PhotoWhoa Interview: Capturing The Experience

PhotoWhoa Interview: Capturing The Experience

Announcements

Inspiration

Capturing the experience…. “Redwood Supernova” Sunrise through the fog in Del Norte State Park and Redwoods National Park in northern California, USA.

Richard was recently interviewed for the photo website PhotoWhoa. He talked about the importance of passion as part of the creative process and capturing the experience.

“I want to have as many apex experiences as possible where I am literally moved to tears by the overpowering beauty or the devastating sadness I see and feel. And it’s what I feel – not what I see – that’s important. That’s a strange thing, perhaps, for a photographer to say. The emotional content of a scene is the vital core around which I’ll build my image. Without it, it’s just a pretty picture. I want my viewers, who might be thousands of miles removed from the physical scene and experience, to feel what I am feeling, not necessarily what I am seeing. That is photography for me.”

Richard Bernabe is a professional photographer specializing in travel, wildlife, and nature as well as an author of books, magazine articles, and travel essays published world-wide. Richard is a global influencer in the fields of photography, travel, and wildlife conservation with more than one million followers on social media platforms. He leads several photography tours and workshops all over the world and is invited to speak to photography and conservation groups all across the globe. For more great information on new images, gear reviews, book projects, and photography workshops and tours, Sign Up For Our Newsletter.


Favorite Images of 2018: A Retrospective

Favorite Images of 2018: A Retrospective

Inspiration

Inspiration

I spent much of December at home with a thought-provoking read titled The Artist’s Journey by author and screen writer, Steven Pressfield. And while I don’t completely agree with everything he espouses, I do recommend the book for artists, writers, musicians, or anyone with a career in a creative field. Among the many views the author posits (you can read some of the more profound excerpts on Tim Ferriss’ blog, How To Undertake the Artist’s Journey) is that the artist’s intent should not necessarily be one of self expression, as you might have heard and believed most of your creative life, but rather a journey of self discovery. 

“Artists discover themselves by the work they produce,” Pressfield asserts. 

Those eight words above have haunted me now for weeks. As I pored over this year’s work to make the following selections, I asked… What matters to me most? What is my life’s purpose? What three words describes me best? I had relatively adequate answers to those questions already yet I searched for new meaning in my most recent work, making little to no progress. But since I’m insanely self-critical (there are no framed pictures of my work adorning the walls of my home or office, for example) I did manage to extract the following threads of introspection: Is this really all you’ve accomplished this year? Seriously, what an utter waste of twelve months. You really should spend more time actually doing photography and less time writing and talking about it. Okay, fair enough.

In addition, he implores artists to “put your ass when your heart wants to be” – an inelegant way of phrasing, Do Whatever Inspires You. Great advice, I’d say, which is exactly what I’ve been doing for the past 15 years, including this most recent one. So with regard to Pressfield, his book, and my journey of self-discovery and loathing, let’s just say it all evens out and continue to my favorite images of 2018, shall we?

Lilac Wine
Acadia National Park, Maine USA
October 12, 2018

Perhaps subconsciously inspired by Claude Monet’s series of impressionist water lily paintings, I caught the sunset sky reflected in a beaver pond along Duck Brook Pond in Acadia National Park in Maine. I liked the combination of abstract qualities with a touch of the literal found in the lily pads and reeds. Getting the right amount of balance and spacing of literal elements within the image frame was key. Canon EOS 5D Mark IV, Canon 100-400mm @ 400mm, 1/125 second @ f/16, ISO 500.

Dark Karma
Praia da Adraga at dusk, Portugal
June 1, 2018

Praia da Adraga is a place of dangerous beauty. The waves are big and powerful, the surf thunderous, and the rocks either too slippery, too sharp, or the lethal union of both. I anticipated an epic fail at every turn but managed to avoid disaster with each visit made. I wanted my images to convey this feeling of impending doom I carried in the pit of my stomach and Dark Karma came as close as any others. But alas, on my final evening at Adraga, while walking out in the dark, I suffered a violent, if not comical fall on the rocks, leaving a hockey puck-sized bruise on my thigh with all the colors of a Mediterranean sunset. Canon EOS 5D Mark IV, Irix 15mm, 30 seconds @ f/11, ISO 100.

