Category Archives: Natural Science

NEW- Photography Workshops for 2018

2018 Workshop Promo

Copyright © 2018 Brian Loflin
All rights reserved

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2018 Wildlife Photography Exhibition at Texas A&M University – Kingsville

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Winners in the First Annual Wildlife Photography Exhibition at Texas A&M University- Kingsville include, left to right:  David Campbell, Best Habitat; Kelley Wood, Best in Show; and Alex Meza, Best Wildlife. The Best in Show was awarded a sizeable cash award. The Best Wildlife and Best Habitat winners both received a Rotational 180 Backpack from Mind Shift Gear.

 

The first Wildlife Photography Exhibition represents the finest of the images produced and selected by students of the new Wildlife Photography Program at Texas A&M University- Kingsville. Students created images to best depict Texas wildlife and its habitat. The class members produced these images during the Spring 2018 semester and printed and prepared the mounted images for the May exhibit at the Caesar Kleberg Wildlife Center in Kingsville, Texas.

AWARDS

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BEST IN SHOW- “It’s a Small World”- Kelley Wood

“This ladybird beetle was on a Honey Mesquite (Prosopis glandulosa) inflorescence. I was looking at the plant because there were multiple butterflies and other insects that I wanted to take pictures of. It was in the shade, so the lighting was not as harsh.”

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BEST HABITAT- “Bobcat”- David Campbell

“I was on the ranch I work on near Cotulla, TX heading to one of our ponds with a fishing pole and cold beer in hand. As I got near the water I noticed this bobcat sitting on the edge of the brush and realized I didn’t have my camera. I watched him for a second and decided to go back to the truck (a couple hundred yards away) to get my camera. To my surprise he had not moved an inch which allowed me to take this and several other great photos.”

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BEST WILDLIFE- “Burrowing Owl”- Alex Meza

“Photographed in Granjeno, Texas, a small town literally at the edge of the Rio Grande River. This owl nests in crevices created by big boulders that are placed next to the levee to protect citizens from the Rio Grande River flash floods. The Burrowing owl was out in the sunset after a hot day in South Texas.”

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Exhibit juror, Shirley Loflin, critiques an image by student Kelley Wood. Shirley is a published photographer, author and naturalist and is a long time exhibition juror. She resides in Austin.

 

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Student Alex Meza describes cropping suggestions of one of his entries made by the juror to his wife Neyda Gonzales.

 

WILDLIFE PHOTOGRAPHY PROGRAM

The new Wildlife Photography program is an unique-in-the-nation curriculum providing classes to biology majors within the Range and Wildlife Sciences department at the university. The program was started through a generous donation by the Frederick J. Bremner Trust. Dr. Bremner was a former faculty member at Trinity University in San Antonio.

The program began this Spring 2018 semester with the first in a series of classes entitled Introduction to Digital Wildlife Photography. Additional classes include: Advanced Digital Wildlife Photography, Wildlife Macro Photography, Wildlife Photographic Technology, and Digital Post Production in Wildlife Photography.

The program was developed by Brian Loflin, a Austin biological photographer, author and educator who has taught similar classes at UT Austin Continuing Education and Informal Classes for the past eleven years and in seminars and workshops throughout the country. Loflin is a adjunct faculty member at Texas A&M University- Kingsville.

ADDITIONAL EXHIBIT ENTRIES:

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“Looking Up”- Kelley Wood

 

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“Rattlesnake”- David Campbell

 

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“Altamira Oriole”- Alex Meza

 

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“Colorful Flower”- Robert Dwyer

 

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“Greater Roadrunner”- Robert Dwyer

 

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“Sandpiper on Jetties”- Pedro Cesares

 

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“Ocean Current”- Pedro Cesares

 

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“Swallowtail collecting Nectar”- Jeanette Casanova

 

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“Mockingbird Chilling”- Jeanette Casanova

 

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“White-tail”- Crisantos Cesares

 

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“Gulf-Fritillary on Thistle”- Christos Cesares

 

All material Copyright © 2018 by Brian Loflin. Images copyright by their makers. All rights reserved.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Frederick J. Bremner Charitable Trust paves the path to Professional Wildlife Photography at Texas A&M University-Kingsville.

