 Expand your nature connections |
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 Texture: Marigold foliage is angular and spiked, but the blossoms are smooth and fluid. Opposing textures adds variety. We can imagine marigolds as hosting a party where all are welcome! |  Color: Analogous colors (colors next to each other on the color wheel) typically lend a sense of restfulness, but marigold's bright hues create a more vibrant and youthful quality. We can imagine marigolds as childhood friends who stick together. |  Shape: Circles offer a feeling of connection, wholeness, timelessness, and cyclical movement. We can imagine the marigold community as an endless ring of belonging. Read more on shapes here. |
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 | Mindfulness through photography helped me engage with a subject I'd typically avoid, the marigold taught me to listen more deeply (even to messages I may want to ignore) and my camera allowed me to see complex beauty where my eyes/brain/nose saw only irritation. Channel the message of the marigold in your own practice by photographing something that disgusts you. I'm not suggesting you force yourself into liking something or that you confront your deepest, darkest disgust. I'm talking about deepening your curiosity about something you might overlook or be turned off by. |
When you photograph this disgusting thing, notice both the subject and your own feelings, for better or worse. Stay attuned to subtle shifts that create an opening, a softening when you turn your attention to how your camera sees this subject.
When you see this disgusting thing from your camera's perspective, how do you feel?
Just a reminder, if you still feel disgusted, that's totally ok. You've just spent time honoring your own emotions and seeing from another's perspective. No need to force anything, your empathy muscles have been stretched!
When you see this disgusting thing from your camera's perspective, how do you feel?
Just a reminder, if you still feel disgusted, that's totally ok. You've just spent time honoring your own emotions and seeing from another's perspective. No need to force anything, your empathy muscles have been stretched!
What disgusting object will you connect with through mindful photography?
Expand your cultural awareness
When I left the photo industry in 2007, I took a completely different career path and began teaching English as a Second Language to adults from all over the globe. As I spend more time re-immersed in nature photography through social media, I’m starting to realize that most of us take the culture (history, environment, social constructs, values, access) of nature photography for granted, just as I took/take my own White U.S. American culture for granted.
Most of us, without thinking, believe the nature images we share are Universal. The majority of us talk about composition from a certain perspective, we value particular aesthetics, we uplift a specific type of expert, we measure success with similar criteria. We rarely question this dominant narrative, but rather set it as the standard with which we compare everything else. But culture exists within nature photography, too.
When I worked in the photo industry in the late-90s/early-2000s, my perspective was that nature photography primarily centered adventuring into dangerous terrain in order to "shoot" sweeping landscapes, and "capture" high contrast, highly saturated dramatic images that would be enlarged to take up physical space.
With more options now (both for photographers and those who enjoy experiencing photographic images), the photographers I follow on social media are interested in slowing down, caring for the planet, and using their cameras mindfully. Because those are things I value, I have surrounded myself with others who have the same values and my perspective has become this: nature photography is for creating intimate landscapes, stunning beauty, and a sense of peace.
Most of us, without thinking, believe the nature images we share are Universal. The majority of us talk about composition from a certain perspective, we value particular aesthetics, we uplift a specific type of expert, we measure success with similar criteria. We rarely question this dominant narrative, but rather set it as the standard with which we compare everything else. But culture exists within nature photography, too.
When I worked in the photo industry in the late-90s/early-2000s, my perspective was that nature photography primarily centered adventuring into dangerous terrain in order to "shoot" sweeping landscapes, and "capture" high contrast, highly saturated dramatic images that would be enlarged to take up physical space.
With more options now (both for photographers and those who enjoy experiencing photographic images), the photographers I follow on social media are interested in slowing down, caring for the planet, and using their cameras mindfully. Because those are things I value, I have surrounded myself with others who have the same values and my perspective has become this: nature photography is for creating intimate landscapes, stunning beauty, and a sense of peace.
 Photo from Kass & Corn. Click image to visit site. | Traded for adventure, the quiet of the wilderness now provides peace. The compositions created are simple, soothing, intimate, and peaceful. Peace is a repeated theme. I'm not disagreeing with the idea of creating peaceful imagery, but I continually have this nagging (but funny and kind) voice in my head. That voice is the voice of Cornelius Minor. Cornelius is “a Brooklyn-based educator who works with teachers, school leaders, and leaders of community-based organizations to support equitable literacy reform in cities (and sometimes villages) across the globe.” |
During a training with Cornelius, a woman who taught in the public school system commented on how she desired a more "peaceful" classroom. He asked her to describe what that classroom looked like. I can’t remember her exact words, but it was something to the effect of ordered, quiet, students on task. Ah, yes, that’s the pinnacle of a well-run classroom, we can surely agree on that, right?
Cornelius then asked us to consider that not everyone would define a peaceful classroom in that way. Wait, what!? My brain screeched… I spent the past decade trying to achieve this peaceful vision... with little success! An entire decade of stressing about peace!! Ha!! But, when I'm honest with myself, my favorite class day ever involved debate, raised voices, and lots of laughter.
Cornelius then asked us to consider that not everyone would define a peaceful classroom in that way. Wait, what!? My brain screeched… I spent the past decade trying to achieve this peaceful vision... with little success! An entire decade of stressing about peace!! Ha!! But, when I'm honest with myself, my favorite class day ever involved debate, raised voices, and lots of laughter.
 "Sunny Day" by Mary Ogembo, shared with permission. Please enjoy more of her work by clicking her painting above. | On this favorite day, we were experimenting with a short unit on art and emotions. I displayed “Sunny Day,” by Kenyan artist Mary Ogembo. Many South and South East Asians said: “Happy. Sunshine. Warm. Easy. Ahhhhh, feels good!!” Many East Africans said: “Hot. Tired. Working.” One particularly outspoken West African woman stood and, with her whole body, said: “No good. Working. Working. Hot! Too hot! Tired! No good!!” |
Our art class in action in St. Paul, MN. Hmong mural "Little Mekong Starry Night" by Kao Lee Thao, click image to see Kao's blog about this project.