Turning Away
Humpback whale, Johan Petersen Fjord, Eastern Greenland
August 21, 2018

Most of you know that wildlife conservation is a passion of mine, particularly the preservation of endangered species. The humpback whale is one of our rare success stories, with its conservation status upgraded from endangered (1988) to vulnerable (1996) due to the cessation of commercial whaling practices. But now the ocean’s plastics crisis threatens them once again. I like to imagine the displayed gesture as an anthropomorphic middle finger to the most “advanced” primates of the planet. If you look closely above the tail, you can see not only the outline of an iceberg, but also the edge of Greenland’s massive ice sheet. Canon EOS 5D Mark IV, Canon 100-400mm @ 158mm, 1/1600 second @ f/5.6, ISO 125.

Daughter of the Sun
Etosha National Park, Namibia
June 25, 2018

This Etosha giraffe appears to be bowing before the sun mere minutes before it dropped below the horizon. The sun is so large in the image from because of the focal length (560mm) and I battled all the usual bugaboos associated with shooting directly into the sun: flare, ghosting, autofocus problems, underexposure, and real possibility of being blinded in the process. All in all, however, it seems to have worked out well enough. Canon EOS 5D Mark IV, Canon 200-400mm w/ 1.4x @ 560mm, 1/500 second @ f/10, ISO 250.

Promenade
Lake Clark National Park at Cooke Inlet, Alaska
August 10, 2018

My love-hate relationship with bears continued in 2018 with a visit to Alaska’s Lake Clark National Park at Silver Salmon Creek Lodge. The chosen image here teaches a valuable lesson for wildlife photographers who instinctively reach for the longest lens in the bag and zoom in as close as possible. Many just aren’t happy until every detail of fur or feather can be resolved fully in the frame. And let’s face it, this tendency is also an opportunity to show off some of your technical proficiency, am I right?  But the more compelling image is often the wider option. Here we have layers of sky, mountains, water, shoreline, bears, and their reflections. This is much more interesting than the conventional close up. Canon EOS 5D Mark IV, Canon 200-400mm w/1.4x @ 560mm, 1/2500 second @ f/5.6, ISO 800.

Steel Rain
The Vestrahorn at Stokksnes, Southeast Iceland
February 24, 2018

Classic landscape layout; sweeping, wide-angle perspective, compelling foreground with patterns creating perspective progression, diagonal shoreline leading the eye to the mountains in the background. This was captured in some of the worst weather you can imagine with the temperature near freezing, rain, sleet, and wind (I did have friends and fellow photographers nearby with whom I could share the agony) but within the hour, the skies opened up and a rainbow appeared over the mountains. Canon EOS 5D Mark IV, Canon 16-35mm @ 17mm, 4 seconds @ f/14, ISO 100.

Chasing the Light
Etosha National Park, Namibia
June 27, 2018

This is my personal favorite from 2018 and the most difficult image for me to describe with mere words. For one thing, I never remember taking the photo; it’s like a dream. I discovered the photo later that evening while reviewing images in my cabin. No animal is displayed in it’s entirety; the photo is all legs and trunks. The light is exquisite. The combination of backlighting and dust kicked up by the herd of elephants produces some curious visual effects such as the double edges where the light bleeds into the shadows and vice-versa. The composition uses layers to frame the young elephant farthest away from us, which is where our eye comfortably rests. I’m reminded of Robert Hunter’s lyrics, “Once in a while you get shown the light in the strangest of places if you look at it right.” The camera and lens were pointed in the right direction at the right time for a reason I can’t explain or properly take credit for. Maybe it was just the light. Canon EOS 5D Mark IV, Canon 200-400mm @ 280mm, 1/1600 second @ f/9, ISO 640.

Quercus Angelus
Johns Island, South Carolina
November 26, 2018

This is my backyard, not quite literally, but nearly so. I’ve photographed this tree on many dozens of occasions, including this exact composition time and time again. And time is the most conspicuous dimension on display here, as the Angel Oak, as it’s been titled, is the oldest living thing in America found east of the Mississippi River. On this particular morning I had no people to work around, soft diffused light, and a touch of mist in the air which lent a dreamy look and feel to the scene. Canon EOS 5D Mark IV, Canon 11-24mm @ 19mm, 5 seconds @ f/16, ISO 160.

