Tight, distilled to the essentials, impactful, deeper than what is possible with a single image.”

DAHLIA STILL LIFE – This image was created with the Lensbaby Velvet 85 in my living room and a texture from Topaz Texture Effects.

Over the course of the last six months I have heard in three different ways the call to “see in six.” First, from a fellow photographer who submitted to the Seeing in Sixes project. Then, two other photographer friends shared with me the first two volumes of the Seeing in Sixes books. Finally, a challenge came through an in-depth mentoring course by David DuChemin (The Compelling Frame). I got the message, and I did it.  It has been an enlightening endeavor, even with the constraints I gave myself with the dahlias. It has inspired me to look at and gather more collections that reflect a part of who I am, how I see and what I love.

DAHLIA PETALS IN ABSTRACTION – This image was created using the Tamron 90mm lens and adding the Nikon 6T supplemental close-up lens.

For my set of six, I chose images I had taken within a six-week timeframe. My dominant subject during that time was (and still is) my “dates with dahlias.” Along with the constraints of time and subject, my third requirement was that each frame needed to reflect something more about me and my connection to the subject. Each one needed to be personal and unique to how I see and feel about dahlias. There were no other “rules.” The six images shared here are “me.” Each one speaks to more than “This is a dahlia.” I recognized and accepted long ago that I am not a documenter. I am an interpreter. My best work reflects not only what is “real” and what I see, but rather what I see and how it makes me feel.

DAHLIA IN BOTTLES – This image was created using the Lensbaby Edge 80 optic and a French Kiss texture called Purple Prose.

Whether consciously or not, we notice things that touch us below the surface, that tug on a part of our heart and awaken a sense of wonder and more. What those things might be are different for everyone. They also change along the way as we experience life, learn new things, meet new people and grow as individuals.

Take a look … pick a number. I challenge you. What does your set look like? What does it reveal about you – as a person and as a visual artist? What does that collection say about what touches your heart? Give it a try and see where your “look back” takes you. Discover what your work tells you about yourself. And keep looking. Those touchpoints have and will continue to change and grow as you do. It will reveal insight and be reflected in ways that may surprise you.

DAHLIA IN BOTTLE WITH ANTIQUE PAPER UMBRELLA – This image was created using the Lensbaby Velvet 56 lens and blending two images – one of the dahlia, the other an antique paper umbrella.

Remember, we all begin our photographic journey with little knowledge of the technical aspects of the craft. What we bring first is a good portion of life experience and a sense of wonder that is in a continual state of evolution. Much of what took my breath away in the beginning of this journey still does – sometimes in the same way and for the same reasons, but not always. Life and learning and people and places along the way have expanded my vision and inspiration, and it always will.

DAHLIA AMIDST MAGICAL COLOR — This image was created with a Lensbaby Sweet 80 optic and blended with a Topaz texture called “Dreamy Day.”

So, pick a number … any number. Add your own constraints for this exercise so that your focus will be limited and purpose-driven. Challenge yourself to do something (ie., same subject) differently, to veer from your usual approach and comfortable style of shooting. See what you see, what you learn and what you feel. Be open and inspired.

DAHLIAS IN SIXES – And here are those six images that fall within the boundaries of a timeframe, a subject and that each reflect a part of me and how I see and feel about the dahlias.

Stepping Out in Play

Creative people are curious, flexible, persistent, and independent with a tremendous spirit of adventure and a love of play.

—Henri Matisse, French Painter (1869-1954)

This was where the light tent adventure began … The dried tulips in a bottle and Topaz Texture Effects. Playtime.

One of the first images inside the light tent. I needed to remind myself that this was a learning adventure, not an exercise in “perfection,” which, by the way, is impossible.

With anything new that we want to learn how to do, there is a learning curve. How steep that curve is depends on where you are when you begin. If you are a beginner in photography, learning a new camera, or you find yourself still struggling with the foundational concepts and application of exposure, then adding a new technique will likely be more difficult. This doesn’t mean you shouldn’t try when given the opportunity – just cut yourself some major slack if it is harder for you to understand and execute. Recognize any limitations – accept them, and push on.

LEARN FROM EVERYTHING

When all the petals fell off the other stems in an attempt to rearrange, this one flower was all that was left. Getting better …

In a perfect world, we would tackle learning new techniques by doing our research, learning from others and then start working the process. We all know, however, that we live in a less-than-perfect world, and many of us learn by stepping out and finding our way. We make mistakes along the way, and we learn. We learn what works and what doesn’t work. I think we’ve all said at some point (and more than once), “Well, I won’t do that again.” We tried, and our efforts may have been less than successful. Some would call that a “failure.” If we’re kind to ourselves, we will call that less successful effort an “opportunity to learn.”

Well, I stepped out recently in several ways. I’ve started working more textures and image blending into my photography. I’ve always admired the work of those who incorporate them into their work and create images that are drenched in creativity and emotional impact. Thankfully, this learning experience is further along than my latest adventure with a light tent.

For me, this image “feels” better, and the simplicity is more pronounced than with a stark whitish background.

Most of my work with flowers and other small subjects happens outside – in the field or during sessions (aka dates) in my back patio. I grow and buy plants and flowers that I find interesting and beautiful and explore them photographically. Since they are “my” subjects, I can move them, cut them, tear them apart, spray them with water and take my time with them.

