Sounds simple, right? Unfortunately, the availability of low priced memory cards at one's fingertips and explosive shutter speeds can lead to rapid-firing of photos by loads of photographers. The concept is this - the more image captures I make, the higher chance there is that I come back with a prize winner. And this may ring true for some, but not for me.

I tend to subscribe to the school of thought that it's important to take a little time to set up a shot. Now, when I'm talking about this process, I'm mostly referring to shooting nature photography, since setting up for a portrait involves thinking through things like off camera lighting. But, when I'm in the field shooting nature, I spend a lot more time with my camera at my side just looking and envisioning shots than I do hammering away at my shutter. I take the time to frame out a shot and think through what I want out of it. Now, when I settle on a shot I like, I do experiment with bracketing, ISOs and depth of field. In other words, I don't limit myself to one or two exposures. But, at the end of the day, I generally come back with a series of "scenes" that I've chosen instead of thousands of disparate images.

One of the best ideas I've heard was from a photography professor who, for an assignment, challenged his class to go out and shoot, but only take 5 photos. This forced his students to be judicious with each capture - making each one count. And there are other ways to encourage constraint, including only venturing out with a small memory card. Personally, I think anything that forces you to stop and think is worthwhile.

Anyhow, that's my preferred method. Your mileage may vary.

A regular blog I frequent, This Week in Photography, has a recent post that has some really great advice. In the post, titled "Improve Your Images", Scott Bourne relays that a colleague he used to know (and who critiques photos for a living) once told him to study 10,000 photos before he came back to her.

This is a mantra I subscribe to as well. I try to study as many photos as I can, mostly online at sites like photo.net and fredmiranda.com. I take time to look for the little things I like and dislike about each image. As Scott mentions, the more you can learn and apply to your photography, the more improvement you will see over time.

And really the take home is this - you can never stop learning - regardless how many years you've been shooting.

I'm very pleased to have recently added two new categories - surfing and concerts - to my photo gallery. They're both topics that I had a lot of fun shooting. They also tend to be two of the harder topics to shoot - especially concert photos.

The surfing shots are from Honolua Bay on the island of Maui and more recently Cisco Beach on the island of Nantucket. I must admit, I could watch surfing all day long, even if I didn't have a camera in hand. It's not just the mixture of grace and action, but the culture that surrounds the sport. And let's face it - any day on the beach is a good day. From here forward, I'll be looking to shoot this topic every chance I get.

The concert photos are from a fantastic benefit held each year in upstate New York called Rock for the River. It's held by a non-profit group called Save the River run by a good friend Jen Caddick. Each year, Jay Nash invites friends (mostly) from the LA area to fly over to Clayton, NY to stay at his parents' B&B, hang out, play some music and have a few cocktails. In addition to being incredibly talented, the artists are all very accessible and down to earth. They include artist such as Joe Purdy, Garrison Star, Meiko, Amber Rubarth and others. I hope to make this show a regular event on my calendar.

I'd love to continue to shoot both of these topics down the road. If anyone knows of any opportunities, let me know!

My previous entry focused on the practice of taking time to slow down and observe the little things that make this world an amazing place. A recent article in the Washington Post further illustrates this basic point.

Writers from the Post asked world class musician Joshua Bell to set up outside a Metro stop in DC and play music, much as any street performer, or busker, would. They wanted to find out if commuters on their way to work would stop to listen to or even recognize the difference between an average street performer and a professional musician, who by the way was playing a 3.5 million dollar violin. He set up at a station near the Capitol building at nearly 8 a.m. (in the middle of rush hour) on a Friday morning and began playing extremely technical pieces, as commuters exited the Metro stop.

So what happened? As you might guess, nearly everyone who passed by didn't even acknowledge that he was even there. A few people donated money in passing, one or two stopped for a second and only one recognized him as the same musician that she had paid good money to see perform a few nights previous. Most hurried by, completely oblivious to his performance.

Surprised? Not me. What does this say about the perception of the average commuter? Hard to say, but it does point out that we're typically so focused on a task or destination, that we don't take time to notice and appreciate our surroundings. Would there have been a different result if the experiment was tried in a different setting, say, in a park or plaza? Most likely. Context is very important.

However, what it does underscore to me is that we need to learn to observe. As I mentioned in my previous post, it's a vital skill in photography - and one of the reasons I became involved in shooting photos in the first place. It's as important while in the concrete jungle as it is out in nature.

To read the article in its entirety, visit "Pearls Before Breakfast" on the Washington Post website.

I came across a quote recently in a photography book I'm reading that really beautifully captures one of the reasons I began photography in the first place. It was by Dorothea Lange, one of America's seminal documentary photographers. It reads:

This benefit of seeing...
can come only if you pause a while
extricate yourself from the maddening mob of quick impressions ceaselessly
battering our lives,
and look thoughtfully at a quiet image...
the viewer must be willing to pause, look again, to meditate.

