There’s not much to say aboutWhite Water Lily, other than that we have a pond in our backyard filled to the brim with water lilies. In winter they are a sad, limp, discolored array. But in summer the leaves spread and curl up to the sky and the vibrant white and yellow blossoms open to the sun by day, closing tightly again into buds for the night. Resident frogs fill the evenings with discordant croaking, and from their sunbathing vantage points quickly plop into the water to shelter beneath the blanket of lily pads when startled.
I spent a couple of hours early one morning photographing the blooms from every conceivable angle. On review, this image rose to the forefront for the simplicity of the composition, the strong, bold shapes created by light and shadow, and the translucence of the backlit petals.
White Water Lily was introduced to the public in New York City in an exhibit mounted by Agora Gallery, a contemporary art gallery in New York’s Chelsea art district. Prints are available for purchase HERE.
Nikon D4, 1/350 sec at f/5.6, ISO 100, 260 mm (200.0-400.00 mm f/4.0 lens). Handheld.
Photo is copyrighted and registered with the U.S. Copyright Office. Please respect.
True to the adage that one seldom explores one’s own backyard, I have lived in Arizona since 1958 and never once visited spectacular Monument Valley on the Arizona/Utah border. In 2012 that changed when I joined a photo workshop with like-minded photographers, and spent a week touring the highlights of this unique and beautiful area. On arrival we were hit with the frustrating realization that we were hard on the heels of massive dust storm that obliterated light and turned the sky yellow with blowing sand.
Not only did this compromise the scenery we hoped to photograph, it created a challenge for the camera gear which is easily damaged by the invasive grit. Changing lenses in the field was a recipe for disaster; the best solution was to carry two cameras each configured for different shooting scenarios.
A few days later the dust settled, the sky turned blue, and we discovered that the dunes had been swept clean into freshly rippled contours, a silver lining after all. Meanwhile I captured this image of a Navajo pony on the rez, haircoat embedded with red desert sand and eyes squinted against the blowing grit. I like his rough presence, bold shadow and the iconic landscape on the horizon.
Navajo Pony After A Dust Storm prints are available for purchase HERE
Nikon D3S, 1/750 sec at f/5.6, ISO 200, 44 mm (28.0-300.00 mm f/3.5-5.6 lens).
Photo is copyrighted and registered with the U.S. Copyright Office. Please respect.
Sunrise Flight is a composite image created from two photographs captured in the Solomon Islands. We left our anchorage at dawn one morning to get an early start for a long day’s passage. The rising sun lit the cumulus clouds building up on the horizon, giving them an internal glow. I was concentrating on capturing images of the dramatic sky when a booby joined us briefly, winging his way parallel to the boat, his eye reflecting the early light. Two captures taken just moments apart – the empty cloudscape and the sunlit bird in flight – were meant for each other, so I married them in one image that captures the essence of the moment as I experienced it.
The vast expanse of sea and sky and the perfectly positioned wings of the bird together create an image that expresses the unfettered freedom of flight.
Sunrise Flight has been exhibited from coast to coast, including the San Diego Museum of Natural History and, most recently, PhotoPlace Gallery in Vermont, a contemporary photography venue. Prints of this award-winning image are available for purchase HERE
Nikon D4, 1/500 sec at f/2.8, ISO 100, 165 mm (70.0-200.00 mm f/2.8 lens)
Photo is copyrighted and registered with the U.S. Copyright Office. Please respect.
We have the good fortune to live alongside Sabino Creek on Tucson’s eastside, a riparian area which as a result remains a wildlife corridor in an urban area. Bobcats, coyotes, javelina, jack rabbits, hawks, quail, roadrunners and more abound.
I spend a lot of time at the computer editing and refining my digital photographs. Truth be told, this is as much fun for me as the actual photography. One autumn morning my housekeeper interrupted my concentration to announce that there was a ‘gato muy grande’ in the backyard. I grabbed my handheld camera with a walk-around zoom lens already attached and tiptoed into the backyard to check him out.