These adults with life experience in the Congo, Somalia, Kenya, Bhutan, Thailand, and Burma (Myanmar) seemed to be experiencing the symbols in this painting from their own cultural and experiential perspectives. And that was more than ok! No one got angry, no one refused to work with another, no one stormed out of the room. They each shared their view points and we had an opportunity to see the painting through different lenses.
It took me a year or two after this experience (when I started teaching Workplace Readiness) to understand that my students weren't the only ones with cultures that influenced their perceptions.
I feel that if we are ever going to live in a more peaceful world, all of us must realize that we each have a world view shaped by our culture and our personal experiences, and that our world views impact the way we understand/experience life events.
It took me a year or two after this experience (when I started teaching Workplace Readiness) to understand that my students weren't the only ones with cultures that influenced their perceptions.
I feel that if we are ever going to live in a more peaceful world, all of us must realize that we each have a world view shaped by our culture and our personal experiences, and that our world views impact the way we understand/experience life events.
When, through your own lens, you look at the images below which would you describe as peaceful? Why?
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Over the years, I've realized we can’t ever truly experience what another is feeling or accurately see the world through another person’s lens, but we can get glimpses into other's perspectives if we keep an open mind and heart. And we can believe people when they share that they’ve experienced the world (or a color, symbol, rule) differently than we have.
I believe that nature photography changed with digital - more access, fewer expenses = images that are less grand adventure and more "everyday." I'm also seeing it change with the pandemic - reduced ability to travel = images that are near home and closer...more macro. How could we be intentional about including the perspectives of those who've never been able to afford grand adventure? How could we be intentional about including the perspectives of the local photographers who get overlooked by travel photographers? How could we let "unheard" (ignored, undervalued, intentionally silenced) voices tell their own stories rather than telling their stories for them?
If we're not intentional about expanding photo culture to include a variety of perspectives, the culture will remain essentially the same.
This concern is the foundation for why I insist that only sharing beautiful images and educating people about nature will NOT solve our social and ecological crises. There are innumerable, easily accessible nature photos, communities, and documentaries, and, yet, we continue to destruct our planet - photographers included. Let's try something deeper, more complex, and more relational to get to the root of the problem. Explore a list of books I recommend for this approach here.
I believe that nature photography changed with digital - more access, fewer expenses = images that are less grand adventure and more "everyday." I'm also seeing it change with the pandemic - reduced ability to travel = images that are near home and closer...more macro. How could we be intentional about including the perspectives of those who've never been able to afford grand adventure? How could we be intentional about including the perspectives of the local photographers who get overlooked by travel photographers? How could we let "unheard" (ignored, undervalued, intentionally silenced) voices tell their own stories rather than telling their stories for them?
If we're not intentional about expanding photo culture to include a variety of perspectives, the culture will remain essentially the same.
This concern is the foundation for why I insist that only sharing beautiful images and educating people about nature will NOT solve our social and ecological crises. There are innumerable, easily accessible nature photos, communities, and documentaries, and, yet, we continue to destruct our planet - photographers included. Let's try something deeper, more complex, and more relational to get to the root of the problem. Explore a list of books I recommend for this approach here.
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To bring it back to your perspective on photography, first take a look through your images and pay attention to what feels most you. Make notes, make comparisons, and begin to define your cultural perspective so your perspective doesn't become the default or norm that you compare (and judge?) everyone else's images against. Consider what experiences shaped your perspective.
My work is heavily inspired by Japanese aesthetics, which you can read about here. I make sure I understand the underpinnings of this inspiration/influence as deeply as I can (not just as a technique, but as a way of life based on culture, history, spirituality, environment) and I give credit where credit is due.
Next take a look through someone else's images and consider.
Now that you have a good idea of your preferences and influences, ask yourself, "am I living the values of this aesthetic?" For example, if you value minimalism, check for excess in your camera bag, home, closets. If you value the Slow Photography Movement, check for speed in your schedule, extra-curricular activities, modes of transportation. Some of our preferences may serve us, our communities, and Mother Nature well, and some of them may need to be dismantled to create a deeper sense of relationship and reverence for people and the planet.
As nature photographers who want to help shape a more nurturing culture, it's important we acknowledge that photography can serve as an accessible, culture-shifting art form when we are intentional, considerate, and honest about what influences our images, and when we live our lives with those same values.
My work is heavily inspired by Japanese aesthetics, which you can read about here. I make sure I understand the underpinnings of this inspiration/influence as deeply as I can (not just as a technique, but as a way of life based on culture, history, spirituality, environment) and I give credit where credit is due.
Next take a look through someone else's images and consider.
- How are their images similar or different?
- How are their cultural backgrounds similar or different?
- Have you only noticed images and stories that reflect similar perspectives? Or do they reflect different perspectives?
- How do you view photographers who don't have all the latest gear?
- How do you view photographers who center technical expertise?
- What's your criteria for who you follow on social media?
- Have you surrounded yourself with images created by folks who see the world through similar lenses? Or are you surrounded by diversity?
- If you are inspired by other cultures, how can you ensure you're respectful and not extractive?
Now that you have a good idea of your preferences and influences, ask yourself, "am I living the values of this aesthetic?" For example, if you value minimalism, check for excess in your camera bag, home, closets. If you value the Slow Photography Movement, check for speed in your schedule, extra-curricular activities, modes of transportation. Some of our preferences may serve us, our communities, and Mother Nature well, and some of them may need to be dismantled to create a deeper sense of relationship and reverence for people and the planet.