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Principals attending the launch meeting of the CKWRI Wildlife Photography Program include, (from left) Brian Loflin, CKWRI Wildlife Photography Program Founder and Instructor; Sandy Hurwitz, Bremner Trustee; Janell and Tio Kleburg, CKWRI Advisory Board members; Leslee Hurwitz and McKayla Donovan, Del Rio Veterinary Services; April Conkey, Assistant Professor, Department of Animal, Rangeland, and Wildlife Sciences; Clay Hilton, CKWRI Director of Veterinary Technology; David Hewitt, and Executive Director of Caesar Kleburg Wildlife Research Institute. Also attending the meeting were Scott Henke, Chair, Department of Animal, Rangeland, and Wildlife Sciences, and Shad Nelson – Dean, Dick and Mary Lewis Kleberg College of Agriculture, Natural Resources and Human Sciences.

Brackettville, Tex.- October 2, 2017

A new program for Wildlife/Biology majors at Texas A&M University-Kingsville (TAMUK) has been implemented by a generous donation from the Frederick J. Bremner Charitable Trust. The program includes a thirty-hour course of study in biological and wildlife photography, classroom and laboratory equipment and professional digital cameras and accessories for student use when enrolled. When fully established, this academic program will be the only one of its kind within a university setting in the United States.

Bremner Trustee Sandy Hurwitz said, “The trust was charged in finding a home for this donation in the center of a robust educational environment that can make a difference in habitat understanding and outdoor utilization. We believe that TAMUK is the perfect home for this program and we want to make TAMUK the unquestioned world leader in Wildlife Photography and Eco Tourism. As an educator, mentor and outdoorsman, Fred Bremner would be exceptionally thrilled with this new program.”

Dr. Fred Bremner, professor emeritus of psychology at San Antonio’s Trinity University, died June 30, 2016 at 80 years of age. A specialist in the relationship between the brain and behavior, Bremner joined the Trinity faculty in 1965 as an associate professor. Promoted to full professor in 1974, he served twice as chair of the Department of Psychology before retiring in 1999.

Dr. Bremner had a great love for horses and the outdoors and enjoyed teaching his students to ride, hunt, train bird dogs, and fish. He established the Frederick J Bremner Charitable Trust to continue his life’s work in promoting these passions.

Housed within the Caesar Kleburg Wildlife Research Institute at TAMUK, the new Wildlife Photography Program will provide students in the Bachelors, Masters and Doctorate programs an additional avenue to enhance their professional career through biological and wildlife photography. The purpose of the grant is to address the need to educate current and future students at the university level to serve the fast-growing needs of the millions of people in Texas and globally who are traveling to enjoy and photograph wildlife and nature.

The students will learn to make our public parks, private ranches, urban greenbelts, wildlife preserves and other wild places accessible and productive for wildlife photographers while preserving and enhancing the environment of the open spaces that the increasing number of ecotourists and photographers are utilizing. Every one of us that goes out into the field to photograph birds and wildlife clearly understands the need for more and better venues to enjoy our passion. The ultimate goal is to promote the Conservation and enjoyment of our Natural Environment through photography and ecotourism.

TAMUK is one of the most active and respected research universities in the world in the discipline of Wildlife Science. As a tool for research in the natural sciences, Digital photography is a tool on the cutting edge in providing new methods and practices in measurement, analysis and integrity in publication. As a tool in ecology and the environment, digital photography is very effective in attracting more people to the outdoors to better understand and appreciate our wild places. Wildlife photography also stimulates eco-business and nature tourism on a large scale beyond the scope of biological science.

These programs in wildlife photography and ecotourism will produce TAMUK graduates that will fill thousands of entirely new, well-compensated, high-quality professional jobs in rural Texas, and rural America that are not exportable to China, India or downtown Dallas.

 

For more information, please contact:

Dr. Sandy Hurwitz, Trustee, or                      Brian K. Loflin,

Phone: 512-751-8128                                     512-743-7009

Email: ausvetdiag@aol.com                          bkloflin@austin.rr.com

 

Multiple Flash Hummingbird Photography

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Capturing the inflight antics of hummingbirds, like this Black-chinned female,  poses a number of challenges. We have to think about getting them where we want them to be, to be in focus, to have a good exposure, and to be sharp with wing feathers rendered in fine detail.

