Photography is so much fun and living in SW Colorado is filled with about a month of capturing our landscape with it's autumn dress. I usually begin photographing in and around Silverton and Red Mountain, and then make my way south to Lime Creek, 550 views and later in the season head west to the roads outside of Mancos. After that, UTAH!
Our Colorado Fall Color Photography Workshop takes place in the San Juan Mountains. Round-trip from our accommodations at Cascade Village, we take you to our favorite grand and intimate scenic locations throughout Southern Colorado, stopping along the way to teach lessons such as:
- Composition for the Grand Colorado Landscapes
- Photographing Aspens in the Forest
- Patterns and Textures of Aspen
- Working with Depth of Field and Shutter Speed.
- We make sure you’re familiar and comfortable with YOUR camera
Day One finds us exploring the landscapes, light and aspens between Durango and Silverton, we explore locations for lessons at the Pigeon, Turret view, along Lime Creek Road, Molas Pass.
Skills learned:
- How to properly use YOUR camera to combine f-stop, shutter and ISO to make your images sing. Discussion of what makes a good photo into a great photo.
- Aperture control for depth of field
- Shutter control for those “quaking” aspen.
- Choosing back-lighting, front, and side lighting to improve your photography
- iPhone skills will be thoroughly explained and demonstrated too
Day Two After an early check out of our accommodations, we continue chasing the fall color and mountain compositions that “call our names”. We teach you to improve your photography skills. Digital video instruction (optional) will be demonstrated as we make our way through the mountains, creating short video clips of your adventure, the forests, time lapse of the grand and intimate scenes.
We travel up and along the scenic highway from Silverton to Red Mountain Pass, Owl Creek Road to Silver Jack Reservoir. The Cimmaron Mountains are our backdrop as we explore “near-far” relationships in the autumn landscape. At sunset we will photograph the Sneffels Range from Dallas Divide, a must see fall scene in Colorado. Learn what composition skills are needed to isolate beauty in the “big” scene. This workshop ends at 5pm on Day two.
Skills learned:
- Using leading lines in your photos.
- Create near-far compositions and learn to select the proper f-stop
- Working with exposure compensation (+-)
Tuition and Accommodations
Accommodations in Durango are suggested. Once registered for our Fall Color Photo Workshop, we’ll pass along more information about suggested gear, clothing. Click here for Kit’s suggestions for adventure gear.
Tuition, includes expert photography instruction, light beverages and lunch at our photo locations. $650.
Our meet and greet will be in Durango the first morning of the workshop. We then leave in your own transportation for the mountains. No 4wheel drive needed. For more information about fall color in Colorado.
And while in Durango.
Register for our Adobe Lightroom class after your workshop,
Learn to upload, edit and sequence, title and add music to YouTube and Facebook videos.
]]>
Join us for three days of photographing the majestic fall color in and around Capitol Reef National Park.
The Fruita District of Capitol Reef National Park, surrounded by Wingate Sandstone, is one of the best kept secrets for fall color photography.
Kit Frost was chosen as the first Artist in Residence at Capitol Reef National Park. Kit knows the park intimately and can suggest some of the best locations for photography in and around Capitol Reef. She will share her favorites with you during this spectacular photography workshop.
Come prepared to spend your days in Fruita, Torrey and Boulder, Utah, along the Burr Trail, looping the "fold" through stunning landscapes in and around the park. Bring your digital camera and lenses, your smart phone, your tripod and other essential gear (a suggested gear list will be sent to you).
Kit Frost will teach you how to create stunning compositions, select the optimum lens,
expose for drama, select the best light and location for Fall Color Photography.
No previous experience needed.
Beginners and Advanced Photographers are welcome.
Kit has been teaching photography for the past 40 years, is an experienced and devoted instructor, and cares that you leave our workshops with a greater understanding of your gear, your lenses, composition, exposure, and that you feel comfortable with YOUR camera gear.
Accommodations are limited, as there are No accommodations in Capitol Reef National Park, other than first come, first served campgrounds. Register early, bring the family. Kit will distribute maps for your guests to use while you are in class. Plan to spend three days outdoors, in all weather (we LOVE changing weather patterns). Much of our photo lessons will be close to our cars, with some hiking, but nothing too strenuous. Every photo above was created within a short walk of our vehicle.
Capitol Reef National Park encompasses amazing Wingate cliffs, the Fremont River, the Waterpocket Fold, and slot canyons too. Expect to be blown away by the photographic inspiration of the Park.
Capitol Reef Golden Fall Color
Plan to arrive in Torrey, Utah for a meet and greet.
Workshop instruction begins at 9am
Tuition $1299. per person, includes expert instruction, snacks and lunch, plus light beverages.
Let us know if you need assistance with Torrey accommodations.
]]>
Our epic snowfall in Colorado has us drooling for this summer’s wildflower season. We will explore and photograph at some of the most prolific locations for Colorado Columbine, Paintbrush, Marsh Marigold, Brook Cress and other high altitude flowers. Chase the Light Photography will escort you to our favorite locations outside of Silverton, Durango and Mancos, Colorado.
We meet in Durango, Colorado for an introduction to Wildflowers Photography, then caravan up into the mountains for a day of photo lessons. Bring your tripod so Kit Frost can teach you to properly compose, expose and enjoy the wilds. Our lessons include the intimate moments of a single Columbine as well as the grand landscape of wildflower, middle-ground and mountains.
This Colorado Columbine close-up image is ALL about the depth of field. Let us show you how to control the drama in your photos.
