Catalogue


Photography of natural things : a nature & environment workshop for film and digital photography /
Freeman Patterson.
edition
3rd ed.
imprint
Toronto : Key Porter Books, 2004.
description
168 p. : col. ill.
ISBN
1552635988
format(s)
Book
Holdings
Subjects
More Details
imprint
Toronto : Key Porter Books, 2004.
isbn
1552635988
catalogue key
5561504
A Look Inside
Excerpts
Introduction or Preface
Preface to the third edition In nature, nothing exists in isolation. Whether photographing the striking patterns of light and shade in the drifting snow, documenting the nesting habits of a cedar waxwing, or capturing the soft movement of grasses tossing in the breeze, we can sense the interactions between all natural things. When we learn to focus not only on individual organisms, but also on whole communities and how they are linked together in ecological systems, we begin to develop a better understanding of natural things and bow to photograph them. The photography of natural things includes all forms of plants and animals and the air, water, and soil habitats where they live and interact. The possibilities for making nature pictures are almost endless. We can photograph natural things almost anywhere -- even in the cracks of a city sidewalk, We can start at home with, say, a pot of African violets, or a freshly sliced tomato, an insect on a leaf of lettuce, frost patterns on the windowpane, the cat, or a bowl of goldfish. As we observe and photograph what is near at hand, our experience will prepare us to take better advantage of other photographic opportunities that may arise farther afield. When we photograph nature we want to observe our subject matter carefully and sometimes to record exactly what we see -- a cluster of red mushrooms, a colorful sunset, or a frog catching a fly. In trying to document plant and animal life like this, we must first look for and try to understand the functions and behavior of our subjects. We should try to show not only what certain plants and animals look like, but also the natural relationships between them. At other times, we may want to express the impact nature has on us by conveying a mood or a feeling through photography, or by singling out a natural design. The finest images -- the images that stir our souls -- combine documentation of natural things with a sense of what they mean to us. They use both documentary and interpretive approaches. Sometimes we should forget a strictly realistic approach, and use our cameras to portray intangible qualities -- the freedom of a bird in flight, the gentleness of an early morning mist, the struggle for survival of a lone seedling. We should try to clarify our personal response, then use natural designs and colors, and selected photographic techniques, to express these feelings through our pictures. Through the photography of natural things, we can explore freely our interests in, and our relationship to, the natural world, the vast system in which each of us is a tiny part. Today the natural environments of our planet are under severe stress. All ecosystems are being negatively affected -- some completely destroyed -- by the activities of our own species. The fate of our natural world lies in our hands. Nature photographers have a unique opportunity -- and, in my view a responsibility -- to heighten public awareness and concern for the crisis that we must all confront. Through our images of natural things, our slide shows, print exhibitions, and talks about nature and environmental photography, we can contribute to the understanding, appreciation, and caring for natural habitats and stimulate positive action to preserve them. No issue is more fundamental to the survival of our planet than this one; no challenge is more worthwhile. Because I feel strongly about this challenge, I have donated all my property on Shamper''s Bluff to the Nature Conservancy of Canada. Combined with a smaller adjoining property, the land has become an ecological reserve -- the several natural zones or habitats becoming a permanent home for 253 species of plants, flocks of migratory and non-migratory birds, a variety of large and small mammals, as well as amphibians, reptiles, fish, innumerable insect species, and me. For me, it is a place of awe and wonder -- biologically, aesthetically and, most of all, spiritually Several images in this book were made here. I am grateful for the contributions of several persons to this book -- to Mary Ferguson, Bill Haney, Mary Majka, Mark Majka, and Michael Clugston for valuable information and specific suggestions; to my editor, Susan Kiil, whose professional expertise and commitment I appreciate more than I can ever express; and to Liz and Keith Scott for providing me a home-away-from-home for many weeks of writing and editing. Freeman Patterson Shamper''s Bluff New Brunswick July 2004
Introduction or Preface