As nature photographers who want to help shape a more nurturing culture, it's important we acknowledge that photography can serve as an accessible, culture-shifting art form when we are intentional, considerate, and honest about what influences our images, and when we live our lives with those same values.
How does your culture influence your life and photography practice?
EXPANDing "nature Photographer"
Nature Photography can provide expansion to our lives when we refuse to limit ourselves by only seeking perfectly stunning views and rigidly defining "nature photographer".
Before I talk about my personal experience, I want to share a bit about my professional experience. I went to school for photography in 1999, worked in the photo industry from 1996-2007, and, though I was never a professional nature photographer, my nature photos have been in art shows and gallery exhibits. In addition to public displays, I've also created several commissioned pieces of nature-based photographic fine art.
I share this not to establish expertise or claim anywhere near perfection in my images, but to highlight the fact that my personal experience as a woman supersedes my professional experience and conditioning as a trained photographer. I'm grateful this is the case, because nature photography has the potential for providing healing when we expand our views.
As a divorced woman who photographs solo and has been twice diagnosed with and treated for violence-related PTSD, there are a few things I do differently than many who call themselves nature photographers.
Before I talk about my personal experience, I want to share a bit about my professional experience. I went to school for photography in 1999, worked in the photo industry from 1996-2007, and, though I was never a professional nature photographer, my nature photos have been in art shows and gallery exhibits. In addition to public displays, I've also created several commissioned pieces of nature-based photographic fine art.
I share this not to establish expertise or claim anywhere near perfection in my images, but to highlight the fact that my personal experience as a woman supersedes my professional experience and conditioning as a trained photographer. I'm grateful this is the case, because nature photography has the potential for providing healing when we expand our views.
As a divorced woman who photographs solo and has been twice diagnosed with and treated for violence-related PTSD, there are a few things I do differently than many who call themselves nature photographers.
- I remain vigilant of my surroundings. For me, staying safe means I need to be able to move quickly. I travel light, I don't use a tripod, and I rarely set up in one location for an extended period of time. Traveling light is not only good for me, but less gear means less nature destruction through less production.
- Visit the Slow Photography Movement's blog to read my article "Relational Nature Photography."
- I keep mid-day hours, regardless of the location. Full sun isn't considered ideal for most nature photographers, but being out in broad daylight makes me feel safe and gives my stressed-out body the Vitamin D it struggles to produce.
- Visit the Slow Photography Movement's gallery "There is No Bad Light" for a collection of images made in full sun.
- I center myself and my relationship with nature. While out, I've come across folks who warn me to be careful, who tell me what/where to photograph, and who run me off trails. I don't allow these interactions to shape my experience, unless I choose.
- Read my blog using lines and shapes to notice and honor your subject's energy.
- I honor my comfort-zone. Lately, that has been my own neighborhood. I don't let my need to stay close to home and photograph within the city make me feel less of a nature photographer. Plus, staying close to home makes me feel like a better steward because I am on my feet rather than in my car.
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February and March are difficult months for me. My movements become slow and scattered, my body becomes heavy and lethargic, and my thoughts swirl around both despair and hope. This year, I didn't have the external demands of full-time employment to force my body against these rhythms. It wasn't easy to sit in this season without distractions or accomplishments, but I can feel myself slowly emerging both stronger and softer this Spring. Nature Photography kept me moving - physically, intellectually, and emotionally.
Staying close to home provided a bit of comfort and connecting to the natural world within my city neighborhood provided a bit of joy. Because my mind and body are still a bit heavy at the moment, I'm only going to share a simple, one-sentence insight: there are many ways to connect with nature and many ways to serve as nature photographer.
Staying close to home provided a bit of comfort and connecting to the natural world within my city neighborhood provided a bit of joy. Because my mind and body are still a bit heavy at the moment, I'm only going to share a simple, one-sentence insight: there are many ways to connect with nature and many ways to serve as nature photographer.
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Not all of us have the same relationship with the outdoors. That doesn't make those of us who are more vigilant less worthy storytellers or nature lovers. In fact, we may have more interesting and loving stories to tell. Let's not be afraid to share, witness, and embrace the unconventional stories. Instead, let's allow and celebrate complexity within nature photography and the locations we feel a connection.
When have you expanded your perspective on labels and rules to include
multiple identities?
multiple identities?
choose supportive styles
If we are paying attention, nature has a way of supporting our ever-changing emotional needs.
The style of photography you choose at any moment has the potential to express your current state of emotion and/or help shift you to a different state. Both options have their benefit, but, either way, the benefits are maximized when you're using your camera intentionally.
Before I move into my personal insights on how I perceive photo styles, I want to be clear: this is by no means the only way to view the purpose of macro and landscape photography. Feel free to take what you want and leave the rest and/or adapt it to your own personal experience. Continue reading below for ideas on how to use macro and landscape styles of photography to support yourself.
The style of photography you choose at any moment has the potential to express your current state of emotion and/or help shift you to a different state. Both options have their benefit, but, either way, the benefits are maximized when you're using your camera intentionally.
Before I move into my personal insights on how I perceive photo styles, I want to be clear: this is by no means the only way to view the purpose of macro and landscape photography. Feel free to take what you want and leave the rest and/or adapt it to your own personal experience. Continue reading below for ideas on how to use macro and landscape styles of photography to support yourself.
Macro photography is my main style of expression. I find that when I take time to appreciate the little things, I'm less likely to take small moments for granted. When I can focus on everyday beauty, I find contentment no matter where I am.