Eternal Blue
Iceberg, Angmagssalik Fjord, Eastern Greenland
August 22, 2018

Here’s a perfect example of an intimate scenic; no foreground, no sky, no “sense of place” – just color, patterns, shapes, and lines. Intimate scenics always say much more about the personal vision of the photographer than it does about the place, however if one had to guess, Greenland would have been a good one. Grand scenics, conversely, usually rely more on the specific location to carry the image. Canon EOS 5D Mark IV, Canon 100-400mm @ 200mm, 1/640 second @ f/11, ISO 2000.

Take a Bow
Diamond Beach at Jökulsárlón, Southeast Iceland
February 4, 2018

Due to the extremely changeable weather in Iceland, rainbows are not an uncommon phenomenon. Despite this fact, however, they never fail to bring a smile since they always seem to be preceded by the foulest of weather. This 180 degree rainbow perfectly frames this lone iceberg on Diamond Beach at Jökulsárlón. Canon EOS 5D Mark IV, Canon 11-24mm @ 17mm, 1/200 second @ f/14, ISO 500.

In 2019 I’ll be traveling to Iceland, Greenland, China, Patagonia (Argentina and Chile), Namibia, Tanzania, Uganda, Gabon, diving with gray whales off Mexico’s Baja California, returning to Antarctica, and more. Follow my adventures by signing up for my monthly newsletter

Here’s to Truth, Adventure, and Passion in 2019 –  Richard

Richard Bernabe is a professional photographer specializing in travel, wildlife, and nature as well as an author of books, magazine articles, and travel essays published world-wide. Richard is a global influencer in the fields of photography, travel, and wildlife conservation with more than one million followers on social media platforms. He leads several photography tours and workshops all over the world and is invited to speak to photography and conservation groups all across the globe. For more great information on new images, gear reviews, book projects, and photography workshops and tours, Sign Up For Our Newsletter.


Essential Photography: The Creative Principle

Essential Photography: The Creative Principle

Creativity

Inspiration

The following is an excerpt from my e-book, Creative Composition: Image Design Masterclass. It happens to be the very last chapter after outlining and explaining the many compositional “rules” and concepts used in photography and the arts.

The Creative Principle

Creativity is the process of making, or creating, something new and useful – in our instance here, that would be a photograph. So in order for a photograph to be creative it must involve a scene, technique, or composition that’s never been done before. But making something new isn’t enough. There are an infinite number of ways to make new or novel images with your camera – including tripping the shutter as you throw it down a mountain or firing it remotely after attaching the camera to your dog’s tail as it walks the yard. Each of the results would be new or different, to be sure, but they wouldn’t necessarily be creative. Almost all of the photos would be failures, unless you stumbled upon a random, happy accident. The photograph needs to be both new and useful, meaning it has to make a meaningful connection with the viewer. Art cannot be the product of an accident. Art must be purposeful. Composing a scene through your camera’s viewfinder is just one conscious, purposeful thing you can do as a photographic artist.

Following the composition “rules” as outlined in this book will surely lead to visually appealing images that are “useful” but they will lack the creativity you’re striving for since there’s nothing new in any of them. You must learn to break the rules in order to achieve true creative results but you also have to know the rules in order to break them. Actors are told to learn their lines so they can later forget them and improvise on the spot. The good ones do just that. Call it irony if you wish, but I prefer to call it the Creative Principle. Feel free to break this one too since there are, in fact, no rules.

It’s also crucial to understand that breaking the rules just for the sake of breaking them is not being creative either. What’s most important about knowing the rules is understanding why they work most of the time – something I hope this book has accomplished for you. Knowing why the rules work will lead to something akin to a higher state of compositional enlightenment: knowing when your photo is successful when not using the rules, or better yet, purposely breaking them. Once you get to that happy place, you will be on the path to true creative synthesis.

The last step on this journey to creative expression is actually putting The Creative Principle into action. The French artist, Henri Matisse once famously declared, “Creativity takes courage.” It takes considerable courage to deviate from the safe confines of conventional compositional rules because trying something different could lead to failure. Your art should be an intimate expression of yourself so it’s easy to take failure personally. It’s important to remember, however, that artistic growth requires experimenting and trying new things. Failures will definitely occur along the way but they’re a small price to pay for the creative breakthroughs you’re going to make by venturing outside your comfort zone. Edwin Land, the founder of Poloroid, said, “An essential aspect of creativity is not being afraid to fail.” Don’t be afraid to try something new.

