Landscape and Nature Photography with Jason Odell & Matt Suess Aug. 8-15, 2024
I’m extremely excited to announce that I’ll be traveling to the Faroe Islands in 2024 as a co-instructor with OM Digital Ambassador Matt Suess for a weeklong photo safari! The Faroe Islands is a legitimate bucket-list destination, as it was named the Faroe Islands the most authentic and unspoiled group of islands in the world by National Geographic.
The Faroe Islands are located 320 kilometres (200 mi) north-northwest of Scotland, and about halfway between Norway (580 kilometres (360 mi) away) and Iceland (430 kilometres (270 mi) away).
From rugged seascapes to fishing villages and puffin colonies, your time in the Faroe Islands will be unforgettable. And with the help of Matt and myself, your photographs will be unforgettable, too!
When I was growing up in the early 80s, you really had only two choices when it came to making prints from your film. You could either take it to a lab (or drugstore), or do it yourself. While at-home darkroom work was fairly reasonable for black and white film (and I’m glad my dad built a darkroom for my mom in our garage), color film was really not feasible for most home processing. So the rolls of color print film went off to the drugstore, with mixed results.
I remember driving out to the Mojave desert with my Nikon EL2 and a roll of print film, looking to photograph comet Hale-Bopp. The good news was that I actually captured shots of the comet. The bad news was that the print lab assumed I’d woefully underexposed my film and returned photos with gray skies instead of black. Fortunately, I was able to use a flatbed scanner and my rudimentary knowledge of Photoshop (this was the mid-90s, you know) to get reasonable-looking images.
Today, most of us aren’t shooting color print film, but the idea remains the same. You can choose to let your camera be the lab (i.e., the drugstore) and rely on its rendition of colors and contrast, or you can work on your images yourself. The good news is that most cameras offer a variety of preset color and contrast settings, like “standard,” “vivid,” and “portrait.” But does the camera really know which tones you want accentuated and those you want muted? I think not. That being said, our cameras do a pretty reasonable job of rendering images that look fairly similar to how the scene appeared at the time, which brings me to the point of this article. Is a “faithful” rendition of the scene a compelling photograph, or would you like to convey a different sense of feeling. After all, the camera simply records data; it’s up to our brains to interpret it.
A couple of months ago I was in Alaska on a cruise with a group of clients. One of the signature stops on the cruise was Glacier Bay National Park, a place that’s fairly inaccessible except by boat or float plane. As it turned out, by the time we arrived at one of the signature glaciers, the air was hazy and the angle of the sun created quite a bit of haze. This is what my camera saw:
Frankly, that’s more or less how the scene looked. The glacier was somewhat back-lit, and there was a lot of haze in the air, reducing contrast. Meh. Had I been shooting a documentary or on a photojournalism assignment, this image would have been perfectly reasonable to use right out of the camera.
Needless to say, I like my landscapes to have impact and feeling. So of course I processed the photo to get more of what I felt. For example, had I been using black and white film, I’d have considered using a yellow filter to cut through that blue haze and add contrast to the mountains. After processing, I ended up with this:
Which one do you prefer? In reality, it doesn’t matter. Because you get to have your own opinion and your own style. The bottom line is this: If you let your camera do your processing for you, your choices for output will be quite limited. You don’t need to build a darkroom in your garage to have the creative freedom once enjoyed by the masters.
I’m looking forward to returning to South Dakota next week for my 9th annual Badlands Landscape Workshop. It’s a fabulous location for sunrises and sunsets, and offers spectacular scenery and the opportunity to use a variety of photographic techniques. I hope you’ll consider one of my photography tours as part of your path towards better photography.
The full moon sets over Bandon Beach on the Oregon Coast in this image I captured in 2017 with my Nikon D850 and 24-70mm zoom lens. I’m returning to Oregon again this October, and there is space available if you’d like to join this photo safari.
I just returned from my 5th annual Colorado Wildflower Photo Safari, and all I can say is, “wow!” I had a hunch the flowers would be great this year, but I wasn’t prepared for the spectacle around Crested Butte. The hillsides were literally exploding with color!
Nikon Z7 with Nikkor Z 14-30mm f/4 S lens, 5-shot focus stack 1/250s f/8 ISO 125 @17mm