This handsome bobcat, in full winter coat, was only about 10 feet away from the house but conveniently near his escape route into the riverbed. He gave me an intense look over his shoulder, I clicked twice, and he was gone.
It took some careful editing to bring this image to life, but it has become one of my favorites.
This is a ringside shot of Saer Coulter aboard Don VHP competing in the Grand Prix during the 2013 HITS Desert Circuit in Thermal, California. Saer is a California girl in her early twenties, a successful grand prix competitor who has graduated to international competition. On the day I took this shot, it was windy with blowing dust. The sky had a grungy tinge and the ringside banners stood straight out flapping during the competition.
On a really windy day, the jumps start falling without any assistance from the horses, and the jump crew is kept busy sandbagging the standards and trying to keep the course intact so that the competition can take place. In this class, the challenging triple combination (a series of three jumps closely spaced) was positioned on the long side of the arena. The approach involved making a left turn after landing from a jump set at the far end. Making the turn correctly is critical to positioning the horse to give him the best chance of clearing all three obstacles.
I prefer the monotone finish, which in my mind enhances the strong graphical elements of the composition and emphasizes the details of horse, rider and tack.
Left to the Triple Combination, sepia is available for purchase HERE
Nikon D4, 1/1000 sec at f/5.6, ISO 400, 280mm (200.0-400.0 mm f/4.0) lens.
Photo is copyrighted and registered with the US Copyright Office. Please respect.
This is the wildlife image that holds the most meaning for me of all the photographs I have taken over the past ten years. I have it hanging in my kitchen where I see and marvel at it each and every day.
My husband and I are fortunate to have had access to a cruising yacht based in the South Pacific over the past several years. One of my favorite destinations is the small Kingdom of Tonga, where humpback whales migrate each year from the Antarctic to give birth and mate. We have visited several times during whale season and each time I took the opportunity to go out with whale watching professionals, over time learning the basic elements of locating and interacting with the whales in the water.
On our last visit in 2013, we were out for a cruise and scouting for whales on the way. The ocean was empty, no whales or whale watching boats in sight. Then suddenly we spotted a blow quite nearby. Luck was entirely on our side. We had found a mother and very young calf that were floating quietly near the surface. They showed no signs of avoiding us or moving on, and no licensed whale boat operators were in the vicinity to ‘appropriate’ our find. I couldn’t resist such a golden opportunity. I quickly peeled off my clothes down to the swimsuit underneath and grabbed my underwater camera, fortunately already assembled and leak-tested and ready to go. There was a mad scramble gathering the bare necessities – fins, mask and snorkel – and then I eased into the water off the boat’s stern.
The two whales were maybe 150 feet away and I located them instantly through my camera’s viewfinder. I swam slowly and carefully towards them, minimizing any splashing or sudden movement, and they allowed me to approach without showing any skittishness. After a few minutes, mom turned and started swimming slowly away, giving me a rear view of her tail. But as I watched her go, snapping my last few photographs, I realized that her path was curving back in my direction. Slowly, almost imperceptibly, the pair drifted back towards me until I found myself so close that I started backpedaling to avoid making accidental physical contact with mama’s long pectoral fin.
I spent nearly twenty minutes eye to eye with this calm and generous whale, while her baby slept and breathed above her, as we silently communicated with each other. I finally cut the session short when a third whale, probably her escort, arrived on the scene.
In itself the opportunity to swim alone and close to a cooperative whale is a rare and awe-inspiring experience. For the whale herself to voluntarily initiate that interaction was such an amazing, incredible privilege, never to be forgotten.
I don’t often post photos of myself (especially in a swimsuit!), but my husband took this photo of the three of us from the deck of the boat.
Nikon D4, 1/180 sec at f/2.8, ISO 400, 35mm (17.0-35mm f/2.8)
Photo is copyrighted and registered with the U.S. Copyright Office. Please respect.