MAKING AND TAKING TIME

What I know and accept about myself is that very often I need to squeeze a “learning date” in compressed windows of time. As much as I’d love to come to the table fully prepared with research and directions on how to do something, it doesn’t always work out that way. So, I gather my materials, rely on my current knowledge base and start doing (aka playing). This means that I bring to the table everything I know and then step out … experiment with a degree of logical choices to begin the process. I know before I start that there are things I already know and things I don’t. I will learn by making mistakes and re-framing. There is value in making mistakes. They lead us toward “right” answers.

In comes the small light tent (cube). I acquired it and a set of lights for free. It does not have the easy option of adding backgrounds, and it has a slight lean. And, we’re still in the winter cold season, so an indoor shoot is what I had to work with. I have used diffusers and reflectors for years. They work and are wonderful for controlling light and shaping subjects. I have never worked with a light tent or small lights. Here was my opportunity. I had some dried tulip blooms and small old bottles for the first shoot, and I had some lovely yellow flowers and another old bottle for the second shoot.

WHAT I LEARNED FROM SESSION ONE:  DRIED TULIP SHOOT

A different angle on the remaining tulip bloom in the light tent.

I should add that I don’t have a wonderful window in my house that would or could provide added natural light. So, I set up everything on the dining room table. A fun challenge as I had to figure out the best way to arrange the tent and lights (small with at most 8” stands). What I needed, in addition to the two lights was a good way to light the back panel evenly. I am still working on that.

I started out with several blooms in the bottle and found a design and flow I liked. I started working with it. Then, I had the idea of rearranging some of the dried blooms. Big mistake . . . almost all the dry petals fell off all the stems except one. Re-frame. I worked that one dried tulip instead of beating myself up for the fallen petals.

Are there lessons? Just a few.  1) Be careful when you’re working and moving dried flowers. They’re more fragile than you would like them to be. 2) The corner seams of the light tent can be problematic. Raise the set-up to take that out of the equation to minimize the post-processing “fix it later.”  3) Lighting in a light tent can be challenging. If the lights on outside are not enough, you need to find more ways to light your subject. Direct, frontal flash creates shadows on the background. Some could be interesting, but mostly they are a distraction and something you’ll want to remove later.

WHAT I LEARNED FROM SESSION TWO: FRESH YELLOW FLOWER SHOOT

With the fresh flowers, a complementary fabric on box (raising all above the light tent seams), the second learning session is off to a better start.

This time I brought more knowledge and experience from my first attempt at the tent. I decided to use a larger light tent to give me room to raise the flowers in the jar. In setting up the flowers to shoot this time, I brought in a small box about two inches high and large enough to hold the jar. I added a colored cloth to complement the flowers, hide the box and any corner or bottom seams of the light tent. I had a more stable set-up with the lights on the dining room table and didn’t have to fight the sliding stands.

This time I arranged the lights and tested their impact by turning on and off and watching what happened to the lighting of the yellow flowers. I brought in my flash again and worked angles and intensity. I experimented with flash compensation (both plus & minus), bouncing that light off a small, silver reflector, fired direct flash (on purpose) to create shadows, and figured out that directing the flash through the diffusion tent from the top and high sides with both lights on worked fairly well.

I knew this would happen, but wanted to share what happens when you flash directly at your subject while inside the light tent. Shadows sometimes can work with a subject, but not this one.

Flashlights can work to a degree, but not as well as you might think. Firing the flash from outside the diffusion tent works much better when the small lights are also on. Depending on the subject, you might try bouncing the flash or flashlight illumination off a small reflector.

Are there more lessons to learn? More mistakes to make? Did I get everything right? Were my efforts “perfect”? Nope. Other options to try? Of course! But, what I know is that each time I work with the tent, I’ll come at it with more experience, more knowledge and more ideas on what I might want to try.

FUTURE TENT PLANS

Going with the single bloom and same bottle, but firing the flash from above and outside of the light tent.

Now that I’ve had some hands-on experience with the light tent, I’ll do some of the research needed to yield more successes than “failures.” I’ll find more ways to master the light in the tent and to add backgrounds with some sweep that complement the subjects. In warmer weather, and on a sunnier day, I’ll bring the tent outside and see the impact of natural light using the tent. I’ll scare up the flash stands that I know are somewhere (unused) in all my gear and work on remote settings. I have more to discover, more to learn, and more to imagine. I’ve given myself a challenge, and I’m up for it.

What do YOU want to learn? Go for it! Bring what you have to the table and practice DOING. Don’t be afraid to make mistakes – you will. Learn from them as much as you do from your successes. In this never-ending road with photography, there is never nothing to learn. Embrace that awesome thought and yourself as a life-long student on a visionary journey.

Do your best and know that in doing so there is always room for incremental improvement.

NOT-SO-FINAL RESULTS

This is a blend of images and textures and Topaz Impression. The dried tulip in the light tent, an abstract of petals in water on a light box and the mixing in of Topaz.

Because I know there is more for me to learn (and know that I will), I can shamelessly share the results of these two sessions as well as how I chose to process the images. In a few, I incorporated textures and blending images. There are more experiments to come. I can’t wait to “bring it” with more knowledge and vision than the times before. I can’t wait to feel more “masterful” with the ten t and textures so I can unleash more of the artist within. What can YOU not wait for? Go do it!