We escort you to a selection of high altitude creeks and waterfalls to photograph the wilds alongside the moving water.
We take you to locations that speak to wildflowers, middle-ground and mountains; teaching you how to use your aperture to capture this spectacle.
Bring your digital camera gear, your assortment of lenses, a point and shoot and/or your iPhone for sketching and composition lessons. Bring your tripod, it’s essential that we see what you are composing in the field so we can work with you to improve your wildflower images. Bring your enthusiasm and dress in layers.
Meet in Durango on for a short studio lesson on the use of your tripod, and logistics
Tuition: $1299. for all three days of Wildflower Photography
Itinerary will be posted and shared with participants, register soon.
Generally, we meet for a short session indoors on the first morning, then head out for a day of photography lessons, Day 2 we meet in the studio for a quick review of skills learned, challenges and successes, and head to our second day of outdoor photography, Day 3 we review the best of the best, when Kit Frost will make suggestions for improvement and introduce new skills.
]]>
Along the road, in Abiquiu, Chama River View. Autumn ©Michelle Chrisman
I am inspired by the work of my teacher, Michelle Chrisman, and strive to be as good as she is someday.
Near Kitchen Mesa, Ghost Ranch ©Kit FrostI was blessed with setting up my easel and painting with my teacher, Michelle Chrisman.
In fact, I painted this oil while standing near her at Ghost Ranch, where I took a one week class from Michelle. These days, while on the road, I prefer knowing where I will spend the night. Usually in a designated campground or on BLM land (we call it boon docking/dry camping). I like a safety net on the road, and enjoy nightly company and daily solo time to chase the light. It is often helpful when hiking to have a friend nearby for scale, but rarely do we hike at the same pace.
Travel, Art and Photography in our National Parks
It's rare to have time alone in our National Parks, I find locations off the beaten path. My style of photography is to scout images with my iPhone and return to the location with my more sophisticated gear to capture the subject at just the right time and light. I am also in the habit of waiting out crowds and other photographers. I wait for the best light and for other visitors to leave the frame. Our National Parks host millions of visitors a year, and yet, there are opportunities for solitude and time to concentrate. Setting up a tripod is a magnet for other folks to gather, so I tend to find my images by hiking away from the standard viewpoints.
What do you do to enjoy our National Parks, despite the crowds?
]]>
The Adventure Begins in Crater Lake
What an understatement! The actual path to experiencing our Parks as an Artist in Residence began long ago. As I retired from teaching, moved to Durango and built up my Chase the Light Photography Adventures, I planned and envisioned a life of travel, art, photography, and exploration. One of the dreams I’m pursuing is to spend serious time in our National Parks, as a Resident Artist. Many of our National Parks have an application process available to established and emerging artists. The program offers time and accommodations in the most beautiful places. These are not paid gigs in the formal sense, but a real opportunity to spend quality time and follow my bliss. I often drag my trailer to the location, and at other times, the park supplies housing. My travel trailer serves as my mobile art studio and home.
In 2013, I began the process of research and writing necessary to apply. The first priority: establish a timeline for applications, organize site specific portfolios, write essays and gather letters of recommendation. Here's an online site listing all the National Parks offering art residencies. After review of each Park’s program and taking a look at my motivations to be at a specific park, I set deadlines and began writing proposals. Each application is a challenge to write, demanding of time and is a huge commitment, requiring a thorough examination of my portfolio for the “right” kind of images to send.
Most of the applications require a 1-2 page statement of intent, a small sampling of 4-8 images, letters of recommendations, and curriculum vitae. And all applications include a proposal for the project to be completed during the residency. The residencies provide an opportunity to devote 2-4 weeks’ time in a cabin or other rustic accommodations, time devoted to making art, and sharing that process with visitors. One of the most challenging steps is choosing the right images to submit.
Clearing morning inversion. Two Medicine LakeChosen by the Montana Preservation Alliance as one of six Artists in Residence making art throughout Montana, I spent a month at Glacier National Park. Two weeks on Two Medicine Lake gave me the opportunity to see the Lake in all it's glory.
Artists chosen for this prestigious and competitive award are also required to make a public presentation while at the park, and to donate one piece of art within a year of their residency. I organized a class to teach visitors to improve their smart phone image, video, time lapse, making. And I also created a presentation entitled "Artists in Our National Parks", a story of the history of Art, as well as contemporary art in our Parks.
A list of current and past applications
It helps to be “thick skinned” and not take the application process personally. Just as with juried exhibitions, there is a standard of excellence in the level of artists applying, and the “right” person for each residency, the right image to fit an exhibition theme. Some review committees will provide comments, while others just don’t have the time to respond to the more than 250 artists competing for a few residencies a year. This process is highly competitive and responding to deadlines and following the procedures is imperative.
A friend of mine is a writer and after I write a rough draft, she puts her "polish pro" on it. My best advise is to be thorough, follow directions, be clear about what you plan to achieve while in the park, and specific about the "give back time". One reviewer told me that the additional letters of recommendation I submitted were cumbersome and too much for the committee to read. Other park’s do not respond other than a letter of thanks (no, I’m not calling it a letter of rejection) I’ve applied to all the following and the links will show you some imagery I created while in residence.