This perspective became vital when, at the end of November 2016, I was uprooted from my life - work, home, social circle, region, etc. Over the next four years, I didn't really have my own home. I was fortunate to be hosted in other's homes in Minnesota and in England, Scotland, and France. While I always had a loving place to land, the losses, big and small, kept on coming.
My photography became more "universal" during that time, as I found myself making images of nature's details regardless of where I was living. Even when I was feeling homesick or like I couldn't survive another loss, picking up my camera got me closer to nature and I felt comforted. I didn't need to worry about the bigger picture, what was coming next, or how things were ever going to improve.
This perspective became vital when, at the end of November 2016, I was uprooted from my life - work, home, social circle, region, etc. Over the next four years, I didn't really have my own home. I was fortunate to be hosted in other's homes in Minnesota and in England, Scotland, and France. While I always had a loving place to land, the losses, big and small, kept on coming.
My photography became more "universal" during that time, as I found myself making images of nature's details regardless of where I was living. Even when I was feeling homesick or like I couldn't survive another loss, picking up my camera got me closer to nature and I felt comforted. I didn't need to worry about the bigger picture, what was coming next, or how things were ever going to improve.
Macro can support feelings of closeness, timelessness, universality, and comfort.
Try using macro when you're feeling overwhelmed by change and uncertainty
and/or to provide comfort to others.
Try using macro when you're feeling overwhelmed by change and uncertainty
and/or to provide comfort to others.
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Now that I have my own home again for 2021, I've found my self creating more images that have a stronger sense of place again, too. Feeling more grounded and connected to a community that has always felt like home, even while away, my photography has begun to incorporate intimate landscapes that express the feeling of being attached to a particular place. The practice of doing things differently is a good mental challenge, as well. I've been using the Slow Photography Movement blog to get ideas on how to improve, but landscapes are hard!
Even though I still gravitate toward macro and I'm not great at landscapes, I choose intimate landscapes to express my gratitude for returning home. I can now use that photo style to reconnect to a bigger picture perspective and see more expansive beauty without feeling lost and untethered. I've also found that, without all the constant change and crisis management, I sometimes start to ruminate about what's happened in the past and I begin to feel isolated. When I get too focused on this narrative of loss, I can pick up my camera to get a broader view.
Even though I still gravitate toward macro and I'm not great at landscapes, I choose intimate landscapes to express my gratitude for returning home. I can now use that photo style to reconnect to a bigger picture perspective and see more expansive beauty without feeling lost and untethered. I've also found that, without all the constant change and crisis management, I sometimes start to ruminate about what's happened in the past and I begin to feel isolated. When I get too focused on this narrative of loss, I can pick up my camera to get a broader view.
Landscapes support feelings of interconnection, exploration, and grounding in time/space.
Try using landscapes when feeling overwhelmed by repetition and rumination
and/or to provide connection to others.
Try using landscapes when feeling overwhelmed by repetition and rumination
and/or to provide connection to others.
If you're feeling overwhelmed by attempting to think ahead or want to focus on comfort, try framing the little details around you. If you're feeling overwhelmed by past thoughts or want to focus on connection, try framing the bigger picture. If you're not sure how you feel or what you want, try both and see what may arise.
After having a broken wrist that prevented me from making photos during a very stressful time, I can attest to the fact that this strategy can also be used without a camera. With or without gear, no matter what may be going on in your life (and there is likely a lot going on), you can use macro and landscape perspectives to support your emotional needs.
After having a broken wrist that prevented me from making photos during a very stressful time, I can attest to the fact that this strategy can also be used without a camera. With or without gear, no matter what may be going on in your life (and there is likely a lot going on), you can use macro and landscape perspectives to support your emotional needs.
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Macro and landscape are clearly not the only styles of nature photography, if you gravitate toward a different style, consider what emotional need that style might be fulfilling. If you have insights to add, please share! You can either email me here or connect with me on Instagram.
How will you use different photos styles to support you?
Embrace Subtle Beauty
If we are paying attention, our personal stories have the possibility of influencing our photographic style.
Point-and-shoot was my basic strategy for making images the first many years of my photography practice - even after going to school for photography, knowing all the rules, and possessing the technical skills. Don't get me wrong, there are benefits to making snapshots and I still make them 21 years post-graduation. Practice is vital for refining your art, but continual refinement and clear intentions is what differentiates snapshots from art.
It wasn't until I had life experience, a refined perspective on beauty, and something I felt I needed to say, I finally began to use my camera settings and the rules of composition in an intentional way. In other words, I may have known what I was doing, but I didn't know why or what I was trying to say.
Recently, I was beginning to wonder if I was communicating my intentions (yes, I still cycle through wondering if my art is saying anything to anyone, which is also valuable for refining your story), when artist & poet Gabriele Glang gifted me with this compliment, "Imperfection, wabi-sabi, haiku - I'm thinking your images are beautiful because they are spare, focused, elegant, concise. In fact, they are poems, to my mind."
Wabi-sabi and haiku are Japanese artistic concepts, and my photographic style was informed by a life-changing experience in Japan. Feeling seen in this way inspired me to share a few ideas about how to create photographic poems.
Point-and-shoot was my basic strategy for making images the first many years of my photography practice - even after going to school for photography, knowing all the rules, and possessing the technical skills. Don't get me wrong, there are benefits to making snapshots and I still make them 21 years post-graduation. Practice is vital for refining your art, but continual refinement and clear intentions is what differentiates snapshots from art.
It wasn't until I had life experience, a refined perspective on beauty, and something I felt I needed to say, I finally began to use my camera settings and the rules of composition in an intentional way. In other words, I may have known what I was doing, but I didn't know why or what I was trying to say.