Capturing a Sense of Place

People aren’t interested in blueprints; they want to sense the painter’s involvement and pleasure in the subject . . . Paint a sense of place.   — Paul Strisik

Think of a place … where you live, where you grew up, or just a favorite place you like to go. If you were to share just one image to tell the story of that place, or why it matters to you, what would that image show? Now, think of another place, like New York City, Washington DC or even Florida. What would that one image be? When we photograph places we love with care and craft, it shows. When we photograph places we’ve never been, we have to work harder to express our fascination and awe.

As photographers, we have the opportunity to be a part of that “want to be there” movement. So, how do we do that? If we want to express the uniqueness or character or what makes a place special, we need to be able to articulate these things – verbally and visually. Sometimes, this means having a list of potential subjects – the “must haves” and the “want” list. However, more often and more defining are the descriptive words and phrases you use when you’re talking about those places. Those are the images you seek.

Shrimp boats in Engelhard Harbor, Hyde County, NC. What I love about the harbors is that the scene is always similar, but different. The boats change, and the names of each one make me wonder what the origin is. I fancy Wonder Woman, Miss Genelle, Miss Peaches, and I wonder about the sinking or sunken wrecks. I admire the fishermen who work harder than anyone I know and wouldn’t trade that life for anything. I also know that there’s an uncertain timeline for these vessels and the lifestyle. It’s why I visit and visit and visit these places as often as possible.

One definition of “sense of place” is a conscious awareness or sensation of a physical environment, region or location. This incorporates the emotional response to the place as well as its physical nature. The places I find special and visit most often are not always the most beautiful at first glance. Yet, my emotional connection to them allows me to present them in ways and on different levels from the first-time visitor who comes as a blank slate.

When we make plans to travel (near or far) and add new places to our “bucket lists,” what factors play into drawing us to those places? What makes us want to return over and over again? How do they make the cut? We may have read or heard about them. The odds are higher that we have seen images that inspire, invite and create a longing inside us to “be there.” What we’ve connected with is a sense of each place, to which we respond not only visually but emotionally and, sometimes, spiritually.

Don’t Give Up. Say It. Show It.

Our first time anywhere can be overwhelming and create in us an anxiety that comes from the desire and perceived need to photograph everything we’re seeing. It is this angst that can cause us to lose focus and detach from the moments and the place to the point that we’re simply grabbing shots or shooting and hoping that we leave with something good. There are various ways to lessen this impulse and calm the anxiety and pressure.

Dogwood tree in fall forest at Weymouth Woods Nature Preserve. If I use this image to illustrate “Say It and Show It,” I would say, “I love how the trunk and limbs of this tree are leaning and dark in contrast with the surrounding tall and straight trees. I love how it is different and how the fall colors of the forest allow it to stand out.” Then, I would work to find the best angle to express that, paying attention to edges around the frame, giving the tree a foundation of leaves and allowing it to be the star. It is among my favorites of trees, and I will visit in different seasons. Spring would be perfect.

I see this happen during workshops. When I do, I talk with each person about slowing down and stepping back to focus on what they find most interesting. I ask them to “say it” first and to clarify with enough detail to get them going. Tell me what made you stop. Then, I direct them to keep photographing until what they said they were drawn to is on the back of their LCD screen. I’ll crop it later” is not a good excuse to leave. In fact, the attitude of “fixing” in post what could be done in the field does a disservice to the subject and the photographer. Leaving it for later is lazy. Remarkable things happen when one stays with anything long enough. This is one of the techniques I use often, especially when I get stuck. Say it, and stay longer. It works. Let’s face it, we all have the potential to become overwhelmed and lose direction. By verbalizing these things, we give ourselves a direction or path to follow and a relative destination.

Icons, Elements and Details Tell the Story

Sometimes a single image can tell someone exactly where you’ve been and why you wanted to be there. More often, the story is told with a series or collection of images that, when seen together, provide the bigger picture.

Capturing the beauty of Pharsalia Plantation and the surrounding area in Nelson County. This collection includes the icons, elements and details of this spectacular place and shares in every image what made me stop.

One way to be sure you leave a place with images that capture its essence is to focus on three things: Icons, Elements and Details. The icons are things that are easily recognizable, well known and familiar to the masses (lighthouses, monuments, land features). They can also yield the “postcard” image that everyone does. Consider the Great Smoky Mountains and Cades Cove. These are the subjects that are uniquely and universally connected with the place. Sparks Lane is a “must-have” image, but do it your way. Doing it differently is the challenge. Get the “standard” shot out of the way, and then “do you.”

Outer Banks Fishing Pier at Sunrise. When you visit the Outer Banks, the piers and lighthouses are among the icons. But we know that there is so much more …

The elements are familiar things that are connected and commonly associated with the location such as geography, plants, wildlife, structures, people and cultures. These can be illustrated within landscapes, grand and intimate, as well as in smaller sections or parts of the place. If I’m photographing coastal North Carolina and fishing villages, my collection of images would be incomplete without shrimp boats, crab pots and fishing nets. If I’m lucky, the collection would also include some of watermen at work in the harbors. Because these places remind me of my father’s work of repairing and building boats, and because I grew up on Long Island near the water, I connect more deeply with these places. Finding the things that make each area special is easy for me around the docks.