- Acadia NP
- Crater Lake NP
- Glacier NP
- Grand Canyon NP
- Great Basin NP
- Great Smoky Mountains NP
- Isle Royale NP
- Joshua Tree NP
- Mesa Verde National Park
- Bighorn Canyon NRA
- North Cascades NP
- Petrified Forest NP
- Sleeping Bear Dunes National Lakeshore
- Zion NP
And in 2015 I was offered residencies at Crater Lake and Acadia. I gladly accepted. 2016 applications included Joshua Tree, Mesa Verde, the Bighorn, Durango Arts.org, Glacier National Park and Zion. In 2016 I was the AIR at Bighorn Canyon in Wyoming, Glacier National Park, in Montana and Mesa Verde in Colorado. I've posted some images and blogged about my experiences and inspirations while a visiting artist. Join me on this wonderful, creative, journey.
]]>
I was chosen and honored to be an Artist in Residence at Mesa Verde in October, 2016. I had just spent a month at Glacier National Park in residence, first at the East side at Two Medicine lake, and the last two weeks at the AIR Cabin on Lake McDonald (as part of the Montana Preservation Alliance, AIR program). I towed my travel trailer from Montana to Colorado in four days in order to check in at Mesa Verde.
The first thing I did while in Mesa Verde was meet with the volunteers who coordinate and provide training. The ruins and cliff dwellings that Mesa Verde protects are vulnerable and guided tours are the norm. In order to be certified in backcountry etiquette, I toured Balcony House with a ranger, and watched a detailed DVD. Balcony House is a large cliff dwelling and is accessed by way of a few ladders and narrow pathways. Here is a short video.
And then I received the news that there was a death in my family. The staff at the park was helpful and allowed me to stay an additional night, I ended my residency after two days, and flew home to New Jersey.
Invited back in 2017 to capture the park in imagery, I was granted a second residency in the fall of 2017. Concerned that my work would be overshadowed by grief, I dove in and fully absorbed the park, the hogan, the fall color, the cliff dwelling and ruins,and cloud shadows. I dedicated my work to my nephew, honoring him and last year's process.
In residency, I arise early, complete some morning rituals, and get going. I chase the light, spend time along the trails and explore the Park throughout the day and into the night. One of the perks of the AIR programs in our Parks is access to sites when visitors have left the park, and tours are completed. I chose to spend a late afternoon at Long House; I discovered while on a tour that the dwelling spoke to me. I was able to make photographs, record time lapse videos and photograph the quiet light.
Long House is located on Wetherill Mesa in the western portion of Mesa Verde National Park. Long House is reached by driving out a 12 mile winding road that follows an historic fire trail for 12 miles.
My muse is the grand and intimate landscape. And as a resident in our parks I record video sequences, time lapse, use my iPhone as a sketchbook, and retire to the studio/hogan for some oil painting too. Mesa Verde National Parks' Artist in Residence program awards artists up to two weeks in the park. For information and application procedures, click here to see my blog.
Here's an example of the oil painting I completed during my residency. The "Knife Edge" is visible along the main road in the park and overlooks the Mancos Valley in Colorado.
I recently completed a dedication to my nephew, a video of my experience when I heard of his passing. Email me for a link.
]]>The Artist in Residence Programs in our Parks
An Artist in Residence in Our National Parks since 2015, I have been blessed to be chosen to spend time at Acadia, Crater Lake, Glacier, Mesa Verde, Bighorn Canyon and at Capitol Reef. The application process is explained elsewhere on this blog.
The initial Artist in Residence (AIR) at Capitol Reef National Park, in Utah, I spent four weeks exploring and making art in the Park. While in residence, I spend a few days upon arrival scouting scenery, locations, and light. I sketch ideas with my iPhone, and return later for image-making with my Nikon gear too. Here's a short video produced entirely on an iPhone.
While in residence at Capitol Reef, I was blessed with monsoon season. The daily cloud show fed me. Recording cloud shadows and moving clouds are a large part of my portfolio. I was able to explore locations and make lots of time-lapse clips using that setting on my iPhone. While in the Park, I spent hours photographing the sky, both day and night, and recorded hundreds of video sequences of time lapse and still images. My Lightroom portfolio of the adventure includes 13,000 images and videos. I have lots of editing and developing to do. I rarely edit while in residence, instead waiting till I return to my studio in Durango. Click on the link below to see a video of the silversmith work created while in residence.
Kit Frost, Artist in Residence at Capitol Reef National Park from Kit Frost on Vimeo.
]]>
Lake McDonald-Incoming StormI often use my iPhone as a sketching tool. I heard the pounding of the waves from my cabin at Lake McDonald and ran to this location.
Artists reimagine remarkable Montana historic sites
Take six artists and drop them into five historic sites in Montana and give them a month to create new works inspired both by the place and its history.That’s the joyful assignment that sent these artists to the following sites this summer:
- David Burke, Butte-Anaconda National Historic Landmark, month of August, painting
- Kit Frost, Glacier National Park: GNP National Park Service, mid-August to mid-September, photography
- D.G. House, Traveler’s Rest National Historic Landmark, September/October, painting
- Lewis Williams, Upper Missouri River Breaks National Monument, August, painting/woodcut prints
- Ben Bloch, Virginia City National Historic Landmark, mid-July through mid-August, painting
- Tim Holmes, artist-at-large who is visiting all sites to provide a unifying perspective, (July through October), painting
The project, “Reimagine Montana: National Parks, Historic Landmarks, Trails and Monuments Across Time” is funded by a $20,000 grant from the National Endowment for the Arts and National Park Service, both of which are celebrating anniversaries this year. The NEA marks 50 years and the NPS celebrates its 100th anniversary.
All five sites have national historic significance, said Chere Jiusto, executive director of MPA, who came up with the brainstorm.