I was just down in Chincoteague shooting at the National Wildlife Refuge several weekends back. As I was driving around the wildlife loop in the late afternoon, photographing several of the countless migratory waterfowl that Chincoteague is known for, I stopped at one of the pulloffs to observe two northern pintail ducks feeding in the marsh. I decided to take a few extra moments to sit quietly and take in my surroundings instead of moving on. And I was aptly rewarded for a little patience - as I was able to observe and get a nice shot of a common snipe foraging for food - which I absolutely wouldn't have even seen if I had hurried down the road in search of the next photo opportunity.

To me, the power of photography comes with this ability to slow down and become awakened to the little nuiances of our surroundings. It's endlessly amazing how much you find out that you missed when you simply take the time to pause and observe. It's certainly one of the reasons I get away from the "maddening mob of quick impressions ceaselessly battering our lives" as Lange so eloquently describes it, and head out to the marshes and creeks of the Chesapeake. It allows me to unwind and clear my head.

As a fellow photographer put it, it's the best therapy one can get.

Two of the most commonly photographed subjects are sunrises and sunsets. And in the Bay region, there's no shortage of spectacular occurances of each. Those that wake up early enough to see the sun rise in Bay country are more often than not rewarded for their sacrifice, whether you're a photographer or not. Unfortunately, sunrise and sunset photos are one of the most poorly photographed subjects.

I typically set up for a series of sunrise shots well over an hour prior to the sun actually peeking over the horizon. It's the quiet moments leading up to sunrise that provide the best opportunities for getting stunning photos. The sky can dramatically change from minute to minute. Yet, it never fails to amaze me when I'm joined by a fellow photog who either waits for the sun to appear before shooting photos or shows up mere mintes before sunrise to begin setting up. The take home message here: get there early because the best light is always well before sunrise.

Another huge mistake I see at dawn and dusk is not using a tripod. When I set up, I typically use both a tripod and a cable release to minimize the chance of camera movement. So, it was a bit surprising to see photographers show up and fire feverously away sans tripod. And to be honest, most professionals suggest using a tripod for every photo - although there are certainly occasions that prohibit their use (such as shooting via kayak). So, in your early morning haze, remember to drag along your trusty tripod.

Lastly, I often have people who view my images ask me if I used a filter or modified a particular photo to enhance the color. I typically don't do either. True, all photographers make adjustments to their photos in the digital darkroom (or actual darkroom) - and I'm no different. However, I don't make a habit of making dramatic changes in saturation to my images. Sunrises and sunsets in the region are simply that good. Most people would be surprised at the incredible hues that you might see any given morning. Same goes for sunsets.

So make a point to catch a sunrise or sunset soon. You won't regret it. Oh, and bring your tripod.

As you may have noticed from my 'About' section, I shoot frequently from the cockpit of my kayak. For the careful photographer, this can open up a wealth of photographic opportunities, especially those interested in getting great waterfowl shots. However, this method isn't without its own inherent dangers, not the least of which can be a new unwanted, soggy paperweight in the shape of camera.

When choosing the kayak I wanted to purchase, I went with the idea of shooting photography in mind. After a number of kayak 'demo days', I was able to narrow my choice down to the Perception Carolina. At 16 feet, it's long and sleek enough that I can get just about anywhere I want without much effort, while at the same time being wide enough to be pretty stable in a light chop. It also has a reasonably wide cockpit mouth, allowing me to sit a Pelican case between my legs, where I can slip my camera out and shoot when I feel compelled.

For protection of my camera, I ended up buying the 1400 Pelican case, which neatly fits my camera with a 70-300 mm. lens attached (once you pull out enough foam blocks). With this case, my camera is protected from shock, as well as being watertight. I also utilize a dry bag to place the Pelican case into when I'm traveling longer distances or if the Bay chop picks up.

One additional inexpensive item that I highly suggest is a paddle leash. I learned this one the hard way at first, when I whipped out my camera and started snapping away, only to find my paddle about 20 yards away. With the leash, a can sit the paddle down and focus on capturing images (and not tipping over) and the paddle will be right there when I want to move on.

Now, I'll readily admit that my system isn't perfect. In fact, others will point out that moisture is the enemy, especially salt water. And this is absolutely true. On the water, it's nearly impossible to shelter a camera from salt water and the detrimental effects it has on electronics. This is especially true for me as I'm generally out shooting in the salty marshes and creeks of the Chesapeake Bay.

The many dangers of shooting via kayak are something each photographer will have to weigh out on their own, but, to me, the benefits of shooting via kayak outweigh these drawbacks. The benefits include:

• The ability to slowly approach wildlife (responsibly of course) with little or no sound. Wildlife tends to view you as part of the natural landscape because you're on their level. Because of this, I've been able to observe and photograph all different types of wading birds and waterfowl that I most likely wouldn't have from the shore.
• Gaining the perspective of the wildlife. Because of the low stature of kayaks, particularly those with a cockpit, you're able to take photos from the perspective of the animal you're shooting. This makes for more natural-looking shots, particularly of waterfowl.
• The tranquility of being on a quiet river or creek. Of course, you don't need to take photos to get this. I've been on Bay creeks where the water is literally boiling around me with fish feeding at the surface. Simply amazing.