At the end of the day, at last light, a long exposure of the shrimpers in Port Royal, South Carolina. With the help of Topaz Impression, I’m able to accentuate the feeling I had as I watched the light go down on these boats.

The details complete the picture of a place. This includes macro and close-ups of the elements. Sticking with the coastal theme, this could include barnacles on floats, work gloves, white boots, the texture and pattern of wear on the boats, boat names and much more. And don’t forget the critters of an area. It’s the slowing down that allows one to notice those unique details that are intimately connected with the location. Wherever you are, put your “noticers” on. Find something? Move in closer, explore more intently. Bring it home.

Gloves, baskets and floats. All details that tell the story of life on the water from the waterman’s perspective near Chincoteague, VA

Use All Your Senses

From the time we are born and in every moment of our lives we use at least one of our five senses. We see, hear, taste, touch and smell and learn how to adapt to whatever environment we are in. Our senses work together and allow us to experience life on many levels. They also allow us to tune into our emotions and develop emotional connections.

No matter where we are or what we are photographing, we use our visual sense to create images that ultimately communicate what is happening in one moment of time in one specific place. However, what we see does not have exclusive rights to dictate what we photograph. What we hear and feel and smell also contribute to the images we create. Our state of mind also plays a part in what we notice and when we stop for a photo opp.

Misty morning fog in the forest on the Blue Ridge Parkway in North Carolina.

Scenario: You’re in the woods in spring after a rain shower. The lush green soaked with raindrops and saturated colors of the flowers, grasses, leaves and trees telegraph that moment and that place to you – the first viewer. Responding to the post-rain light, the peace and quiet and freshness, you have the opportunity to communicate what you see and how it makes you feel to those viewing the image. If done well, they are right there with you. And, they want to be there.

When creating images, consider how being in a place makes you feel. Work to identify what creates those feelings, and then work to weave them into your images.

Room of arches and shadows at Fort Pulaski, Savannah, Georgia. While most people who entered this “dead end” alcove spent an average of two minutes here, the light and shadows of this small room would have kept me captivated and exploring for hours. I did not want to leave.

Awareness, Meaning and Purpose

When we photograph different locations, we generally want to share something that we’ve seen or that has a specific meaning for us. We have something to say.

Environmental photographers who shoot areas where acres of trees have been clear cut may want to bring awareness of habitat destruction. Their approach to subjects is more literal and documentary in order to shed light on situations that need attention. Photojournalists tell stories with their images. A travel photographer shooting bright colored umbrellas lined up on a white sandy beach under a beautiful blue sky may want to entice people to that place for pleasure. A person who photographs wildflowers or other creatures found in nature wants to share a part of what excites them. We all put in the box what matters to us and present our view of the world. Styles of photography may range from recording to interpreting to artistic or graphic, depending on the purpose behind the images.

This scene, an old boat with the Roanoke Marshes Lighthouse in the background, felt “old” to me from the start. Interpreting with textures allowed me to express the scene as it felt to me.

With our images we tell stories, capture and preserve moments in places that mean something to us. We photograph to convey what moves us on a sensory level as well as intellectual. What and how we photograph can be very personal or commercial. Either way, we bring our life experience up to the moment the shutter is pressed. We see differently. That’s why when you put ten photographers in the same place, you will likely end up with ten completely different images. “Wow, where was that?” “How could I have missed it?” Common phrases spoken and heard among those who stomp the same grounds.

Becoming a “Local Tourist”

In many ways, whether we’re talking about walking out our back door or driving to New Mexico or flying to Alaska, capturing a sense of place is “travel” photography. If we’re trying to sell our home and take pictures of the house and rooms, we’re capturing a sense of place. It’s all about creating images that communicate what we want others to see and that have the effect we intend.

There are places in Chincoteague NWR that can be simply magical in early hours. This is one of them. Visit this spot every time I’m here. Different every time. Even though I’m not here often, I still have favorite places and could describe each one clearly. As a photographer, my job is to put those words and thoughts and feelings into my images so that the viewer understands as well.

There’s a difference in the way we photograph places we know, love and are intimately familiar with and places we’re visiting for the very first time. There’s a difference in the images people take as tourists, and the images people take when they know an area well or have lived there all their lives.

The “tourist” (even you or me) may be at a location only once. It may not be possible or affordable to return. We are stuck with the existing light and weather conditions. That said, a well-tuned tourist/photographer knows how to work the light and weather to create appealing images in spite of less than ideal conditions. What if you could never return to a place, what images would you regret not taking or rushing through?

If I were never going to walk this trail ever again, I’d want to take this scene home above all others – even the spectacular views across the mountain tops. It is the one thing that made me stop and say, “I can’t leave here without this.” Every place speaks to us differently.

The “local” photographer is familiar with the area, knows people to talk with to gain access to places not open to the public, knows the best time of day or year to shoot certain subjects, and knows the right place to be for the best shot. The local can come back when the light or weather is best. The local tunes in to those “character and culture” elements and works to maximize the opportunities.

The best way to become a “local-tourist” is to do your homework. Learn as much as you can about your subjects and the area you’re planning to visit. Use guide books, the internet, network with locals who know and shoot in the area. Build relationships with those who live and work in the places you visit, respect their wishes regarding access to their property. It’s important to be good stewards and good examples.