The impetus for creating this project was an NEA call for proposal, Imagine Your Parks, said Jiusto. “It just put me in mind of the powerful artwork that had been done over time depicting Montana, the cultural and history here, the vast landscape -- it seemed like such a perfect fit.”
“It seemed a really beautiful way to commemorate these places that mean so much to all us and how they resonate with people.”
These contemporary artists-in-residence walk in the steps of such renowned artists as Karl Bodmer, Thomas Moran, Charlie Russell, Thomas Hart Benton, Gustav Sohon, John Fery and Native American traditional artists.
“It’s been just a tremendous success,” Jiusto said of the project. “Uniformly, the artists have just loved it. Creatively, the work they’ve produced is beyond what we had hoped for.”
“Every place that hosted them found the artist in tune with the history that took place there -- in particular.”
Some of the art is still in progress.
Two Medicine Lake-720p from Kit Frost on Vimeo.
]]>"The vast, wild landscape of Bighorn Canyon National Recreation Area offers visitors unparalleled opportunities to immerse themselves in the natural world, and experience the wonders of this extraordinary place. With over 120,000 acres, one can find an astounding diversity in ecosystems, wildlife, and more than 10,000 years of human history to explore."
Selected to be the Artist in Residence at Bighorn, I spent two weeks exploring the Bighorn. Straddling the Montana, Wyoming border, the road trip to Bighorn took 4 days from Durango; I drove north and camped each night along the way. I towed my travel trailer to the Horseshoe Bend Campground at the Recreation Area and made a base camp for daily "chasing the light". Each morning I planned out my day of exploration: a hike to the Head of the Canyon, a drive to see the Pryor Mountain wild horses, a boat ride, or perhaps a kayak tour. I also hoped to select one of my photographs and paint the scene in oils.
During the second week of the residency I was asked to participate in a "Day on the Lake" work project with the Youth Conservation Corp. Their job was to varnish one of the floating docks down canyon. The rangers and I met at the marina, loaded onto the boat and headed to Barry's Landing to pick up the YCC and their gear.
While floating down the canyon, the morning light and calm water allowed me to enjoy an hour of photography. I love reflections. Many of the most special moments of my photography adventures include reflections. The canyon walls were varied and colorful. Because the boat was moving at a high speed, I set my aperture and shutter speed so I could capture still images of the reflections without showing movement. I stood on the bow of the boat, held on, and photographed. Shutter speed ranged from 500-1250 of a second. I didn't fret about deep depth of field, so I used large apertures like 5.6 or 7.1 and kept an eye on the shutter speed through the viewfinder.
The patterns and textures of reflections, the clouds on the land and in the water, and the varied shadow, light and color of the canyon walls interested me the most. When I located a scene at the Devil's Canyon Overlook, I set up my tripod and gear for a time lapse sequence. One day I noticed the sky reflected on the lake, photographed it over a period of 25 minutes and used my built in intervalometer to photograph 455 photos at 4 second intervals.
Sometimes one single image doesn't speak to me as clearly as a series of images. In this slideshow I added a handful of still images of the same subject (shadow forms) and used the timeline in iMovie to complete my vision. Click on the video below to see a slideshow of reflections and other images from the Bighorn.
]]>
Over the years I have used 35mm, medium and large format film and digital gear to express my vision. Upon returning from an adventure, I spent days in the darkroom, developing and printing in color and black and while. And as the digital revolution began I scanned negatives, large format transparencies and slides. I now work with digital files in the lightroom, my studio.
My goal is to create images that speak to the moments I experience. I like the slow process of becoming familiar with the subject, letting it speak to me, and then capturing the photograph, or a series of photographs.
Expressing my vision with video
On locations, I often find that I want to capture a sense of place beyond the single still image. Today's smart phones and digital cameras include the function to record video clips. I use my smart phone (iPhone 5s) and my Nikon gear (D5300, D5200 and varied Nikon lenses) to record short video clips when the muse speaks to me. I record a series of 30-45 second clips, essential gear is a tripod to hold the camera steady, but a monopod will do too. There are really small tripods available for smart phones and they work quite well when set up on a rock or boulder.
Reflections, Fremont River
Fremont River Moments
I usually collect about 10-20 video clips at the scene, and although I also record audio, I edit the clips and decide during post-production whether to keep the sound for the final video presentation. In National Parks, it's rare to have a location to yourself, so I often explore out of the way places to make my video recordings. The audio can be edited if folks nearby are chatting.
Here's a completed sequence of video clips taken at Capitol Reef National Park. Edited and shared using iMovie. I use iMovie to organize the time line, add audio, titles, music, and dissolves between clips. I'll share a step-by-step lesson soon.
Fremont River Song: Capitol Reef National Park
]]>I've just returned from a terrific trip to Arizona and Utah. First stop, the south rim of the Grand Canyon. I love to visit the artists at the annual Celebration of the Arts along the rim and in the park. As an Invitational Event, sponsored by the Grand Canyon Association, the Celebration is a time to meet with and watch painters throughout the Grand Canyon National Park.
I watched and connected with some of the painters. And explored the canyon from the rim overlooks. There's a terrific, easy, trail that runs along the South Rim.
I've been attending this inspiring art event at the Grand for three years now, and I really leave inspired. In fact, this year I painted on the rim too.
While at the Grand Canyon, I was fortunate to have some clouds for the first few days. So I explored the self-assigned "Shadow and Light" essay and created a new portfolio.