With today’s digital cameras, automatic technology makes some of this possible. But to get truly refined in-flight images of these little jewels, requires a bit more than camera and high shutter speeds alone. So multiple off-camera, electronic flashes is the only way to go.

To get the flying hummer where we want it, requires placing a feeder with one feeding port in the shade. Shade is important because we need the high speed capability of the off-camera flashes to work for us to stop the motion and wing beat of the hummers. If the set is placed in the sun, most flashes don’t have the power at high speed to compete with the sun for proper exposure.

A diagram of my most frequent set-up is below:

Hummingbird Photo Set-up

Specifications include: 

CAMERA:

    Medium Telephoto Lens 70-200 mm

    Manual Shooting Mode

    Manual Focus – Focus on feeder tube-

    ISO 800–    (Adjust to achieve good shade exposure)

    Shutter speed 1/250 sec   (Or maximum flash sync speed for your camera)

    Aperture F11-   (Depending on adequate exposure in the shade)

FLASHES:

    Three:    2 on Bird –about 2 feet in front of bird

                    1 on Background (Optional) — about 3 feet from background

    Set at 45 degrees to bird

    Zoom at 35mm

    Flash Power- Manual 1/64 (Flash duration: 1/35,000 sec)

    Trigger: Wired, Radio or Ettl / iTTl

BACKGROUND:

    Out-of-focus photo of vegetation printed on matte paper about 30×40 inches

    Mounted print on foam core board

    Positioned on easel or stand about 3 feet behind bird (must remain in the shade)

ADJUST EXPOSURE:

    Tweak flash-to-subject distance (preferred) or

    Flash power in Manual Mode. (This changes flash duration)

Here is a photo of the actual set-up:

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The real key to this method is to let the electronic flash do the work for you. They are designed to produce crisp, daylight-white light, and at a very fast flash duration. Today’s Speedlights can produce a flash duration as short as 1/40,000 second.

But that speed is not to be achieved at full power. That full-power flash duration may be as long as 1/900 second, much longer. The short flash duration therefore, comes at a trade-off of output light intensity (or exposure, if you wish). Therefore we must be in the shade to overpower the sun. Two flashes on the bird provides additional exposure for increased apertures and better Depth of Field. Place the flashes on stands and synchronize them with the camera using cables, radios or IR triggers or the flash eTTL / iTTl technology. The flash sync does not need to be TTL as everything is in manual mode. The light intensity at the bird may be controlled by simply changing the flash-to-subject distance.

Once the feeder is set up and hummingbirds are using it frequently, it’s time to bring in the other equipment, including camera, flashes on their stands, and the background. It may take a few minutes for the birds to become settled down with all this around, but my experience has showed it is not very long.

When feeder, camera and background are in place, the camera needs to be focused on the feeder port in manual focus mode. The aperture will provide sufficient Depth of Field to assure the bird is sharply focused. As things are moving around, especially in a breeze, auto-focus tends to continuously hunt for a target. The picture you are trying to achieve, depending on lens focal length is like the one below. As the hummer sips, it will back away and then return to the feeder. When it backs away is the opportune moment to shoot.

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Finally, the last thing to do is process the image. I shoot in RAW, so I can achieve excellent white balance and tone values in blacks, whites, shadows, highlights and mid-tones. Adobe Camera Raw is the perfect solution for the processing. Other software packages are available including, Lightroom, and On1. After processing, a final crop will yield excellent compositions.

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Later, as your success rate increases, the set may be fine-tuned by the addition of a couple of strategically-placed flowers and greenery to hide the feeder and to provide a framing device for the composition. In addition, the hummers may enjoy actually feeding from several species of tubular flowers with a bit of sugar-water mix in the flower throats. Watch the vegetation the hummers actually use and select some blossoms and greenery for a natural set-up. Then get your finger on the trigger and enjoy!

Copyright © 2017 Brian Loflin. All rights reserved.

 

 

 

 

 

 

Fall photography workshops approaching

Four photography workshops are approaching fast. Each have just a few spots available.

