In The Forest

Jill Rahn's picture

Our Picture This! assignment this month was “In the Forest,” and judging by the number of images we received it’s clear that readers love to spend time and photograph in the forest as much as we do. As you’ll see, the photos ranged from mystical to magnificent, with patterns, color, and light and shadow play all playing a part.

Enchanted Forest
Barbara Lewis captured all the magic to be found in Mount Rainier National Park, Washington, with a Pentax K20D and a Pentax DA 35mm f/2.8 Macro Limited lens. Exposure was f/22 at 8 seconds.
© Barbara Lewis

Muir Woods
This abstract monochrome image was created by Irwin H. Segel from a 35mm negative scanned with an Epson V700 scanner and processed through Topaz Simplify software. The original photo was made with a Nikon F with a 35mm lens.
© Irwin H. Segel

Redwood Forest
Cyril Mazansky caught the mood of the deep forest with this image of rhododendron and redwood trees with an Arca-Swiss camera and a 90mm Schneider lens on Fujichrome Velvia film.
© Cyril Mazansky

Man Among Giants
Frank Lawson wrote: “I was struck by the thoughtful absorption of the gentleman in the scene,” as were we. He made the image with a Canon PowerShot G11 and an exposure of f/8 at 1/100 sec.
© Frank Lawson

Fall Ferns
The pattern, color, and textural quality of this scene, made in Tahquamenon Falls State Park, Michigan, were captured by Bill Witmer with a Canon EOS Digital Rebel and a Canon 28-135mm lens. Exposure was f/5.6 at 1/40 sec at ISO 200.
© Bill Witmer

Looking Up
The canopy of trees create a perfect circle and eye-catching pattern in this photo taken in Muir Woods, California, by Brian Hood. Exposure with a Nikon D300 and a 10-24mm lens was f/16 at 1/40 sec.
© Brian Hood

Soft Light
The brilliant backlighting and soft flow of water was rendered by Bob Wells with a Canon EOS-1Ds Mark II and a Sigma 17-35mm lens with a Singh-Ray Soft-Ray filter. Exposure was f/4 at 1/10 sec.
© Bob Wells

Brilliant Sunrise
Made in Pigeon Forge, Tennessee, this dazzling light and mist combine for a glorious moment of the day. F. Prieto made this photo with a Nikon D3X and a Sigma 10-20mm lens and an exposure of f/2.8 at 1/40 sec.
© F. Prieto

Lonesome Pine
Tom Rawson saw the pattern and the anomaly of this lone pine among the aspens in Arapaho National Forest, Grand County, Colorado, and made the photo with a Canon EOS Digital Rebel and a Canon 24-70mm lens. Exposure was f/8 at 1/60 sec.
© Tom Rawson

Stream Reflections
Paul R. Lenz combined reflections and reality in this photo of a fall stream in Vermont. He photographed with a Nikon N80 and a Sigma 28-300mm lens on Fujichrome Sensia 200 film.
© Paul R. Lenz

Aspen Grove
Kaz Hamano made this dazzling image while on a photo workshop in Colorado. Exposure with a Canon EOS 20D and a Canon 75-300mm lens mounted on a Slik U8000 tripod was f/10 at 1/30 sec at ISO 200.
© Kaz Hamano

Gibbon Falls
While fishing in Yellowstone Ron Landis found himself at the base of the falls, where he made this photo using an Olympus OM-10 on Kodak Ektachrome film.
© Ron Landis

Picture This! – Our Next Assignment
Multi Exposure

In camera multi-exposure capability and on-the-fly exposure and processing compensation with Auto Gain combine to open up new doors to multi-exposure images in the field. Be it handheld or tripod mounted, layered images created through multi-exposure techniques can lead to some new ways to picture the world. This three-shot multi exposure of fireworks was made in camera with a Nikon D3X and a Nikkor 28-300mm lens with an exposure of f/7 at 3 seconds and -1 exposure compensation with Auto Gain set. For this assignment, and for those who don’t have in camera multi-exposure, layered comps made from planned shots are fine as well, as long as they stick with one theme or locale.

© George Schaub

Please Read This
It is important that you read and follow these guidelines. We need to follow this procedure because of the large volume of images we receive. If you have any questions, please e-mail us at: editorial@shutterbug.com.

1) Images sent to us cannot be returned. You retain complete copyright over the images, but do grant us permission to print your image(s) in the magazine and on our website, www.shutterbug.com.

2) Because images are not returned please send a quality print or duplicate transparency. We will not accept or view images on CD, ZIP, or any other electronic media.

3) Images will be selected on the basis of content and technical quality. Please mark your outer envelope with the topic of the month (for example, “Wide View”).

4) Enclose a short caption with the image stating camera, lens, film and exposure, plus location. If you are submitting an image with a recognizable person we must have a model release or signed permission from that person to reproduce their image in the magazine and on the website.

5) Please submit no more than three photos for consideration (4x6 up to 81/2x11).

Send your image and information to:
Picture This! Shutterbug Magazine,
1415 Chaffee Dr., Suite #10, Titusville, FL 32780.
Deadline For Submission: February 15, 2013
Images will appear in our May 2013 issue
Our Next Topic: Urban art
Deadline For Submission:March 15, 2013
Images will appear in our June 2013 issue

Please note: We receive hundreds of submissions for Picture This! each month and want to be sure we properly identify each image we publish. Please put your name and all camera, exposure information on the back of the print or attached to slides when submitting. Also, please include your e-mail address in case we need to contact you.

Want to see images selected for past Picture This! assignments? Go to www.shutterbug.com and click on Picture This! in the “More Articles…” box on the homepage.

Please note: If you submit images with an enhancement through software beyond contrast, exposure, and simple saturation adjustments please indicate the software and “filter” used to attain that effect.—Editor

Share | |