Comanche PointShadow and Light at the Grand
Desert View, with Comanche Point
Inner Gorge ViewI used my 55-300mm lens to explore and capture a closer look at the inner gorge. Some of the oldest rock on the planet
Next stop Escalante Festival of the Arts
I decided to actually register as one of the artists at the Escalante Arts Festival. Driving from the south rim of the Grand Canyon to Escalante, Utah is spectacular as I passed through the Navajo Reservation, crossed the Navajo Bridge at Marble Canyon and continued up along Hwy 89A to the North Rim of the Grand Canyon. I didn't stop at the rim, but instead camped at Coral Pink Sand Dunes State Park in Utah. Designed for ATV enthusiasts, the park has a small campground (read that as not much privacy), but it was fun to enjoy sunset on the sand dunes.
Escalante State Park was my destination, my home base for a week. The festival provided group camping and 6 of us were sharing a sweet space with water and picnic tables.
I enjoyed the inspiration of the participants in the festival, and each evening there was an event highlighting geology, natural history, and a few receptions for artists. The locals treated us very well. I completed three oil paintings while at the festival, and sold two of them at the final brunch.
After the Festival
It's been years since I've explored Scenic Highway 12 in Utah. Originally I talked with the rangers (thanks Ranger Shannon), and I thought I'd wind up down the Hole in the Rock Road for some backcountry hiking. Instead I drove to the Grand Staircase along the Burr Trail. I was completely surprised at the grandeur, the Wingate Sandstone forms, Long Canyon and Crack in the Rock Slot Canyon.
Escalante-Grand Staircase
First look at the Gulch, Grand StaircaseThe Escalante/Grand Staircase National Monument is one of the most stunning areas I've ever seen.
The Burr Trail, near the Gulch. Grand Staircase National Monument
Crack in the Rock, Burr TrailThe Escalante/Grand Staircase National Monument is one of the most stunning areas I've ever seen.
Burr Trail Inspiration- King BenchThe Escalante/Grand Staircase National Monument is one of the most stunning areas I've ever seen.
My painting on the Burr Trail, King BenchStill learning to paint with oils, plein-air.
Rolling Hills-Burr Trail
More to follow. Stand by.
]]>
Join us in 2019 for Our Annual Photography Workshop in Zion National Park! October, 2016. Ask about reservations for this wonderful fall color adventure. Join us for one day or for all three.
Each day we "launch" our workshop from Springdale, Utah, just outside of Zion. We travel to some of the most amazing locations for grand and intimate scenic photo lessons.
You will learn:
- How to see a photo, to improve your vision and let the land speak to you
- How to properly compose for drama and available light.
- How to use your digital cameras to improve your photography
- Point and shoot cameras as well as digital SLR's will be explained and you will be taught how to use those bells and whistles.
- How to anticipate light, shadow and shapes on these immense, sandstone forms.
- How to work with the quiet light of the Virgin River Canyon, photographing reflections.
Sandstone and Storm at SunrisePhotographed from the West Entrance to Zion, this clearing storm is being lit by the early morning sunrise.
Fall Color, ZionBy searching out some lesser known locations, we can spend whatever time it takes to capture the immensity, color and light of fall at Zion
Register NOW for this terrific adventure in Utah.
October, 2019
Tuition, $1899. includes expert photo instruction, lunch and light beverages. Workshop begins at 9am on October 29th and ends after a lunch and photo review on October 31. Accommodations fill fast in Springdale in the fall, register soon to hold your space.
]]>
Silver Jack Reservoir, Owl Creek, Ridgway, ColoradoWhat a thrill to arrive at a fall location and find the aspens leaves dancing in the forest. Looking through the trees to the Silver Jack Reservoir adds a warm/cool mix to the photograph. ©Kit Frost
This year we’re heading from Durango to Ouray and beyond for two plus days of Fall Color Photography, “Chasing the Color" in the San Juan Mountains, the Cimarron’s and Mt. Sneffels.- Composition of the grand and intimate fall scene
- Proper use of aperture and shutter speed (sometimes we have to deal with wind!)
- Talk about what makes a photograph look like a painting.
- Right moment to press the shutter
- Learn how to use the bells and whistles of YOUR camera.
- All levels welcome, beginners to advanced photographers, everyone can learn something new.
On Monday, we’ll photograph the Cimarron Range outside of Ridgway, and explore Owl Creek pass; another stunning location is at the Dallas Creek within the Sneffels Range. Sunset finds us at Dallas Divide, the location for one of the most famous and familiar of fall, mountain images in Colorado.
Wilds Along the CreekWildflowers at Minnie Gulch
Scouting locations:
- West Mancos Road to Beef Basin-go as high up on the road as you feel comfortable, good wilds at Beef Basin and in Aspen Forests
- Purgatory Creek, Sig Creek, Cascade Divide Road-mushrooms in the trees, sporadic wilds, columbine near the creek fall.
- Maggie Gulch-excellent near waterfall
- Minnie Gulch-the best, so far
Every year I head out into the mountains to photograph and enjoy wildflowers. This year is amazing. I have never seen a better wildflower display. This year's variety is fun. In locations above Silverton, the mix includes the high altitude , parry's primrose, columbine, blue bells, paintbrush, American bistort, and in the above photo there are three kinds of paintbrush: yellow, rosy, and sulphur. I enjoy framing wildflowers against flowing water in the creeks. The real challenge is to be able to use a slow enough shutter speed to make the water "flow" and at the same time freeze the action of the flowers blown by the wind. A challenge I accept.