A new addition to my online gallery. This is PERFECT STORM photographed at Cape Reinga in New Zealand
Cape Reinga is the northernmost tip of New Zealand, reaching into the sea and marking the meeting of two oceans – the Tasman Sea to the west and the Pacific Ocean to the east. On this day a perfect storm of weather convergence zones created fierce winds that whipped the ocean into a froth. The Cape is a narrow spine of land stretching its finger out into the ocean, and the footing was precarious as the 60 mph winds threatened to topple both my tripod and myself.
Here’s one for the equestrian crowd! High Heels, sepiais a new addition to my online gallery and the first square format photo I’ve posted.
It’s fun to hang out at ringside with a big lens, trying to capture the action and excitement of Grand Prix Showjumping up close and personal. Here the horse is in a bit of trouble over a really big oxer. He’s making a herculean effort to keep from hitting the rail, while his rider hangs on for the ride, releasing the reins to give her mount more freedom to solve the problem.
I love how the rider and horse are both showing the soles of their shoes!
The Best of Nature 2016 Photography Exhibition opens this coming weekend at the San Diego Natural History Museum. Since I’m off cruising in the Caribbean, I will miss the Opening Reception on April 30 from 11 AM to 2 PM. But if you’re in the area, the museum is a great place to visit. Stop by the Ordover Gallery on the 4th Floor to see my image WAVE RIDERS included in this exhibition of wonderful nature photography!
Pygmy Devil Rays are similar in appearance to their cousins, the manta rays, but much smaller. Both belong to a genus of ray called Mobula or, more casually, “flying rays” due to a propensity to breach (jump out of the water) in spectacular fashion. The pygmy rays are usually seen in schools near the surface of coastal waters. I have often seen them leaping repeatedly out of the water, making a noise like popcorn popping as they splash down again.
On this trip we were traveling south along Mexico’s Pacific coastline. We stopped over in Ixtapa, which possesses a beautiful curving sand beach well used by local walkers, joggers, children and more all traversing the golden sand in the morning hours. The surf rolled in, backlit by the early morning sun, and I was startled to see the rays gliding in the breaking waves. With the sun backlighting the clear aqua water, the rays appeared suspended as if behind the glass of an aquarium. Intrigued, I invested quite a bit of time trying to capture the shot. As usual in these circumstances, I was shooting hand-held, kicking up the shutter speed to freeze action.
The 29th Annual Fund-Raising Gala for Salpointe High School here in Tucson is scheduled for this Saturday, April 23, at the elegant Cross Creek Riding Club estate. I’m pleased to support them by donating a 24″ x 36″ canvas gallery wrap to the text-to-bid silent auction. FRINGING REEF #4 WAVELET is one of my more popular images – I hope it generates a nice contribution to a worthy cause!
FRINGING REEF #4 WAVELETis an artistic interpretation of dawn rising over the Pacific Ocean as it meets the fringing reef surrounding a South Pacific atoll, as a small wave breaks over the shallow coral.
In 2009 we were sailing our sailboat Raven from French Polynesia to Tonga, a distance of some 1300 miles. Mid voyage we laid over in the remote Cook Islands. It was a pleasure to pause and take respite in the quiet anchorage of uninhabited Suwarrow Atoll, protected from the open Pacific Ocean by the shallow circle of coral reef that surrounded the inner lagoon.
Early one morning I paddled my kayak to the reef to catch the sun as it rose. The corals of the reef were only submerged by a couple of feet, and their vibrant colors were visible beneath the clear water. I came back with so many stunning photos from that session, I can hardly choose which is my favorite.
FRINGING REEF #4 WAVELET is available for purchase HERE.
Nikon D700, 1/45 sec at f/4.8, ISO 200, 14mm (14.0-24.0mm f/2.8), hand held.
Photo is copyrighted and registered with the US Copyright Office. Please respect.