Preface to the third edition In nature, nothing exists in isolation. Whether photographing the striking patterns of light and shade in the drifting snow, documenting the nesting habits of a cedar waxwing, or capturing the soft movement of grasses tossing in the breeze, we can sense the interactions between all natural things. When we learn to focus not only on individual organisms, but also on whole communities and how they are linked together in ecological systems, we begin to develop a better understanding of natural things and bow to photograph them. The photography of natural things includes all forms of plants and animals and the air, water, and soil habitats where they live and interact. The possibilities for making nature pictures are almost endless. We can photograph natural things almost anywhere -- even in the cracks of a city sidewalk, We can start at home with, say, a pot of African violets, or a freshly sliced tomato, an insect on a leaf of lettuce, frost patterns on the windowpane, the cat, or a bowl of goldfish. As we observe and photograph what is near at hand, our experience will prepare us to take better advantage of other photographic opportunities that may arise farther afield. When we photograph nature we want to observe our subject matter carefully and sometimes to record exactly what we see -- a cluster of red mushrooms, a colorful sunset, or a frog catching a fly. In trying to document plant and animal life like this, we must first look for and try to understand the functions and behavior of our subjects. We should try to show not only what certain plants and animals look like, but also the natural relationships between them. At other times, we may want to express the impact nature has on us by conveying a mood or a feeling through photography, or by singling out a natural design. The finest images -- the images that stir our souls -- combine documentation of natural things with a sense of what they mean to us. They use both documentary and interpretive approaches. Sometimes we should forget a strictly realistic approach, and use our cameras to portray intangible qualities -- the freedom of a bird in flight, the gentleness of an early morning mist, the struggle for survival of a lone seedling. We should try to clarify our personal response, then use natural designs and colors, and selected photographic techniques, to express these feelings through our pictures. Through the photography of natural things, we can explore freely our interests in, and our relationship to, the natural world, the vast system in which each of us is a tiny part. Today the natural environments of our planet are under severe stress. All ecosystems are being negatively affected -- some completely destroyed -- by the activities of our own species. The fate of our natural world lies in our hands. Nature photographers have a unique opportunity -- and, in my view a responsibility -- to heighten public awareness and concern for the crisis that we must all confront. Through our images of natural things, our slide shows, print exhibitions, and talks about nature and environmental photography, we can contribute to the understanding, appreciation, and caring for natural habitats and stimulate positive action to preserve them. No issue is more fundamental to the survival of our planet than this one; no challenge is more worthwhile. Because I feel strongly about this challenge, I have donated all my property on Shamper's Bluff to the Nature Conservancy of Canada. Combined with a smaller adjoining property, the land has become an ecological reserve -- the several natural zones or habitats becoming a permanent home for 253 species of plants, flocks of migratory and non-migratory birds, a variety of large and small mammals, as well as amphibians, reptiles, fish, innumerable insect species, and me. For me, it is a place of awe and wonder -- biologically, aesthetically and, most of
First Chapter
<h3>Preface to the third edition</h3><p>In nature, nothing exists in isolation. Whether photographing the striking patterns of light and shade in the drifting snow, documenting the nesting habits of a cedar waxwing, or capturing the soft movement of grasses tossing in the breeze, we can sense the interactions between all natural things. When we learn to focus not only on individual organisms, but also on whole communities and how they are linked together in ecological systems, we begin to develop a better understanding of natural things and bow to photograph them.</p><p>The photography of natural things includes all forms of plants and animals and the air, water, and soil habitats where they live and interact. The possibilities for making nature pictures are almost endless. We can photograph natural things almost anywhere -- even in the cracks of a city sidewalk, We can start at home with, say, a pot of African violets, or a freshly sliced tomato, an insect on a leaf of lettuce, frost patterns on the windowpane, the cat, or a bowl of goldfish. As we observe and photograph what is near at hand, our experience will prepare us to take better advantage of other photographic opportunities that may arise farther afield.</p><p>When we photograph nature we want to observe our subject matter carefully and sometimes to record exactly what we see -- a cluster of red mushrooms, a colorful sunset, or a frog catching a fly. In trying to document plant and animal life like this, we must first look for and try to understand the functions and behavior of our subjects. We should try to show not only what certain plants and animals look like, but also the natural relationships between them.