Parry's PrimroseParry's primrose is one of the earliest flowers to bloom in moist areas, bogs and along creeks.
Parry's primrose is one of the first flowers to bloom at altitude near creeks, tarns and streams. At Minnie Gulch, the flowers were like those in June, early, healthy and prolific. Usually by July, the primrose and marsh marigold are finished their bloom, as the creeks dry up. I scouted both Maggie and Minnie Gulch. Maggie Gulch wilds were beautiful near the waterfall, but a bit inaccessible (but the stinging from the nettles on my arm was worth it). Steep in places, I used trekking poles to balance myself.
ColumbineI like to spend a few moments in the area, scoping out the magical light on the flowers.
While balancing myself on the steep area within a few hundred feet of the Maggie Gulch waterfall, I handheld a few images. The shallow depth of focus created at f7.1 gave me a shutter speed of 1000 of a second for this brightly lit Columbine. I often like to photograph deep depth of field, closer to f22, but in this case the "star of the show" and the supporting cast works to give a sense of depth.
Some Photo Assignments in the Field
Isolate a subject
When presented with the wide range of flowers in the basins and along the gulch, see if you can isolate a few single flowers
Isolate a ColumbineMake sure the flower is perfect, hold the camera steady
Show a sense of place
Focus on a near flower, and include the background. Let it be slightly out of focus.
Columbine, Maggie GulchShow a sense of place by including a background.
Macro setting
Most point and shoot cameras, and your smartphone have the ability to focus close up (usually the flower icon on your point and shoot)
Move in close, move in closer, hold steady.
Macro, Close UpGo in close, go closer, hold steady.
If you want to learn more, we're heading out for 1/2 day of photography lessons, wildflower identification, macro, grand and intimate flower views on the following dates:
July 30, noon till 8pm
August 5, noon till 8pm
email Kit Frost, to register.
]]>
Close-up Photography Lessons. Locate the most beautiful Colorado Columbine, the star of the show. Add a supporting cast.
Join us this year for our Wildflower Photography Workshop. The recent and deep snowfall in the San Juan Mountains assures us of a terrific and profuse wildflower season. On July 30, we'll head up to the Silverton-Rico Trail, where our varied subjects will include macro wildflowers, wilds along Mineral Creek, a lesson in shutter speed at the Creek fall, and some near-far, flowers and mountains. A great location for Colorado Wildflowers.
July 30, noon till 7pm
Bring your favorite digital camera gear, your smart phone, point and shoot or a DSLR, a variety of lenses, a tripod if you are using a Digital SLR and be ready for a wide range of weather. This location is outside of Silverton. We'll meet at the Silverton Welcome Center at noon.
Bring a fully charged camera, and your power cords for car charging if needed.
Tuition: $95. Includes expert instruction, field review on your LCD. Carpools are advised to share rides to locations. Register soon.
La Plata Canyon, Grand ScenesCumberland Basin and Diorite Peak. Foreground, middle ground, mountains: choose the correct place to focus.
About Chase the Light Photography Lessons
We take you to the best locations and work with you privately and in groups to teach the best techniques for Grand and Intimate Photography:
- Macro
- Close-up
- Grand and Intimate Landscapes
- Near/far
- Depth of Field
- Shutter and Aperture priority.
Deer Creek and Bitter Cress, Hwy 550, Silverton.Focus on a near group of flowers, and make the supporting cast interesting.
]]>
Sunset and Rainbow - AcadiaTime Lapse photography gives me another tool when trying to express how I feel about a scene. This video showcases sunset over Acadia National Park.
Sometimes a single image is enough for me. I feel artistically satisfied. But there are times when I need to do more with the subject. Time lapse, video clips, iPhoneography are all choices. On location, I'm often juggling two cameras, tripods, iPhone to create a complete picture of the scene. In the past, I used a large format camera, and a single image was perfect, and developing the color film in the darkroom left me lots of creative license to interpret the transparency.
With digital photography, I have transitioned to a quicker pace, especially with the instant review on the LCD. That feedback helps me decide camera settings and review composition too. Once the time lapse sequence and interval is set up, I truly enjoy the location, as some sunsets, like this one, lasted 45 minutes.
Here's a time lapse sequence, photographed at the Ocean Benches, a detour off the Sundew Trail at Acadia National Park, on the Schoodic Peninsula. I set up my camera facing the setting sun over Bar Harbor and Acadia.
Time Lapse Processes
- Set up a sweet location for photography, I like to have lots of sky in my frame if it's a sunset.
- Make sure your subject will be interesting at the bottom of the frame.
- Check for a fully charged battery
- Shut off the LCD preview
- Focus while you can see the foreground subject, NOT too close.
- At this point I set up my aperture for deep depth of field, about f16-22
- Set camera to manual, and check your exposure. On Aperture priority, the camera picks shutter
- Shut off auto everything
- Set up Intervalometer, it helps to have a minimum of 300 images for a good time lapse, in the case of this sunset time lapse, the interval was 5 seconds, for 600 photos.
Post-Production
- Upload to Lightroom
- Develop for the best solution to your color, light.
- Edit and export images as jpegs – I photograph RAW files (Nikon NEF)
- Import jpeg images in a timeline in iMovie
- Set duration of each photo to .1 or .2 seconds
- Add transitions, titles and audio
- Export .mov and share
As the sun was setting, I hung out on the coast of the Schoodic Peninsula. And I look forward to trying this technique at the Jersey Shore too.
