in this issue
contributors
Russell Hart was exec-
utive editor at American
Photo magazine for
many years and teaches
in the Master’s in Digital
Photography program at the School
of Visual Arts. His photographs have
been exhibited in museums and gal-
leries around the country. See more of
his work at russellhartphoto.com and
@russellhartphoto on Instagram.
Jason Bradley specializ-
es in nature photography
both underwater and
above. He’s the owner
of Bradley Photographic
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solutions. He also leads photographic
expeditions and is the author of the
book
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ÌÀ,
published by Focal Press. See more of
his work at bradleyphotographic.com.Stan Bysshe is an avid
amateur photographer
who for 20 years spent
most of his image-mak-
ing time underwater.
More recently, he transitioned back
to land photography, and his images
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i}Ài>ÌÞÌ
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he derives from documenting nature.
See more of his work at sbysshe.
smugmug.com.F
all is arguably the best season for
outdoor photography. Tempera-
tures mellow, and changing weather
patterns bring a mix of dramatic
stormy skies and overcast days with
soft, diffused light on the landscape.
And, of course, along with these
changes come the sublime colors of
foliage that make this time of year
a favorite for nature photographers.
When we think of fall color photogra-
phy in the U.S., New England is likely
the backdrop we picture, but there are
opportunities across the country, likely
within a few hours’ drive from your
home. In this issue, we’re highlighting
10 hotspots for fall color, and some are
places you might not expect. Each loca-
tion has its own unique appeal, and the
photographers featured in this article
share their experience of the place, withinsights to inspire you to visit.
Also in this issue is a different take
on the concept of color in photography.
Russell Hart shoots a lot of black-and-
white images, but he’s also drawn to the
effects of color infrared capture. Using
a specially converted digital camera,
Hart has created a distinctive portfolio
of work that embraces the otherworldly
look that this technique lends to nature
photography. “Color infrared, at least
the way I use it,” Hart says, “almost
always creates a late-day or sunset
feeling, even when those warm colors
aren’t present in a scene.” Converting
a camera for color infrared capture
costs about $200 (or more, depending
on the camera) and can be done with
both interchangeable-lens cameras and
point-and-shoots. If you have an older
camera you don’t use anymore—orpick one up cheap on eBay—
it’s a relatively inexpensive way
to open up a whole new world
of photographic expression. In
“Beyond Visible Light,” Hart
explains the technical and cre-
ative considerations for explor-
ing this medium.
Also in this issue is part one of a
four-part series by Jason Bradley
on organizing your photo library.
Though Bradley will focus on his
approach using Adobe Light-
room, most of the tips he’ll share
can be used with other software
alternatives. In this first article,
he starts with general concepts
to know and talks about different
ways to categorize images and
use metadata and keywords effec-
tively. “Digital capture allows us
to create a quantity of images in unprec-
edented numbers,” Bradley observes.
“Knowing how to properly wield the
field of ever-evolving software, wrap-
ping our heads around what metadata
is, how best to keyword, what folder
structure we should use, knowing when
to star, flag or color label our images—
can be a daunting task, to say the least.”
Making an organization strategy part
of your photo workflow will help you
keep your image library in check and
prioritize your best images for process-
ing, printing and sharing, rather than
getting lost in the pile. “Whether you
have thousands, hundreds of thousands
or millions of images,” says Bradley,
“the principles for staying organized
are software platform independent and
the same for all of us.”
—Wes Pitts, Editoroutdoorphotographer.com September 2019 11