</p><p>At other times, we may want to express the impact nature has on us by conveying a mood or a feeling through photography, or by singling out a natural design. The finest images -- the images that stir our souls -- combine documentation of natural things with a sense of what they mean to us. They use both documentary and interpretive approaches. Sometimes we should forget a strictly realistic approach, and use our cameras to portray intangible qualities -- the freedom of a bird in flight, the gentleness of an early morning mist, the struggle for survival of a lone seedling. We should try to clarify our personal response, then use natural designs and colors, and selected photographic techniques, to express these feelings through our pictures. Through the photography of natural things, we can explore freely our interests in, and our relationship to, the natural world, the vast system in which each of us is a tiny part.</p><p>Today the natural environments of our planet are under severe stress. All ecosystems are being negatively affected -- some completely destroyed -- by the activities of our own species. The fate of our natural world lies in our hands. Nature photographers have a unique opportunity -- and, in my view a responsibility -- to heighten public awareness and concern for the crisis that we must all confront. Through our images of natural things, our slide shows, print exhibitions, and talks about nature and environmental photography, we can contribute to the understanding, appreciation, and caring for natural habitats and stimulate positive action to preserve them. No issue is more fundamental to the survival of our planet than this one; no challenge is more worthwhile.</p><p>Because I feel strongly about this challenge, I have donated all my property on Shamper's Bluff to the Nature Conservancy of Canada. Combined with a smaller adjoining property, the land has become an ecological reserve -- the several natural zones or habitats becoming a permanent home for 253 species of plants, flocks of migratory and non-migratory birds, a variety of large and small mammals, as well as amphibians, reptiles, fish, innumerable insect species, and me. For me, it is a place of awe and wonder -- biologically, aesthetically and, most of all, spiritually Several images in this book were made here.</p><p>I am grateful for the contributions of several persons to this book -- to Mary Ferguson, Bill Haney, Mary Majka, Mark Majka, and Michael Clugston for valuable information and specific suggestions; to my editor, Susan Kiil, whose professional expertise and commitment I appreciate more than I can ever express; and to Liz and Keith Scott for providing me a home-away-from-home for many weeks of writing and editing.</p><p><i>Freeman Patterson<br />Shamper's Bluff<br />New Brunswick<br />July 2004</i></p>
Reviews
Review Quotes
This book provides instruction on techniques and offers guidelines for photographing nature in a personal and interpretive approach.
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Summaries
Main Description
The definitive guide from a master. Photography of Natural Things explains how to photograph a full spectrum of natural subjects, including: Sun and moon, day and night sky Water, snow and ice Plants, soil, natural landscapes Marine and aquatic life Mammals, amphibians, reptiles and insects Birds in flight. Clear, non-technical text demystifies the techniques of photographing nature, guiding readers to explore their relationship to the natural world and to make fine images of their own. Extended captions include valuable technical information and personal commentary reflective of the superb craftsmanship and stunning photography from one of the most celebrated photographers worldwide. The third edition is updated to include technical guidelines adapted for both digital and film photographers.
Main Description
Patterson demystifies the techniques of photographing nature in this third edition of Photography of Natural Things. Readers are taught how to photograph a full spectrum of natural subjects and to explore their relationship to the natural world to create fine images of their own.
Table of Contents
Preface to the third edition
Thinking About Nature
Relationships between natural things
Nature in the city Nature in your home
Photographing Nature
Photographic approaches Documentary photographs Interpretive photographs
Photographing Natural Elements And Habitats
The sun and the atmosphere
Photographing the sun and the daytime sky
Photographing the sky at night
Photographing invisible things
Water and natural processes
Photographing water
Photographing snow and ice
Soil and the natural landscape
Photographing soil
Seeing the natural landscape
Making landscape photographs
Capturing the color of the landscape
Photographing Plants And Their Functions
Plants Making pictures of plants
Photographing on a damp day in the woods
Photographing Animals And Their Behaviour
Mammals Making pictures of mammals Birds
Photographing the activities of birds
Photographing from a bird blind or hide Insects
Photographing insects in the field
Photographing insects in captivity
Amphibians and reptiles
Amphibians Reptiles Fish and other water creatures
Making underwater pictures from above water
Making underwater pictures under water
The Photography Of Natural Things Checklists
Preparing for a field trip Planning a one-day field trip
Planning a long trip
Choosing equipment
Basic equipment
Equipment for specific situations
Filters Caring for equipments
Electronic flash
About the author
The third edition of this book has been adapted for film and digital photographers
Both will find the contents of this book equally useful
Table of Contents provided by Publisher. All Rights Reserved.

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