I set my Nikon D5200 for Aperture Priority, f5.6@1600, choosing the fast shutter speed to freeze the action of the waves. I bumped up the ISO to 500, and although I knew the D5200 shows a bit of noise at that ISO, I needed to get the shutter speed to be a fast one. I used the 55-300 lens and hand-held, so I could work the subject as in sports.
This subject is a departure for me. I usually photograph grand and intimate landscapes and the only action I am concerned with is wind. But these amazing waves crashing onto the shore challenged me and seduced me. In fact, every time I tried to leave the coast, another wave pounded the granite and called me back.
The challenge was to capture both waves as they pounded the rocks. I ran around the boulders, kept the horizon as straight as I could and POW, high speed capture. I used a 16-35mm lens to get the wide angle I needed for two waves. What a fun way to spend an evening.
And as a bonus, after the light was no longer catching the tops of the waves, I explored the Schoodic Granite. The warm light, the texture of the subject and the background waves caught my eye. Again I used the 16-35mm lens, my sharpest, to show depth of the scene.
]]>
The abundance of water in Acadia National Park, cascading down pink granite walls and collecting in glassy pools, serves to remind us of its importance: all living things need water to survive. Six ponds within or bordering the park help provide some of the water. (imprinted on my Acadia National Park water bottle)
After the Rains
I'm thrilled to say that I feel connected to this land, to the tides, to the sounds, to the colors on the Schoodic Peninsula. This is one of the great gifts of a residency. To follow my muse, to respond to the light and weather, are some of the joys of time spent in one location, making art, making videos and images.
Yesterday, while driving down the peninsula, I heard an unfamiliar sound, and got out of the car to investigate. The sound was rushing water cutting through the forest, heading to the sea. My guess is the source of the heavy flow of water, and muddy color, was because the path of least resistance downhill, churned up some creekside mud and let it show the power of rain. I hope you like this video sequence. I was standing in the rain as I recorded each segment, following the stream to it's termination at West Pond. The sound was awesome, as was the sight of the power of the water.
]]>
I wrote a few blog posts with information about applying for the Artist in Residence programs at our National Parks. And I've blogged a bit while at Crater Lake and Acadia National Parks.
- Sample Time Lapse - Crater Lake
- When the Water Speaks, I Listen
- Acadia Nat'l Park: Time to Experiment
And here's a terrific time lapse by a young artist who worked for 6 months on this project: Downeast: Acadia National Park, Schoodic Peninsula. I share because I'm completely inspired. And part of any residency is to explore what others have created. Thanks Tade Yoder.
I thought readers might enjoy a bit of information about once chosen, what is involved in an Art Residency.
Following the Muse
More than anything else, a residency is a gift of time; time away from everyday distractions. Although much of my life is spent following my bliss, a typical day in residence differs from my life at home. The biggest difference is I'm solo. I enjoy solitude, as I hope you do if you plan to apply for Art Residencies. I see comfort with self-scheduling to be imperative and fun. For two to four weeks the immersion in the land, the connection with the light, the calling of the sea, the forest, the lake, the sky, and setting a pace that honors those connections is the primary focus.
I can't say there is a typical day, but generally, I wake up when ready, check email and social networks over a cup of coffee, evaluate the sky, write a bit, head to the studio, or on location, upload, develop and share images, and follow my bliss. What is my bliss? Responding to my inner artist, the voice that tells me where to photograph, hike, explore, watch rocks grow old, enjoy waves pounding the coast. Some days I head to my favorite (so far) trail, with my iPhone as my sketchbook. On other days, I walk to the studio, where I paint. And in the past few days I have played with drawing and made some watercolor and oil pastel sketches too. What would you do with a month with all your art supplies, journal, photo gear, macbook?
And as part of the residency, a requirement is to share with the local communities, to show work or to teach. I taught at a middle school and the young artists responded very well to the inspiration and lessons. I was thrilled to be in the classroom again. For those who are not comfortable working with children, there is a public presentation. Some artists set up a slide (digital) show, and talk to an open house. And at the end of many residencies in our National Parks, you need to agree to donate one piece of work within a year of the residency.
This week at Acadia National Park
To me, the most important gift at a residency is the ability to be at the right place, at the right time. Now, I don't always hit the mark, as living on the Coast of Maine gives me a new set of variables, like the tides. But a few days ago I woke up to fog, so quickly grabbed rain gear and headed for the coast.
I like to return to a subject in varied light to enjoy the moments and to create new images that speak to color, light, form and feeling. And when there are cumulus clouds in the sky, I chase the light.
And last night, as the sun approached the horizon, about 2 hours before setting, I scouted at Schoodic Point. Initially I was hoping to photograph the incoming tide, but instead, I responded to the pools of water left behind after a recent rain.
A favorite subject, working with reflections. Pools of rainwater reflect the pink granite of the Maine Coast.
Here's a link to some more work created while in residency at Schoodic Peninsula, in Acadia National Park.
Next blog: What I've learned, and giving back to our Parks.
And an upcoming blog about other Artists who are Residents in our Park.
]]>A few days ago at Acadia National Park, I explored Mount Desert Island. The Artist in Residence program is sponsored/hosted by The Schoodic Institute, and is on the Schoodic Peninsula, about and hour down east of Mount Desert Island. I enjoy the quiet side of the park, here at Schoodic, but want to fully explore Acadia. I hiked the Jordan Pond, the three mile hike around the pond is wonderful. After stopping for dinner and popovers, I drove south on Route 3/198 and looped around the Eastern Way to scout Upper Hadlock Pond.