So consider the rules merely as guidelines or suggestions with which to take generous liberties. “Learn the rules like a pro, so you can break them like an artist,” Pablo Picasso offered as advice to fellow creatives. When I’m behind the camera, I am not thinking about any compositional rules, guidelines, or suggestions but instead I’m working on more of an intuitive level. I don’t think too much about composition. I simply defer to what feels right. Yet the concepts in this book have helped teach me how to see and they’re never far away from the conscious decisions I’m making in real time. Later on, I often discover that I did, in fact, use one of the rules presented here (or I’ve discovered that I ignored all of them) but I’m never thinking that way at the time of the capture.

Remember, no one is born an accomplished photographer and master of composition. It’s not an innate talent. It’s not a gift. There are no child prodigies in the field of photography. Every great photographer has had to learn the rules, intentionally break the rules, then ignore them altogether. If you’re just starting out, rest assured that you are in the same place that I once was, as well as every other professional photographer. Learn the rules, adopt the Creative Principle, then follow your heart and intuition to a life of creative expression. Enjoy the journey.

You can learn more about creativity and composition in my 74-page e-book, Creative Composition: Image Design Masterclass.

Richard Bernabe is a professional photographer specializing in travel, wildlife, and nature as well as an author of books, magazine articles, and travel essays published world-wide. Richard is a global influencer is the fields of photography, travel, and wildlife conservation with more than 1.2 million followers across social media platforms. He leads photography tours and workshops all over the world and is a high-demand keynote speaker. For more great information on new images, book projects, public appearances, photography workshops and tours, Sign Up For Richard’s Email Newsletter.

Free e-book: Iceland, Our Amazing Planet

Free e-book: Iceland, Our Amazing Planet

Bucket List

Inspiration

Iceland, Our Amazing Planet, explores the pure magic that is this small country in the northern Atlantic Ocean. Here are two dozen photographs of Iceland’s mountains, waterfalls, glaciers, wildlife, and beautiful light captured by renowned nature, wildlife, and travel photographer, Richard Bernabe. This virtual tour of Iceland will visually demonstrate why Iceland truly is one of our planet’s most amazing places. Come take the tour!

Add to Cart

*  Depending on your particular mobile device and software/apps, you might have a problem downloading this PDF directly to your phone or tablet. If that’s the case, download to a computer first and then transfer to your phone or tablet.

Sample Pages

Richard Bernabe is a professional photographer specializing in travel, wildlife, and nature as well as an author of books, magazine articles, and travel essays published world-wide. Richard is a global influencer in the fields of photography, travel, and wildlife conservation with more than one million followers on social media platforms. He leads several photography tours and workshops all over the world and is invited to speak to photography and conservation groups all across the globe. For more great information on new images, gear reviews, book projects, and photography workshops and tours, Sign Up For Our Newsletter.

Photography And The Creative Process

Photography And The Creative Process

Creativity

Inspiration

When it comes to photography and the creative process, I fully embrace the principles of brain function lateralization. In a nutshell, brain function lateralization refers to how the left and right hemispheres of our brains process information in different ways. The right half of the brain is where we feel emotion, use our imagination, and do our dreaming, while the left half is where we use language, reason, and apply logic.

This idea is certainly nothing new to most of you, but learning how to use this knowledge can help you, as a photographer, better understand the creative process and make images that better express your experiences both intuitively and conceptually.

It’s important to understand that our conscious mind can only process information from one side of the brain at a time. We are able to switch back and forth fairly effortlessly, but it’s not the best way for the brain to operate. In the end, authority is almost always delegated to one half or the other when deciding what information enters our consciousness and what doesn’t. This includes visual information that is transmitted from our eyes via the optic nerve. Alas, the struggle is almost always won by our dominant left brain, while the right plays a much more passive role.

Our right brain is sometimes able to covertly sneak information into our conscious awareness but only when the left brain is either asleep at the wheel or lulled into boredom. During these episodes, random emotional and visual vignettes and freely associated images wildly dance and flicker through our consciousness before the rational left brain once again regains control and restores order.