So, that's my system of shooting via kayak. As with all things, your mileage may vary. Happy paddling! Down the road, I'll focus on some more experiences I've encountered while paddling the Chesapeake.

There are numerous technical issues that run through a photographer's head while capturing an image - terms like aperture, reciprocity, shutter speed, depth of field, bracketing - that are vital elements of "getting the shot" so to speak. They're concepts that one can and should learn over time if you're interested in creating quality photographs. In fact, they should become second-nature after a period of time.

For those that transition from the point-and-shoot variety of cameras to those with greater control over manual settings (such as those found in most digital SLR models), this learning process will in many ways take you back to square one. And for a bit of time, your images may suffer as you focus more on getting the technical issues correct and focus less on perhaps the most important issue - composition.

Composition is a combination of a number of "rules" such as the rule of thirds, framing, lines and the one rule most commonly violated by nearly every amateur photographer - simplicity. Everyone has heard the phrase "Keep it simple stupid" and this applies to photographic composition as well. Maintaining simplicity in your composition - both the in your subject matter as well as the background - will nearly always guarantee better photos.

However, in the complex world we live in, maintaining simplicity in your composition remains a true challenge. It seems like everywhere you turn, you're confronted with a landscape that is made up of lines and shapes and angles and to put it plainly, stuff. This is especially evident in the cityscape - with telephone poles and cars and houses and buildings and more. Frankly, it's one of the reasons I head out to the marshes and wetlands of the Chesapeake Bay where life is still complex (in a biological sense), but less visually cluttered. Not only does it give me a sense of peace I can't find in the city, but it provide a better setting for capturing compelling, yet simpistic photos.

I do shoot photos frequently in Annapolis, Maryland, a very photogenic town with beautiful old streets and buildings, and sailboats everywhere you turn. One would think it would be an easy place to get great shots - and it is - but it really takes a bit of work. Being able to maintain simplicity in the photos is truly a challenge with hundreds of sailboat masts full of rigging lines. I know, poor me, right? But, my point is simple - reduce the clutter in your photos. Pick a subject and find ways to isolate it, both in the foreground and with the background.

There are many of us that are living in the digital photography world at this point. I haven't seen any statistics of late about the percentage of photographers still shooting with film, however, I know it's rapidly decreasing.

With the digital format comes a new set of challenges and techniques that every photographer must learn and eventually master - and a new set of tools to use such as the LCD screen on the back of nearly every digital camera. However, understanding the basics of light and exposure are still vital - and overexposing photos is as much an issue now as before (and maybe more so with digital imaging according to some articles I've read). There's nothing more frustrating than capturing a compelling natural scene, then downloading your images only to find that you've overexposed the photos. And typically, no amount of tinkering in Photoshop will fully recover an overblown exposure.

So, how do you avoid this issue? It's awful tempting to just take a peek at the thumbnail on the LCD screen and think that you're hitting the mark with your exposure. However, most digital photography experts advise against this practice - as it can be less than dependable.

The best trick of the trade when it comes to getting great exposures is utilizing the image histogram that almost every digital SLR model has built in. If you're not using this handy tool to get great exposures, I would suggest consulting your manual and finding how to find it and turn it on.

This tool is essentially a graph (you can view on your LCD screen) that shows how light is distributed in each of the photos you take. The left side of the graph shows the shadows while the right side shows the highlights. It allows you to determine whether you've overexposed the image and need to adjust a few stops or if you've underexposed the image and need to allow a longer exposure or larger aperture. Of course, the histogram for each camera model / brand may differ somewhat - so you'll have to learn what works for your situation.

Once you get used to utilizing the histogram, I think you'll find that you're spending less time making adjustments in your digital workflow process. Also, I think you'll find that you develop a feel for exposure over time to the point at which you don't need to check the histogram for every shot - but only the most technical of shots. And as always, there are a number of great articles on this topic where you can learn more and find more tips.

One of the most important parts of the photographic process is digital workflow. This process can mean many things to many people, depending on what platform you work on and what software you have installed. But to most, it's the process of getting images from camera to computer to print. Typically, it can include from one to several software applications.

So, why is this such an important process? Having a smooth workflow has become increasingly important as memory cards increase in storage size - allowing photographers to return from the field with literally hundreds (or thousands in some cases) of photos. It's one of the dirty little secrets of digital photography. For every hour of a photo shoot, you have about the same amount of time sitting at a computer in the office wading through shots, converting RAW files and making adjustments.

One of the most important tips a fellow photographer passed along is that every digital photographer needs to condition themselves to throw out images that don't meet expectations. And by not meeting expectations, I mean slightly blurry, overexposed or poorly composed images. If photographers don't learn to be fastidious, they'll quickly find themselves with hard drives full of marginal photos.

Another component of digital workflow is a solid working knowledge of digital imaging software such as Adobe Photoshop or their new software Aperture - but that's a subject for another day. Until that point, there are a number of great resources on digital workflow to read. Find a method that works for you!