Parking on Ocracoke Island is slim to none. Your best modes of transportation are your feet or a bicycle. One trip to the island provides that lesson. Homework …

The Beauty of Networking

There are very few “secret” places. The internet has taken care of that. There are, however, always new places to discover and experience. Learning from and sharing with other photographers can be a good thing as long as we behave as we should and share as openly as we’re able. Networking builds relationships and also allows us to discover beauty in places we might have missed.

One of the photographers I reached out to was NANPA member, Jerry Monkman. I was new to NANPA and photography and had limited time to photograph on a trip to New Hampshire. I told him I had three days in the area and asked what should I NOT miss. He sent me an amazing list and told me not only to check out Nubble Light (Cape Neddick Lighthouse), but also what time of day. There were scenes I would have missed were it not for Jerry’s list and generosity.

Without the help of fellow photographer, Jerry Monkman, I would have likely visited at a less flattering time of day.

Another one is Jim Clark, former NANPA President, mentor and friend. Jim is an amazing photographer, storyteller and instructor. His images can teach anyone quite a lot about capturing a sense of place. Some of my favorite locations are ones that Jim introduced me to or reminded me of. While looking for new places to explore in West Virginia and, more recently, the Eastern Shore of Virginia, I reached out to Jim and learned even more about places he’s photographed for years and connected with people he’s met – good people. Over these many years since we first met, I have learned a lot more than photography from Jim. I’m thankful. Networking is wonderful, and we should share the wonderful places and people we know.

When the tide is high in Greenbackville, VA, on Eastern Shore, fishermen fish and floats float. Without Jim Clark’s tip, I would have missed this very small fishing village. My advice – bring boots.

Finally, Remember to Pay Attention to the Basics

Whenever and wherever you’re shooting, always remember the basic tools and techniques that will allow you to capture quality images: the right lens, a good, stable tripod, proper exposure, good composition and clearly defined subject. These are the elements you can control. Weather, on the other hand, is always subject to change. Good shooting techniques, creative thinking and vision will enable you to produce good images in most situations. Cloudy or white-sky days are wonderful for macro and close-up photography because the light is even and diffused (no harsh shadows to compete with your subject).

By putting on your “noticers,” you’re able to interpret a scene differently. (Roan Mountain trail on the way to Round Ball)

Work the scenes (great and small). Many a treasure can be found when you explore the scene and extract from it. Shoot vertical and horizontal formats. Don’t forget the nooks and crannies that hold even more good stuff. Be patient and persistent. Be a good editor in the field – learn what to leave in and what to leave out. Don’t put the viewer to work to figure out what you want him or her to see or feel. Engage yourself, connect with the place and invite the viewer of your images into your favorite places. Share your experience through the imagery.

Simple curves in the marsh grasses on an overcast day on Cedar Point Tideland Trail in North Carolina. Many folks walk this mix of boardwalk and dirt trail in search of birds. On this day, birds were scarce and light was sketchy. The sky would not have added to this image.

And, by the way, don’t forget your own backyard – where you live. Photograph the familiar in different ways. Look for the hidden gems – they are there. We often miss what is right in front of us or don’t photograph things because they are in or near where we live. We have a misguided impression that they will be around forever. This is simply not true.

We knew its days were numbered, but hoped the state would let nature take its course and give us more time to capture the rustic beauty of Frisco Pier in the, Outer Banks, NC. Numbered days before this icon is only a memory.

McNeel Mill in West Virginia near Cranberry Glades Botanical Area on Hwy 219. The fate of this mill is uncertain. Without attention or interest to restore, this, too, will be history.

Challenge yourself to photograph close to home. Celebrate what makes it special. Visit and revisit places and continue to photograph them. You’ll find that the place you see now is not the one you will see in the future. Both the place and you will change. You will not regret having taken some time to make those memories of where you live. In fact, doing so may even help you refine your seeing and noticing skills for when you travel afar.

Night shot of the Renaissance building in Uptown Greenville, NC. I live here and have never paid attention to this building. Thanks to an evening photo walk, I will in the future. The city is growing and changing every day. It is not the same town I moved to 35 years ago. Wishing I had known then what I know now about how time changes places.

Night image of light fixture and shadow on textured building. Another detail I would have missed in my own town without a scheduled photo walk event. The scene did not look like this, but it felt the way you see it here.

Finding Beauty . . . Anywhere.

There is a kind of beauty in imperfection.  –Conrad Hall

Ella_Kylie_NLP8328

Simple beauty is easily found in the innocence of a child.

One might think that finding beauty is a simple task. And, it is, when the object of beauty is obvious. Consider how easy it is to find beauty in a fresh bloom,  a young child, an amazing landscape or a simple scene. Finding beauty in the young or new and fresh is no challenge at all.

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Still waters and reflections in the harbor filled with fishing vessels holds its own level of quiet beauty.

Finding beauty in the imperfect, the old and abandoned takes more effort—especially, if you’re not tuned in or open to the idea.  As Minor White observed, “One should not only photograph things for what they are but for what else they are.” Extended metaphors inhabit scars, wrinkles, broken windows and boards, torn fabric, and even, perhaps, dead flowers.

Painted barn door with grass and vines in Cameron, NC

Painted barn door with grass and vines in Cameron, NC. The boards are no longer straight, paint less than fresh and fading.