For the photographer, it’s in the right half of the brain where the creative spark is kindled, making a connection to the world we see in intuitive, emotional terms. The left half is concerned with more workaday matters such as exposure, perspective, and composition (I am convinced that composition is a deliberate cognitive process rather than intuitive one although admittedly, I often simply defer to what feels right).

If your goal is to have others inspired and moved by the images you make, you must be inspired and moved by what you see and experience. If you want to evoke a strong emotional response from others with your photography, you must have a strong emotional connection to your subject matter. How can you expect others to be moved by your photography if you are ambivalent? How can you possibly expect your viewers to feel power, awe, tranquility, melancholy, or heartache in your images if you, an actual witness to the scene, felt nothing?

When I am in the field, I often forget that there is a camera with me. I am not thinking about composition, light, or pressure to make a single image whatsoever. I’m simply try to savor the experience and totally immerse myself in the present moment and place with heightened senses and awareness. I’m not looking for anything in particular, nor do I expect to find anything. Instead, I am creating a state of mind where I am completely receptive to something finding me.

The late fine-art photographer, Ruth Bernhard, once explained how she approached her craft. “I never look for a photograph,” she explained. “The photograph finds me and says, ‘I’m here!’ and I say, ‘Yes I see you. I hear you!’”

The key is being completely open and receptive to your environment while passive with your thoughts. I find this to be the most effective way for allowing the right brain to temporarily gain the upper hand. The worst thing you can possibly do is rush into the field or photography session with preconceived ideas or images that you want to create. That includes the pressure to create any image at all. There should be no expectations. Trying to force things only reasserts the left brain’s dominance and ultimately leads to photographic clichés, old concepts, and emotionally sterile results.

When something in the field does speak to me and I am emotionally drawn to a subject or scene, I don’t want to immediately reach for the camera and start shooting either. Too many times I have aborted the creative process at this point and began to take capture the images. These are usually disappointments as I am left muttering later over the computer, “What was I thinking here?” Far removed from the emotional high experienced during the capture, the images failed to trigger the same response later on. This is exactly how your viewers will feel, since they too are emotionally and physically separated from your experience. Your right brain may have provided the intuitive, emotional spark, but something was clearly missing in the translation to the finished product.

Instead of instinctively grabbing the camera, ask yourself some basic questions: Why do I want to photograph this? What is drawing me to this subject or scene? What emotion – specifically – is this scene eliciting from me and what ultimately do I want to express here? What elements within the scene are contributing to this emotional sensation I am feeling? If you can verbalize some of these answers, they will be easier to act on. Language is the domain of left brain processing and verbalization provides the catalyst to the left brain image execution. Remember, we cannot process information from both sides of our brains simultaneously, so this verbalization should jump start the transition from right to left.

What emotional sensation did you verbalize? Tranquility? Strength? Power? What elements – specifically – were contributing to this emotional response? The motion of the water? The ominous, foreboding sky? The sensual curve of the lake’s shoreline?

Now, what tools do we possess that can help accentuate these specific elements? Those tools can be found deep within your camera bag or in the well of your accumulated technical knowledge and photography experience. Where is the focal point of the image? Do these elements lend themselves to a wide-angle composition that merges the focal point gracefully with the surrounding environment, or does a more simplified presentation communicate this better?

Well, you get the idea here. We are creating a concept, which is all left brain thinking. If we remain in the right brain, intuitive mode without crossing over to left brain conceptualization, we are likely to create images with strong emotional content, but with little or no meaning to anyone but ourselves. Your emotional response to the scene must be conceptualized in order for others, who were never there at the scene, to “get it.” And if you only approach your photography from the left brain mode and never establish any emotional connection to the subject, the results will likely be technically adequate, well-crafted images that are emotionally sterile.

Creativity as artistic expression is a syntheses between the right and the left, the intuitive and the conceptual. A 2014 article in The Atlantic titled, The Power of Two describes the genius of The Beatles, how John and Paul were complementary opposites who probably would have failed without each other (I’ll let you decide who was the right/intuitive and who was the left/conceptual). Their creative process, and their genius, relied on both – as do you, the creative photographer.

Richard Bernabe is a professional photographer specializing in travel, wildlife, and nature as well as an author of books, magazine articles, and travel essays published world-wide. Richard is a global influencer is the fields of photography, travel, and wildlife conservation with more than one million followers on social media platforms. He leads several photography tours and workshops all over the world and is invited to speak to photography and conservation groups all across the globe. For more great information on new images, gear reviews, book projects, and photography workshops and tours, Sign Up For Our Newsletter.