Recently, I was beginning to wonder if I was communicating my intentions (yes, I still cycle through wondering if my art is saying anything to anyone, which is also valuable for refining your story), when artist & poet Gabriele Glang gifted me with this compliment, "Imperfection, wabi-sabi, haiku - I'm thinking your images are beautiful because they are spare, focused, elegant, concise. In fact, they are poems, to my mind."
Wabi-sabi and haiku are Japanese artistic concepts, and my photographic style was informed by a life-changing experience in Japan. Feeling seen in this way inspired me to share a few ideas about how to create photographic poems.
| Before I share my ideas, let's take a moment to breathe in this elegant painting by Gabriele from her "Pond" series, where she returned to the same pond over and over, sensing its subtle beauty through the seasons. Visit Gabriele's poetic pond paintings here. |  Golden Pond | Gabriele Glang |
 | Back in Japan, I learned about the design concept miegakure (hide and reveal) which gave me the seed for how I wanted to transform my photographic story. Miegakure is used to create awe-inspiring gardens that encourage visitors to slow down, to contemplate, to experience mystery and anticipation. A similar approach is seen in Yamato-e style art, where clouds and mist are used to obscure parts of narratives told through large scroll or screen paintings. The idea behind this aesthetic style reminds the viewer that life is a mystery, that imagination is vital, and it suggests you'll never know the complete story. |
 Miegakure was introduced to me at Kinkaku-ji (Golden Pavilion), a Zen Buddhist temple in Kyoto, Japan. | Enjoy a few of my favorite Japanese photographers: Nyoro: See their work here. Follow them on Instagram here. Eiichiro: Watch their short film here. Follow them on Instagram here. akiyama: See their work here. Follow them on Instagram here. fujicco: Follow them on Twitter here. Follow them on Instagram here. |
Experiencing the beauty of mystery in my own life, this aesthetic resonated with me - it even helped me reframe some of the most difficult events in my life. In staying true to Miegakure style, I will not be telling you the full story here, but I will say that, over the years, I have been learning to be less concerned with controlling situations and demanding tidy answers to life circumstances, preferring to instead to revel in a slow unfolding of this human drama.
And with that intention for my life, I have been experimenting and slowly refining my artistic voice to express delight in our world's subtle, mysterious beauty.
Here are a few ideas for adding subtle beauty to your images:
And with that intention for my life, I have been experimenting and slowly refining my artistic voice to express delight in our world's subtle, mysterious beauty.
Here are a few ideas for adding subtle beauty to your images:
 | Try looking for hidden subjects. Often, I find my subject nestled within shrubs, rocks, leaves, etc. Use the "nest" to hide elements of your main subject. For this image, I intentionally placed my jade rock (also from Japan) within my houseplant during a mindful photography event hosted by Tonya Peele on the meditation app, Insight Timer. |
 | Try breathing on the lens (put a UV filter on your lens to prevent damage) before making your image - the results are unpredictable, uncontrollable, and impermanent. And also soft and subtle. For a deeper perspective on the breath and why I believe subtle beauty is important to the culture of nature photography, read my article "Relational Nature Photography" on the Slow Photography Movement blog. |
 | Try framing your main subject through foliage in the foreground, right up close to your lens. This gives a "painterly" effect. I was able to do this much more intentionally after watching Kathleen Clemons' course "Creating Painterly Photographs" on Creative Live. |
 | Try simplifying your composition by getting clear about your subject and using your camera to support your intention. For ideas on how your camera can help you, read my blog "Into Simplicity" here and download the free PDF reminder. |
 | Try writing haikus for your images. Putting words to your images helps you notice your composition in new ways, from there you can continue to refine. Read my collection of haikus inspired by current events, deep emotions, and nature's guidance through it all. |
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We have all been directly confronted with life's mysteries as we live our way through a global pandemic. When you find yourself trying to control or rush to figure it all out, try taking a stroll through nature and turning your concerns over to her subtle beauty. See if it isn't just a little bit easier to embrace the mystery.
How will you bring subtle beauty to your images?
Nourish your LIfe and Photo Practice
If I wouldn’t have chosen divorce nine years into my past relationship, we would’ve been together 25 years today. Instead of growing through marriage, I continue growing and healing through nature.
Since moving back to St. Paul, MN four months ago, I’ve encountered more woodpeckers than I’ve encountered across my entire lifespan. There’s a Pileated Woodpecker I often see in my apartment courtyard and, because of my woodpecker neighbor, this is the first year I’ve known their laughter. It might’ve taken me 41 years to understand the theme of Woody Woodpecker, but I finally get it. I hear you, Woody!
Over the decades, I’ve become very aware of my sensitivity to sound. In fact, I think sound was one of a few factors in my divorce. I have a high startle response; I wake up to subtle noises in the night; I can’t have my stereo volume past four on a scale of eleven; my skin crawls when the TV is kept on for "background noise"; if I'm lost while driving or there's snow/rain/traffic, I have to turn the car radio totally off; and I have heard "damn, you have good hearing," by more people than I can count. It’s often a curse and can be a point of contention. Today, I intentionally focused on the blessing.
When I went to my local park to share the nature love this afternoon, I knew I was going out to focus on sounds because of a prompt from fellow mindful photographer Kim Manley Ort and her 2021 project "Seeing Clearly." In the woods of my local park today, and pretty much every time I hike there, I hear the woodpeckers.
Specifically, I heard a Pileated Woodpecker. For a more biological and ecological perspective on this amazing bird, please read this creatively written blog by Ken Bevis, a DNR Stewardship Wildlife Biologist, "Just About the Coolest Bird Around: the Pileated Woodpecker."