Just about everyone who knows me also knows that I love the old and abandoned. I’m a “collector” of all sorts of things. I have a passion for celebrating unseen beauty. And, I love a challenge.

So, in the interest of the challenge to find beauty anywhere, I gave myself one. Much earlier in the year I had picked and photographed some amazing sunflowers (when are they not?).  I also let them wither and dry to crispiness in the same vase and kept them around in their decrepit state – that is, until recently. It was time for me to follow through and find what I felt was still a part of those “long past prime” sunflowers – their inner (and older) beauty.

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Easiest of all efforts to find exquisite beauty in a freshly cut sunflower bloom.

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Here is where the challenge began. Textured paper background and natural light coming through glass door, using Lensbaby Velvet 56. Working and not working.

It was not as easy as I had thought it would be. And, I was most surprised. Remember, I’m the one who loves all things old, falling down, broken and imperfect. I’m also the one who loves, loves, loves flowers. So, I thought, how hard could this be? For the challenge, however, I had to work much harder than I had expected. I had to think beyond what I was seeing – the reality of the dried, shriveled, brittle petals, stems and leaves. I had to follow my nostalgia and vision. I had to find the right tool and best path to share this old bloom’s potential. Experience told me that the beauty was there; I had to bring it out.

It was far too windy in my usual studio set-up – the back patio. So, I set up inside and began shooting the dried sunflower behind the front glass door, making use of natural and artificial light. This worked and did not work at the same time. The background was less than ideal with the blue door, green canvas print, and even the art paper with green textures.

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With light background and Lensbaby Composer Pro with soft focus optic, the potential for finding beauty in the dried sunflower came through. This image is minimally edited.

Surprisingly, even my favorite “go-to, artsy” lens, the Lensbaby Velvet 56, was only meeting me halfway. Could I possibly blame these stumbling blocks on my subject? Was that okay with me? No, and no.  Not to be discouraged, I switched gears. Rather, I moved my set-up to the dining room table, draped a light-colored sheet on the cabinets and switched to my Lensbaby Composer Pro with my favorite soft-focus optic. Now, things were finally starting to click. Add an LED light and small flashlight along with the macro lens adapter for the Lensbaby, and I was “feeling it.”

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The same image as above with the addition of “Rustic Farm” texture by Topaz Texture Effects, brought out the beauty of the imperfect, old, dried up sunflower for me. This image feels good and right to me to celebrate the decay.

Even before I started this particular challenge, I felt that the dried up sunflower would be a subject that would lend itself to soft focus and later, in post, to some textures. I was right. Reality is not always kind, but vision can be. And this is where I landed.

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Another experiment with the tops of the dried sunflowers using Nik Color Efex Pro as the “beauty tool.”

So, you see, this challenge was a mix of several elements: a less than perfectly obvious “beautiful” subject, an open mind, frustration, persistence and vision. If we give up on anything because it’s not easy, we miss out. We miss out on seeing what is, and what could be. We miss out on the “woohoo” of success that sometimes comes slowly and even painfully.

Will I try to convince anyone that the results of this challenge are some of my best images? No, absolutely not. They aren’t, but they did satisfy the requirements of the challenge. What I see missing from them is that little bit of heart and soul that accompanies images I love (even if no one else does). What these images are, however, and represent are lessons in stepping up, keeping on and finishing the challenge.

Canal dock with crab pots in Hyde County

Canal dock with crab pots, broken basket and makeshift stairs found in Hyde County

As visual artists (and in life), it’s not always obvious or easy to see the good side or the best or the beauty. We have to give ourselves and those things that appear at first glance ugly, old or disposable a chance. We have to open our minds to see the potential we think is not there. We must be willing to make mistakes, and not only “not succeed,” but to fail.

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Embracing the imperfections of fading paint and rust in the rural landscape.

Embracing imperfection is not easy, but it is possible and valuable, given time and the right set of circumstances. The dead, dried-up sunflowers are disposable. The lessons, for me, are not. Thank you for letting me share.

 

 

For the Love of Trees

Never say there is nothing beautiful in the world anymore. There is always something to make you wonder in the shape of a tree, the trembling of a leaf.  ‑-Albert Schweitzer

Etherial image of bamboo and leaves in forest as the wind whispers through it.

Ethereal image of bamboo and leaves in forest as the wind whispers through it.

“Go outside and find something to do.” This was the mantra of my mother for as long as I can remember. And, so, we did. We climbed trees, hiked in the woods, made up games using trails of leaves. For years, we camped in the forests up and down the East Coast. Our lives were filled with all sorts of outdoor adventures.

Grand old live oak in Magnolia Cemetery in Charleston, SC. This tree survived many storms in its life. Sadly, now, the entire top bend of the tree is gone.

Grand old live oak in Magnolia Cemetery in Charleston, SC. This tree survived many storms in its life. Sadly, now, the entire top bend of the tree is gone. (Faux color infrared image)

It’s no wonder that I have an affinity for trees. It should come as no surprise to anyone that I am drawn to them in my photography or that I connect with them on a poetic and metaphoric level.