A Passion Driven Life

A Passion Driven Life

Inspiration

Inspiration

You cannot change what you are, only what you do. – Philip Pullman, The Golden Compass

In a commencement address to the graduating students of Stanford University in 2005, Steve Jobs recalled a quote he first read when he was 17.

“If you live each day as if it was your last, someday you’ll most certainly be right.”

He went on to say that the quote stuck with him though most of his adult life and that he would look himself in the mirror each morning and ask himself, “If today were the last day of my life, would I want to do what I am about to do today?”

If the answer was “no” for too many consecutive days, he knew it was time for a change.

So after waking up too many mornings with a resounding “no” reverberating through my weary head, I drove to the office and promptly terminated a successful corporate career. My own. I fired myself on January 14, 2003 which also happened to be my birthday.

Photography was a serious hobby at the time with occasional financial rewards, but not nearly rewarding enough to pay for my lifestyle. It wasn’t even close. Photography and travel were excellent ways to spend money, not make it (that’s still mostly true, by the way). Still, I was determined to give it a go, even if I really had no idea how to get there exactly. The one thing I knew for certain was that my talent and energy were being atrophied as I counted down the days to each bimonthly paycheck.

This was a new way of thinking to me. I was a rationally thinking corporate manager with an economics degree who always made decisions with cold, hard logic and yet there was nothing rational about this line of thought. In return for a six-figure salary, benefits, and financial security, I was getting what exactly? Let’s count the ways; no salary; no plan for earning any income in the near future; no benefits; no financial security. On its face, the choice was a no-brainer, yet my intuition and heart told me otherwise.

Wild places, wildlife, and exotic travel were my passions in life. Capturing and sharing my experiences in these places were what inspired me to get up each morning, not my 9-to-5. It was the first thing I thought about each morning and the last thing each night before drifting off to sleep. If I were going to evangelize to others that you should love what you do in order to truly be successful in life – as was my mantra to my employees and anyone who would listen – I would have to commit to it myself lest I be a hypocrite. I was only willing to accept happiness and excellence for myself and I could only achieve it by doing what I loved and was passionate about.

Throughout the transition, I received a tremendous amount of emotional support from family and close friends. I’ll always be grateful for that. Some were genuinely concerned and that was certainly understandable. Others thought it was only a phase I was going through – a mid-life crisis, perhaps – that I would eventually outgrow before crawling back to the real world again. But hey, at least no one told me to grow up and get a haircut.

“But taking pictures isn’t real work,” many would say. “You’re just running off to pretty places and having a good time.”

“Right,” I would answer. “So what exactly is your point?”

You see, I never considered photography as an occupation. The word occupation is derived from the same Latin word that spawned the word occupy, essentially meaning, “to take up space.” That little phrase should paint a vivid enough word picture to illustrate precisely what I’m trying to say here.

Vocation, on the other hand, comes from the Latin word, vocare or “a calling.” If throwing away a “successful” career and financial security – not to mention mere rationality – in order to chase down one’s dream and passion in life isn’t a calling, then I’m not sure what is. Being a photographer is my vocation. It’s not what I do; it’s what I am. There aren’t very many people who can say the same about their occupation.

So after many years now of traveling the world, chasing down magical light, and capturing as many unrepeatable moments in the wild on film and digital media as possible, I’d like to think that I’ve achieved a modest amount of success as a professional photographer. But what is a “success” anyway? By one yardstick, I already was a success many years ago in a corporate job.

If living an inspired, passion driven life doing exactly what I feel I was meant to do – while managing to live financially comfortable as well – is another yardstick with which to measure success, well then I guess I’ve achieved something after all. It’s also the greatest birthday gift I could have ever given myself.

Richard Bernabe is a professional photographer specializing in travel, wildlife, and nature as well as an author of books, magazine articles, and travel essays published world-wide. Richard is a global influencer is the fields of photography, travel, and wildlife conservation with more than one million followers on social media platforms. He leads several photography tours and workshops all over the world and is invited to speak to photography and conservation groups all across the globe. For more great information on new images, gear reviews, book projects, and photography workshops and tours, Sign Up For Our Newsletter.