For more information and to reserve your spot before they are gone, please visit the website at http://www.thenatureconnection.com/workshopschedule.html  .

2017 Workshop PromoB

Copyright © 2017 Brian Loflin. All rights reserved.

Workshop Report: Macro Photography Intensive

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Seven participants joined together in September at Mo Ranch for the three day macro photography workshop including in the macro lab (From left) Kelly Sile, Richard Bennett, Glenn Rudd, Gary Eastes, Diane Young, Tracy Curran and Dan Tonnison. Nikon D800, LAOWA 14mm F 4.0 Wide Angle Macro Lens.

 

The historic, 500 acre Mo Ranch at Hunt, Texas, was the site for a three-day intensive macro photography workshop geared to shooting in a macro studio/lab and in field settings. The workshop was located in a beautiful setting on the North Fork of the Guadalupe River  in the heart of the Texas Hill Country and centered in diverse habitats including aquatic, riparian areas, grasslands, oak-juniper woodlands, and limestone hills.

Award-winning naturalist and photographer Brian Loflin led the macro  workshop packed with over 20 hours of hands-on instruction and guided shooting where participants grew in their photographic abilities with new found skills, techniques and proficiency.

The intermediate/advanced level workshop featured hands-on learning and demonstrations with native flora and fauna of the area and covered many subjects including:

• Equipment for getting close   

• Perfecting Exposure

• Tools to make macro work easier

• Grip and support equipment

• Backgrounds • Wide Angle Close-Ups

• Lighting with Flash • High Speed Flash

• Multiple Flash • High Key and White Box

• Tank Photos • Macro Panorama

• Focus Stacking / Extreme Depth of Field

• Extreme Macro • How big is it? (Mensuration)

Everyone worked hard through the workshop to capture stunning, highly detailed images of tiny subjects difficult to observe with the unaided eye. Everyone brought home images to brag about. Here are a few examples of that work:

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Richard Bennett- Stick insect, above, and grass seed head (focus stacked), below.

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Glenn Rudd, Red Ant, above and Mayfly, below.

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Diane Young- Bark lice (Psocoptera) above and below.

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Dan Tonisson- Cactus stem, above (focus stacked), and Sunflower, below.

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The next Intensive Macro Photography Workshop is scheduled for
September 7-10, 2017.

Copyright © 2016 Brian Loflin. All rights reserved. Participant images copyright by the maker.

White Table for Shadowless Lighting

A portable table for high-key photography in the field.

Many times we encounter great photographic opportunities in the field and can accomplish making some superb images of the subject in its habitat. (The mating stink bugs, below) Often however, it would be nice to capture images with greater clarity by the eliminating of ugly or distracting elements and improve the subject view by removing all the background.

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I am often told by many that you can do all this in Photoshop or other post processing software. (Don’t worry, fix it in Photoshop.) While I know that to be true, why spend a lot of time in front of the computer when we can manage the technique in the field and in the camera?

 So, my suggestion is to use a translucent white acrylic plastic background sheet and create near shadowless, high-key lighting by using an electronic flash as backlight. Similar to the White Box technique, (See: Create shadowless macro backgrounds) this has been a common studio practice for many years. Now recreating this technique in the field sheds a new light on our subjects. (Pardon the pun.) Enter the White Table.

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This simple tool is an open framework created of PVC plumbing pipe. My dimensions are simple, 12 inches on each side. And with the addition of a 12 inch square white acrylic plastic top, the table is complete. I do not cement the PVC joints so the legs readily come apart for ease of transport.

In use, above, the unit rests on the ground. A back light flash is positioned to fire upward through the plastic top to provide a blown-out background. A second flash on, or near, camera provides front light for the subject and the trigger for the back light flash.

Here is an example of the same mating stink bugs carefully moved to the White Table. This process provides a completely different view of the insects without background distractions. The photo is clean and this technique allows lighting for maximum detail.

High Key-MedREZ-1A simple twist to this technique is to switch the white acrylic for a black sheet of the same material. This will allow the production of some images with nice, contrasting black backgrounds and interesting reflections. This works exceptionally well with hairy subjects like the tarantula, (below).

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Copyright © 2016 Brian Loflin. All rights reserved.