Infrared landscape of Black/white infrared image in the Pixie Forest on Blue Ridge Parkway in North Carolina with trail leading through woods

Infrared landscape of Black/white infrared image in the Pixie Forest on Blue Ridge Parkway in North Carolina with trail leading through woods

When I was younger, I wrote poetry under the shade of many trees in many seasons. Now, instead of words on paper, I see the poetry within the forest and the trees. The stories their life rings could tell are likely nothing short of amazing. I imagine the stories told and written beneath their branches, the storms survived and the seasons shared.

Rare snow-covered trees inEastern North Carolina

Rare snow-covered trees in Eastern North Carolina

The trees are survivors, rooted and grounded to the earth and all its miracles. In their life and death, the trees are safe havens, providers of food and life. In their span of years, long or short, they offer opportunities for renewal and rebirth. Trials by fire, wind and rain are withstood in ways similar to our own.

Their character is revealed in the curves and lines of their branches and limbs. In the bulk and bend of their bones the years on this earth are revealed.

There are those that bend and those that break and snap. If I could be a tree, I might wish to be a blend of oak and willow – strong, beautiful, protective, graceful, flowing, tolerant and flexible.

Detail of young Rhododendron growing out of crack of rock wall.

Detail of young Rhododendron growing out of crack of rock wall.

It is in the trees that I see a magical dance of swaying and rustling leaves and limbs, wafting scents of flowering buds, the sight and sounds of birds and bees and butterflies wafting through pollen showers of spring and finding a landing zone on the bare branches of winter. There is the dance of flying, falling showers of gold and red and orange that covers the forest floor with an amber blanket. In every season there is a new dance, never to be repeated … ever.

Roots and moss and autumn leaves on a trail in West Virginia

Roots and moss and autumn leaves on a trail in West Virginia

It is in the trees that I see solitude and strength, mystery and beauty along with the wondrous gathering of tree next to tree next to tree and so on to blanket the land with community and a place to commune with the natural wonders of the earth. It is in the trees that I see life, each one unique, each one with its own struggles and triumphs.

In each one that draws and holds my attention, I see hope and beauty from seed to sprout to mature trees and snags through to the rotting, fallen logs. In each there is a home to new and different life.

It is that lifetime of experience from early years in the forests and among the trees that has shaped my interests and direction in the journey of photographer/artist. From their roots and trunks to leaves and branches . . . I see them. And I see me.

Heart in tree at Chincoteague NWR seen after getting news that my great niece, Ella, was born early. Just love in the trees...

Heart in tree at Chincoteague NWR seen after getting news that my great niece, Ella, was born early. Just love in the trees…

Exposed roots in park in Greenville, South Carolina

Exposed roots in park in Greenville, South Carolina

Blanket of autumn leaves on the forest floor.

Blanket of autumn leaves on the forest floor.

Interpretive landscape of live oak and pine forest in Outer Banks

Interpretive landscape of live oak and pine forest in Outer Banks

More . . . or Better?

Each day comes bearing its own gifts. Untie the ribbons. – Ruth Ann Schubaker

There are many ways to consider how you approach your photography. It’s a new year, and I’m giving a lot of thought to my own. So, I figured it might be a good time to share a few observations on what has helped me grow as a photographer, improve my skills and find the courage to dance to my own beat and discover how to express my vision. Yours may be similar and yet entirely different. And the question that comes to mind is “More or Better?”

Mountain Trees in Fog - A Quiet, Peaceful Moment to Savor

Mountain Trees in Fog – A Quiet, Peaceful Moment to Savor

What has troubled me over the digital years is the idea of “more is better,” “I’ll crop it or fix it later,” and “even a blind squirrel finds a nut.” And, how about, “If I take a thousand pictures, surely there will be at least one good one!” Really? There are elements of truth in these phrases, but little potential for growth. And none of them are efficient or effective approaches for a photographer who wants to grow in the craft and find their vision.

Dunes and Clouds in Time - Taking it All In

Dunes and Clouds in Time – Taking it All In

I’m reminded that I began my journey with rolls of slide film … 36 frames of opportunity to capture what held my attention, excited me, made me wander and wonder. Any frame wasted in hopes of “getting lucky” was just that … wasted. At least a basic understanding of exposure and composition was needed to bring home images that made me smile. I love digital imaging for the freedom it gives us to practice, play, experiment and express ourselves. I’m thankful for the film days that provided me with discipline and purpose. They are what has helped me resist being lazy or sloppy in my shooting. Not perfect, but intentional.

Nets and Clouds - A Life of Work

Nets and Clouds – A Life of Work

 

On the concept of More, what might I want more of as a photographer? I’d like more time with the people I love and care about and images that preserve those moments. More quiet time to appreciate the gift of life and the wonders and miracles of nature. More moments of connecting — with everything, including myself. I’d like more time to learn new skills and practice my craft, more time to travel and explore beautiful places. I’d like to have greater awareness, more compassion and more inspiration. More time to focus on and express my creative vision would be wonderful, along with more opportunities to teach, inspire and encourage. (Notice I didn’t say more money for more gear? I have enough.)

If I could have all of the above, that would be better… but having it all is not always possible. So, where does Better fit in all this? No matter where any of us are in our journey as photographers, it is safe to say we want to continue growing, to improve in many different ways. I’d like to find better ways to use my time so that I’d have more time to pursue my passion. I’m always on the lookout for better ways to tell the stories of the people, places and things that resonate within me.