Since moving back to St. Paul, MN four months ago, I’ve encountered more woodpeckers than I’ve encountered across my entire lifespan. There’s a Pileated Woodpecker I often see in my apartment courtyard and, because of my woodpecker neighbor, this is the first year I’ve known their laughter. It might’ve taken me 41 years to understand the theme of Woody Woodpecker, but I finally get it. I hear you, Woody!
Over the decades, I’ve become very aware of my sensitivity to sound. In fact, I think sound was one of a few factors in my divorce. I have a high startle response; I wake up to subtle noises in the night; I can’t have my stereo volume past four on a scale of eleven; my skin crawls when the TV is kept on for "background noise"; if I'm lost while driving or there's snow/rain/traffic, I have to turn the car radio totally off; and I have heard "damn, you have good hearing," by more people than I can count. It’s often a curse and can be a point of contention. Today, I intentionally focused on the blessing.
When I went to my local park to share the nature love this afternoon, I knew I was going out to focus on sounds because of a prompt from fellow mindful photographer Kim Manley Ort and her 2021 project "Seeing Clearly." In the woods of my local park today, and pretty much every time I hike there, I hear the woodpeckers.
Specifically, I heard a Pileated Woodpecker. For a more biological and ecological perspective on this amazing bird, please read this creatively written blog by Ken Bevis, a DNR Stewardship Wildlife Biologist, "Just About the Coolest Bird Around: the Pileated Woodpecker."
| Back in the woods, I heard the knocking first and, when I froze on the path to locate the source, I heard tree bark raining down directly in front of me. And there was Woody, pecking away! Side note: I do not have the gear, the skill, or the patience for bird photography. Please enjoy this playful image by Jeanette Mayo. See more of Jeanette's work here. |  "Peeking Pileated 'Pecker" by Jeanette Mayo |
I watched Woody continue to peck at the exact same spot. Sure, there were micro-movements, but this bird never jumped trees or even to a new spot on the same tree.
Suddenly, it dawned on me: Woodpeckers don’t move when nourishment is being received and, when nourishment ends, they fly away, laughing joyfully! I started thinking about how many times I’ve banged my head against the same person/problem/experience over and over, even when it was not the least bit nourishing. That’s exactly how I stayed in an unhealthy relationship for nearly a decade.
>>> I need to take a quick detour from this woodpecker metaphor to acknowledge the sudden, tragic passing of my ex-husband in 2019. I grew up (literally and figuratively) through our relationship. May he rest in peace. <<<
Nature photography is an experience I'm happy to continue banging against. It's something I've worked at for 25 years and, while the intention behind it has evolved and there have been real challenges I've had to overcome, it has been mostly nourishing - even when I don't get the image I intend on the first attempt or the final attempt!
I've attempted to photograph this tree with the woodpecker excavations multiple times. This last time, I followed the woodpecker's lead and made micro-movements between exposures. Here's an example of how minor movements can change an image. What do you notice about how the micro-movements changed these two?
Suddenly, it dawned on me: Woodpeckers don’t move when nourishment is being received and, when nourishment ends, they fly away, laughing joyfully! I started thinking about how many times I’ve banged my head against the same person/problem/experience over and over, even when it was not the least bit nourishing. That’s exactly how I stayed in an unhealthy relationship for nearly a decade.
>>> I need to take a quick detour from this woodpecker metaphor to acknowledge the sudden, tragic passing of my ex-husband in 2019. I grew up (literally and figuratively) through our relationship. May he rest in peace. <<<
Nature photography is an experience I'm happy to continue banging against. It's something I've worked at for 25 years and, while the intention behind it has evolved and there have been real challenges I've had to overcome, it has been mostly nourishing - even when I don't get the image I intend on the first attempt or the final attempt!
I've attempted to photograph this tree with the woodpecker excavations multiple times. This last time, I followed the woodpecker's lead and made micro-movements between exposures. Here's an example of how minor movements can change an image. What do you notice about how the micro-movements changed these two?
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Here are additional perspectives to consider:
- what happens when you get closer or zoom as mentioned in the simplicity blog?
- what do the shapes tell you about this subject as mentioned in the lines blog?
- what is your subject trying to tell you and how can you use the rule of thirds blog to communicate that message?
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I could come up with a long list of head-banging examples that were not nourishing, but instead I’ll end by sharing one of the ways I’m entering 2021 with greater woodpecker-like intention: moving forward, I will only put repeated effort into people/problems/experiences that provide (more often than not) mutual nourishment. And if it's time to move on, I will do so with (at least a little bit) of gratitude and laughter.
What nourishing situations will you put your effort toward in 2021?
To share creativity requires collaboration, vulnerability, and perspective.
The photo collection below is a project inspired by fellow artist, Ann Taylor. Ann took the people portraits. I took the plant portraits.
This project is a demonstration of collaboration...and mutual admiration.
This experience offered a lesson on vulnerability.
Theses photos are an experiment in perspective.
Many thanks to Ann for sharing this day with me, for photographing me so beautifully, and for bringing new insight to a beauty lover's perspective.
This project is a demonstration of collaboration...and mutual admiration.
This experience offered a lesson on vulnerability.
Theses photos are an experiment in perspective.
Many thanks to Ann for sharing this day with me, for photographing me so beautifully, and for bringing new insight to a beauty lover's perspective.
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How will you share your creative voice, collaborative spirit, heartfelt vulnerability, and unique perspective with the world?
Notice your subject, tune into movement, and experiment with lines.
The photographic strategy of using leading lines to pull in the viewer's attention is a common strategy for composing images that create interest. The idea behind leading lines is to make an image that leads the eye to the main subject of the image. A leading line paves an easy path for the eye to follow through different elements of a photo.
Just as the rule of thirds, which can be read by clicking here, leading lines is another concept that can easily be found on Google, but here I'm using shapes as lines. Shapes still keep the eye moving, and they also have the potential to communicate a more personal narrative while enhancing the traditional approach with greater meaning.