I spied the reflection from the road, safely pulled over and spent the next hour enjoying the changing light of dusk. I was attracted to the "heartbeat" of the bare white trunks on the far side of the pond. Using a 300mm Nikon lens for a tight composition to capture warm/cool relationship of the water, the shadows and the sunlit forest. While at the location, a beaver and a loon were curious, and swam and fished nearby.
]]>
The luxury of time while a visiting artist at our National Parks allows me to experiment with photographic techniques. Experimentation is key. While here at Acadia National Park, I have created images to add to my portfolio; I love working with reflections and with water.
Techniques of the week
- iPhoneography, using the iPhone as a sketching tool
- Slow Shutter Speeds, capturing the surf and boulders along the coast of Maine
- Reflections: Inspired by the Impressionists.
I like to intrigue the viewer by not including a horizon line, and to give the impression of the moment. I'm inspired by painters, like Monet.
Playing with Shutter Speed at the Coast of Maine, led me to photograph an incoming tide, just after sunset. Photographed after the sunset,the exposure was f22@30 seconds. It's very helpful that the exposure metadata is recorded, as I can learn from the information. This image is developed in Lightroom. I photograph RAW files and enjoy post-production, as it allows me to be sure the image is interpreted properly, as I felt it.
In the example below, I used a camera setting of 1/6 of a second at f22. The shutter speed records the movement of the water with less "smoke". I enjoy the sky reflected in the water and on the foreground boulders.
]]>
As I explore the coast of Schoodic Peninsula, I enjoyed the changing light, weather and wind. The surf at Schoodic Point has been really strong and the waves are beautiful. Even when fog and rain obscure the coast, I can still hear the pounding of the surf. In fact, I can hear it from my apartment and as I walk outside at Schoodic Institute.
Today was a "boring blue sky" kind of day. I went for a scouting mission to the Sundew Trail and Schoodic Point. I'm usually adverse to photographing with mid-afternoon light but the surf proved to be a great subject in the sun. As I work this week with shutter speed and 3-5 frames per second shooting, I see that f14 works well for what I'm looking for in depth of field, and I like how 1/500 of a second captures the frozen wave forms. Using my Nikon 55-300 lens I played with compositions, and although I usually avoid centering the subject, this wave is smack in the middle. I think the white foam leading to the left helps move the eye through the frame. And I really love the blue/green water. What do you think?
Each day I hike the Sundew Trail. It's a great way to begin my day and connect with the land and the sea. The trail is short and sweet, and varied. It begins in a spruce, fir, mixed conifer forest and leads to a few locations along the coast.
In doing a walking meditation of sorts, I quietly focus on the land, giving the forest my full attention. I notice things. I am often surprised at what I find.
This video sequence shows a series of photos made with my iPhone. It's simple to carry, and the photos are large and detailed. If need be, I return later with my Nikon gear.
]]>
I feel privileged, honored to be here. I join a long line of artists who have practiced their craft in honor of our National Parks. I am at the Schoodic Education and Research Center (SERC), the teaching arm of Acadia National Park. When chosen to be the Artist in Residence here, I chose the month of June in order to be here for the changing weather of spring. Acadia National Park is most known for it's Mount Desert Island location near Bar Harbor. The Schoodic Peninsula, where I am housed, is about and hour downeast. Schoodic is quintessential Maine; surrounded by Frenchman Bay, with lobster boats, rocky harbors that disappear at low tide, and many islands near and far.
Join me on this journey, follow my blog for updates. I will be out "Chasing the Light" often. The residency affords me the time to fully explore the coast, the forests, and take part in lots of activities at the Schoodic Institute and Acadia National Park.
For information about applying for Artist Residencies at our National Parks, click this link to my blog on Wordpress. And visit my website at www.kitfrost.com.
I'm in the process of updating my website.
And more links to blogs I've written about the AIR application process.
The Road to Becoming and Artist in Residence
Crater Lake National Park, Artist in Residence, May 2015
Crater Lake: Photographing the Moods of a Landscape
]]>
]]>
Yesterday while out exploring the Rogue/Umpqua Rivers Scenic Byway I spied dogwood trees in bloom. I scouted with my iPhone and will return in later light. I'm guessing a good time of day for photographing the dogwoods on a bright sunny day will be afternoon. And, as usual, I will return a few times to the location to create images that speak to the "right place, right time".
]]>
What are the voices of the flowing water telling me.
What is the silence of the local streams telling me?
Today, as I explored a few of the creeks in the park, I connected with a beautiful stream adjacent to the Goodbye Creek. After scouting, I plan to photograph at that location in morning or late afternoon light. I prefer very little light on creek falls, as contrast can be a real challenge. It’s not impossible to photograph, but when faced with bright light of water against the darkness of the stream it helps to use a graduated neutral density filter in the field and underexpose. Later, using Lightroom, I adjust the dark shadows to reveal their texture and beauty. In this case, I am exposing for the highlights of the water and “developing” for the shadows.
Annie Spring leads to one of the biggest creeks in the Park, Annie Creek, flowing along Highway 62 and the entrance to the Park. It’s very seductive to hear the creek and to follow it’s flow along the pullouts on the road.
“Take only photographs, leave only footprints”
Annie Spring a trailhead leading up to the Pacific Crest Trail. I will hike up to the PCT before I leave. Cheryl Strayed’s book, and movie “Wild” is about her thru hike of the PCT and I’ve hiked a bit of it in Lassen Volcano National Park and want to add a bit of my own footprints to it.
]]>