Eye of Polyphemus - Noticing Beyond the Thing

Eye of Polyphemus – Noticing Beyond the Thing

And while More can be a good thing, it isn’t always Better. We live in an time when most everyone has a way to take pictures and share them with the world. Which is better? To share a single image that speaks to why you stopped and took the time to capture the moment? Or to fill an album on social media with 200 images from one day’s shoot and leave it to the viewer to figure out what in all of them really spoke to you?

I vote for the single image. It shows that the photographer took the time to think about what to shoot and share. You’ll lose me every time around the 5th image if I see the potential for an album that reads like this: “Here’s where I went. I couldn’t decide what I liked best, so you decide for me”. The problem is that it’s your vision an your job to tell your story, not mine. Remember, I’m looking for more opportunities to connect, to learn, and appreciate. Show me the images that make your heart sing. I’ll listen and learn, and so will you.

Eye to Eye - Connecting With a Ghost Crab

Eye to Eye – Connecting With a Ghost Crab

In the seven images included in this piece, what I hope you’ll see and feel is a bit of my visual story. Each one is different and represents moments in time that held my attention and made me think through how I could best portray what made me stop. I often talk to myself and ask, “Why am I stopping? How does it make me feel? It may help you to do the same. You will slow down, see and feel more. Notice in these images what I saw and felt at the time of capture and where I went in processing to further extend the vision. Quiet time, connecting and noticing coupled with textures, long exposures, HDR, macro and panorama — the blending of ideas with techniques. Each image was intentional and part of small series of images, not thousands.

North Carolina Farm Barns in Pitt County Panorama

North Carolina Farm Barns in Pitt County Panorama

 

So, do we want to simply photograph more and produce more images? Or could we be satisfied with being more intentional in our seeing, shooting and sharing and having less volume, more depth and better quality? It’s up to you to decide. More or Better? It depends. Do you want to “level up” in your photography or stay where perhaps you may be and fill more hard drives? For me, I’ll stick with what has been working so far — more of the slower pace, more awareness and photographing from the heart.

A String of Bleeding Hearts

A String of Bleeding Hearts

 

Favorite Places | Where Will You Go?

We all have favorite places–the ones that seem to call our names. And they call for many reasons and at different times of the year. Each one beckons when we need it most.

Duck prints on ice in winter at Lake Mattamuskeet NWR

Duck prints on ice in winter at Lake Mattamuskeet NWR

Since we’re in the middle of winter, perhaps it’s fitting to share one of my favorite places that is filled with natural winter wonders – Northeastern North Carolina.

It’s more of a region than one singular location, and it includes waves of migratory birds and people. I love the birds and celebrate those moments when I capture good images. Lake Mattamuskeet National Wildlife Refuge and Pocosin Lakes National Wildlife Refuge abound with a variety of birds and bear and other wildlife and offer photographers and nature lovers endless possibilities to enjoy a visit.

However, the northeastern part of North Carolina, especially Hyde and Tyrrell Counties, call my name for more than birds or wildlife. For me, it’s the love of the land and sea reflected in the rural landscape that does it.

The shrimper fleet in Engelhard, Hyde County, NC

The shrimper fleet in Engelhard, Hyde County, NC

From the weather-worn shrimp boats in Engelhard and Swan Quarter to the open farmland with lines and lines of crops to community churches and abandoned buildings and tools of both trades left for nature to reclaim — I cannot help but long for my next return visit. It’s more than “liking” these amazing subjects. I feel connected in ways I’ve only begun to understand. I must continue to visit and revisit and share this area while it remains as it is. We’ve seen it happen – barns fall, boats sink, and then the landscape changes into something that lives only in memories.

In winter, when most of the green is gone, what’s left are patterns in trees, leftover crops for wildlife, cold winds and so much to discover during the days of short light. Expect the unexpected. I have my favorite spots to revisit, but am still surprised to find new opportunities unfold (even though they’ve always been there for me to find).

Morning light patterns & textures at Lake Mattamuskeet NWR

Morning light patterns & textures at Lake Mattamuskeet NWR

This pull of the rural landscape is not unnatural to my own history. My father grew up on a farm on Long Island. He’s worked his whole life as a master craftsman on boats, building and fixing. Growing up, we spent time tending a very long garden (digging, planting, weeding, harvesting and enjoying the fruits of our labor). We also helped my father at his shop (sanding, sweeping, and anything else that needed to be done.) I’m proud of the work ethic he and my mother instilled in me and my three sisters. I’m thankful to be able to understand that the lives of farmers and fishermen are not easy; that they are filled with hard work and a love for what the land and sea provides. I recognize a passion for doing what does not come without effort or without disappointments. I recognize and admire the perseverance I see. And that’s what keeps me coming back to this special place. What follows are just a few reasons why.

Winter sunset among the cypress trees at Lake Mattamuskeet

Winter sunset among the cypress trees at Lake Mattamuskeet

Solitary cypress tree at sunset on Lake Mattamuskeet

Solitary cypress tree at sunset on Lake Mattamuskeet

Canal dock with crab pots in Hyde County

Canal dock with crab pots in Hyde County

Pungo Trees

Faux color infrared of field tree framed on Pocosin Lakes NWR

Winter cypress trees at Lake Mattamuskeet - A Different View

Winter cypress trees at Lake Mattamuskeet – A Different View