Before I move into my personal insights, I want to be clear: this is by no means the only way to view leading lines, shapes, movement, or any abstract concept. Feel free to take what you want and leave the rest and/or adapt it to your own culture, values, spiritual beliefs, and personal experience. Continue reading below for examples of how to use lines and shapes to tell a story.
Just as the rule of thirds, which can be read by clicking here, leading lines is another concept that can easily be found on Google, but here I'm using shapes as lines. Shapes still keep the eye moving, and they also have the potential to communicate a more personal narrative while enhancing the traditional approach with greater meaning.
Before I move into my personal insights, I want to be clear: this is by no means the only way to view leading lines, shapes, movement, or any abstract concept. Feel free to take what you want and leave the rest and/or adapt it to your own culture, values, spiritual beliefs, and personal experience. Continue reading below for examples of how to use lines and shapes to tell a story.
Horizontal Lines: Stable, Calm, Balanced
Two or more subjects next to each other on a horizontal line create a sense of stability, calm, balance. Imagine the horizontal line as balancing scales perfectly balanced.
In the images below, I find the horizontal composition of the yellow marigolds more pleasing than the purple coneflower. The marigolds have a more connected, peaceful presence. Their inherent shape and unique essence work well for creating stability, calm, and balance.
Interestingly enough, finding two or more coneflower blossoms that were naturally in a horizontal line from each other was a real challenge. After this experiment, I'm quite certain they don't have any intention to be viewed as stable, calm, and balanced!
What nature subjects offer you stable, calm, and balanced feelings?
In the images below, I find the horizontal composition of the yellow marigolds more pleasing than the purple coneflower. The marigolds have a more connected, peaceful presence. Their inherent shape and unique essence work well for creating stability, calm, and balance.
Interestingly enough, finding two or more coneflower blossoms that were naturally in a horizontal line from each other was a real challenge. After this experiment, I'm quite certain they don't have any intention to be viewed as stable, calm, and balanced!
What nature subjects offer you stable, calm, and balanced feelings?
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Vertical Lines: Dignified, Powerful, Majestic
 | Two or more subjects on a vertical line create a dignified, powerful, majestic image. Imagine the vertical line as a majestic pine tree. It was fairly easy to frame both of these flowers species in a vertical line, though finding more than two lined up was easier for the marigolds. In any case, I feel both flowers pull off majesty. |  |
What other nature subjects offer you dignified, powerful, majestic feelings?
Diagonal Lines: Active, Dramatic, add tension
Two or more (three or more is my preference) subjects on a diagonal line create an active, dramatic scene that builds tension. Imagine the diagonal line as steps to climb.
I think both flowers are able to pull off the drama in the images below, but here the marigolds are benefited by the dark, contrasting background and the diagonal running both ways - one with the full blossoms and one with the unopened buds. Although it was easy to frame both this way, I prefer the drama and movement created by the coneflower blossoms and there were a multitude of natural options for finding them on the diagonal.
What nature subjects offer you stable, calm, and balanced feelings?
I think both flowers are able to pull off the drama in the images below, but here the marigolds are benefited by the dark, contrasting background and the diagonal running both ways - one with the full blossoms and one with the unopened buds. Although it was easy to frame both this way, I prefer the drama and movement created by the coneflower blossoms and there were a multitude of natural options for finding them on the diagonal.
What nature subjects offer you stable, calm, and balanced feelings?
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Circles: Comforting, connective, Timeless
 | Multiple subjects forming a circle create a scene that is gentle and comforting, and offers a feeling of interconnection. Imagine the circle as a ring of belonging. Personally, I love circles and it was quite easy to spot them in both flower species. Flowers as a whole represent wholeness, timelessness, and cyclical movement. What nature subjects offer you comforting, connected, timeless feelings?  |
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| Download a simple reminder for "Lines" at no cost - money or email address. | 
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When considering shapes, tune into your subjects. What is their natural movement? Is it balanced and calming? Majestic and powerful? Active and dramatic? Gentle and comforting? Chat with your subjects and allow them to share their story with you. Listen closely and you'll be able to make an intentional image that honors their natural movement.
How will you tell your subjects' story using lines and shapes?
Notice your patterns, know your preferences, and experiment with thirds.
Traditionally, the rule of thirds is a composition technique in which an image is divided evenly into thirds, both horizontally and vertically, and the subject of the image is placed at the intersection of those dividing lines, or along one of the lines itself. If you want to know more about the technical approach, Google has a vast amount of information on this rule.
I've been aware of this rule for two decades, but it wasn't until very recently that I noticed a pattern of mine: I tend to place my subject on the right side of the frame and either have a secondary subject or leave empty space on the left (when looking through the lens). Once this came into my awareness, I started to get curious about why that is, and what I came up with is based on my culture, values, spiritual beliefs, and personal experiences.
I already knew that I valued photography because it facilitates a spiritual, mindful, and calming connection with the Earth. What I came to realize over time is that my ways of understanding the world connect the feminine, subtle, receptive with the left side, and the masculine, strong, active with the right side.
As I looked through my images, I had a sense that when I left space on the "feminine," left side, I felt called to slow down, take space, go inward. Using that insight as a baseline, I created a personal framework for using the rule of thirds to communicate a more personal narrative through images and to enhance the traditional approach with greater meaning.
Before I move into my personal insights, I want to be clear: this is by no means the only way to view the rule of thirds, feminine/masculine, mind/body/spirit, or any abstract concept. Feel free to take what you want and leave the rest and/or adapt it to your own culture, values, spiritual beliefs, and personal experience. Continue reading below for examples of how to use the rule of thirds to tell a story.
I've been aware of this rule for two decades, but it wasn't until very recently that I noticed a pattern of mine: I tend to place my subject on the right side of the frame and either have a secondary subject or leave empty space on the left (when looking through the lens). Once this came into my awareness, I started to get curious about why that is, and what I came up with is based on my culture, values, spiritual beliefs, and personal experiences.
I already knew that I valued photography because it facilitates a spiritual, mindful, and calming connection with the Earth. What I came to realize over time is that my ways of understanding the world connect the feminine, subtle, receptive with the left side, and the masculine, strong, active with the right side.
As I looked through my images, I had a sense that when I left space on the "feminine," left side, I felt called to slow down, take space, go inward. Using that insight as a baseline, I created a personal framework for using the rule of thirds to communicate a more personal narrative through images and to enhance the traditional approach with greater meaning.
Before I move into my personal insights, I want to be clear: this is by no means the only way to view the rule of thirds, feminine/masculine, mind/body/spirit, or any abstract concept. Feel free to take what you want and leave the rest and/or adapt it to your own culture, values, spiritual beliefs, and personal experience. Continue reading below for examples of how to use the rule of thirds to tell a story.
 | Mind: Placing the subject in the center creates a symmetrical, ordered scene, which often satisfies the logical mind. If you want to communicate knowledge, focused energy, and/or vital awareness, try placing your subject in the center of the frame. |
 | Body: Placing the subject on the left (when looking through the lens) creates an active scene, which inspires a sense of adventure. If you want to communicate a call to action, excited energy, and/or an invitation to explore, try placing your subject on the left side of the frame. |
 | Spirit: Placing the subject on the right (when looking through the lens) creates a restful scene, which encourages a slowing down. If you want to communicate a sense of calm, soothing energy, and/or an invitation to contemplate, try placing your subject of the right side of the frame. |
The framework for the horizontal line placement below came from my background in portrait photography, where I started working when I was 17 years old.
For portraits, we were taught that lowering the camera and looking up created a sense of power and greater presence, and that raising the camera and looking down created a softness and a gentle presence. To be honest, we were also taught to photograph men looking up at them to make them appear more powerful and women looking down on them to make them appear thinner. So, there's that...
What I like about photographing nature subjects in this way is that is looking up helps me understand the big, powerful, and all-encompassing perspective of nature and I feel a part of that power. In looking down, I feel a sense of awe for each tiny detail in nature and I feel humbled to be connected to such wonder.
For portraits, we were taught that lowering the camera and looking up created a sense of power and greater presence, and that raising the camera and looking down created a softness and a gentle presence. To be honest, we were also taught to photograph men looking up at them to make them appear more powerful and women looking down on them to make them appear thinner. So, there's that...
What I like about photographing nature subjects in this way is that is looking up helps me understand the big, powerful, and all-encompassing perspective of nature and I feel a part of that power. In looking down, I feel a sense of awe for each tiny detail in nature and I feel humbled to be connected to such wonder.
 Mind: Placing the subject at the mid-line creates a pragmatic image. If you want to communicate a sense of purpose, try placing your subject in the center of the frame. |  Body: Placing the subject at the high-line creates a powerful image. If you want to communicate a sense of strength, try placing your subject at the top of the frame. |  Spirit: Placing the subject at the low-line creates a prayerful image. If you want to communicate a sense of reverence, try placing your subject at the bottom of the frame. |
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| Download a simple reminder for "Thirds" at no cost - money or email address. | 
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When you notice your patterns, know your preferences, and identify your message, you can be more intentional about making images that are purposefully beautiful.
How will you use the rule of thirds?
Get clear, know your preferences, and experiment with simplicity.
 | When making intentional photos, it's important get clear about your subject first. While walking in the woods, the light and shadows of the leaves called to me. At the moment I heard their whisper, I stopped to make this photo. I knew right away it was too busy for my taste, so I set about experimenting with simplifying the scene. Continue reading below for examples of how to simplify your images. |
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Try changing your position - knowing my subject and shifting left a bit created a thin highlight that separated the leaves from the background and softened the image, aligning with my style and intentions. Minor changes in your position can help highlight your subject.
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Try getting closer vs. zooming - knowing my subject and my preference for soft, gentle images, zooming in is more aligned with my style and intentions. The spots of light and extra background shown when getting closer still feels too busy for me. Regardless of the camera (DSLR or phone), zooming should cause the background to appear closer than it is in real life.
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Try blurring the background - knowing my subject was this group of leaves and not the woods themselves, the image with the blurred background is more aligned with my intention. There are many options for blurring the background of your photo, but it will require experimenting with the technology you use. To blur the background here, I used a wide aperture on my DSLR.
Once you're clear about your subject and are ready to use your camera to tell more complex stories, intentional camera blur is a great way to experiment with using your technology to tell your viewer more about your subject. For a simple, well-structured tutorial on shutter speed, camera gear, and intentional blur, please check out "10 Great Tips to Capture Unique Motion Blur Photos," a beautifully composed photo blog by Anisha Singh at Pixpa by clicking here.
Once you're clear about your subject and are ready to use your camera to tell more complex stories, intentional camera blur is a great way to experiment with using your technology to tell your viewer more about your subject. For a simple, well-structured tutorial on shutter speed, camera gear, and intentional blur, please check out "10 Great Tips to Capture Unique Motion Blur Photos," a beautifully composed photo blog by Anisha Singh at Pixpa by clicking here.
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| Download a simple reminder for "Simplicity" at no cost - money or email address. | 
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When you get clear about your subject, know your style preference, and get familiar with your technology, you can be more intentional about making images that are simply beautiful.
Which method of simplifying do you prefer?