Blog

What initially started out as a simple passion for capturing the stunning moments in nature quickly grew into something much larger; something that had the potential for a positive impact on people’s lives. It's been a tremendous experience to learn that my work has become an inspiration for so many, serving to remind viewers of the absolute beauty that lies within our natural world.

At fundraising events, the BLM (Bureau of Land Management) Featured my work in slide shows highlighting the South Fork of the Snake River and the largest riparian cottonwood forest in the west. One of the most unique and diverse ecosystems in Idaho. These efforts resulted in over 33 million in donations.

This is a good example of the power of photographic art. History shows that artists were instrumental in developing an awareness that led to the preservation of national treasures like Yosemite, Teton, Glacier, and Yellowstone National Parks. Millions of acres in the USA, and globally, have been preserved following awareness campaigns that included fine art photography.

It goes to show how powerful a role fine art nature photography can have. Through showcasing the beauty of nature, a photographer can bring joy to others, raise awareness of conservation, and inspire a greater appreciation of the environment.

Fine art nature photography can also help people in their creative projects, or provide education on the wonders of the world around us.

Knowing what to photograph by Leland Howard

Knowing what to photograph is like the process involved in other mediums. How does a painter know what to paint or how does the musician know what to play? Mostly it’s what moves you. Photographically if you care about the subject, it will show in the work.

Of course conditions, weather, and assignment contracts play a big role. If I’m not under a contract obligation, then experience that allows for hopefully maximizing opportunities comes into play. However, explaining the requirements for knowing where and what to photograph might perpetuate the common myth that once in a location, the tool (camera) does the work.

Take for example your cold winter day with a sky full of stars and sparkling snow. What can the artist create that will do this justice? Remember how you felt looking at that scene. Did you wonder if it was possible to create something, a piece of art, which would make a viewer feel something similar?

An artist may never do nature justice, but we can find some gratification in the challenge. Occasionally an image will be created that at least can be described as worthy.

I’m never completely satisfied with an image. If I were, this could show a point of stagnation and one thing an artist must do is continue to grow. I can say I accomplish what is necessary, especially when under contract, but otherwise the goal is never so concrete that would allow me to say that I accomplish what I set out to do. There are too many variables. Sometimes I’m able to create something better than what I was visualizing for an area simply because of conditions like the quality of the light or the balance of a scene. Other times (far too many) the opposite is true.

Here is something to think about. Instead of calling it taking pictures, try calling it creating an image or painting with light. You’re not taking anything and all you are recording is light - all we see is light. Objects, color, and contrast become apparent because of how light reacts with the elements in an environment.

I don’t always know where to go but educated guesses are very helpful. Since I specialize in the wilderness, seasons play a role. Then simple things can also help like topo maps. By studying the terrain on a map, I can often tell what areas would have the most potential in different light conditions. Also, I will often travel to the same area many times over to learn it and get a feel for when conditions might be right.

Having said this I can tell you it is also fun to just hit the road and see what I find. Many times I don’t where I will end up. This is a good feeling, I guess it’s freedom. I can burn sometimes and have to stop because of exhaustion in a place that’s nothing to write home about but I live for the times I come upon a spectacular place. I’ve seen some amazing things in my life and very often they’re not in the most famous places.

Raw files are lifeless data. So they require some sort of processing to get an image similar to how the human eye perceives color, and shadow and highlights detail, clarity, etc. I prefer the word “processing” because it is like processing a negative and printing in an old-style darkroom. I do this processing via software. There are many software versions with a huge overlap in function. I use Hasselblad medium format sensors, so for the screen work, I begin with Phocus since they specifically designed it for these files. The rest of the workflow (screen and field) is image dependent, complex, and as intricate as learning to play a musical instrument, both in a technical and artistic sense. Naming the other software used for screen work in the workflow is kind of meaningless. Here is what is important; Field and screen work are not separate, very much like Ansel Adams’s zone system. It is an artistic workflow from field to screen to the ultimate piece that functions as one. This comparison is important for many reasons, including—regardless of the quality of camera systems today, the sensors are very limited compared to the human eye, and I frequently push the limits.

In landscape art, hopefully, an image has something to say about an environment or maybe it reflects an emotional reaction to a scene. Regardless, the sensor (or film) is the canvas and light is the brush.

The term for what I specialize in is referred to as fine art nature photography. When I’m asked how I got started doing this, I can’t pronounce momentous events, sudden inspirations, or a mentor experience. I’m not even sure when I first picked up a camera. For me, this experience has been more like a lifetime of learning with dedication and practice. Similar to the commitment required for becoming an accomplished musician, painter, sculptor, or professional in other chosen mediums.

Image of Leland Howard with Wisner 4x5 view camera. Even though a camera is just the tool used in this trade, the question most often asked is “what camera do you use”? So here goes, I’ve used a lot of different equipment over the years and one of my favorites was a Wisner 4x5 Technical Field. I lugged it around coupled with a wooden Reis tripod for about 15 years. When Hasselblad introduced their medium format D series, I made the switch but I care little if someone uses an 11x14 view camera or an iPhone, what’s important to me is the work. I just choose equipment to fit my style.

Capturing the grandeur of a large landscape scene can be one of the hardest challenges. Far too often the magnificence is lost when rendered on a small two-dimensional plane. A lifetime is spent in search of ideal conditions along with beautiful light that might create the illusion of a three-dimensional space. This clearing storm in Zion National Park of southern Utah was just such an opportunity. I refer to it sometimes as the attempt to do a landscape justice. When the conditions are right, everything has to be done correctly in what can be a brief period. Over the decades, I’ve missed far more opportunities than I’ve been successful at. It’s the nature of the game and the learning process.

Over the years I have visited hundreds of businesses large and small involved in about everything you could imagine. An unbelievable amount of corporate money is spent creating structures for people to conduct business or whatever. We expect humans to create, work, and function at their best in the interior environments of these buildings. What I find disturbing is how often so we pay little attention to creating a healthy, stimulating, and inspirational interior space.

Here is a simple yet often overlooked reality. Art influences us. Just about any industry that requires people will benefit if they pay attention to this basic principle. Investments in wisely chosen artwork can cause a much more productive, healthy, competitive, and spirited group of individuals. There may even be fewer sick days and people get along with each other better when surrounded by expressive and moving works of art. A large business might spend multi millions on a structure to house a workforce and then cover the walls with cheap and even faded images on poster paper under the guise of cost savings.

Believe it or not, I’ve seen this happen in hospitals where art could be of enormous benefit. It makes no sense. In the past, I have seen so many offices, work areas, etc. that are depressing and one could even describe them as painful to enter. When I require a service, I do what I can to avoid these places and I know others do the same. Imagine the effect it must have on employees who have to spend what could be a fairly large portion of their life in a place where what makes us human is denied.

What a difference a relatively small investment can make. It didn’t bother me to wait for help in my local cell phone provider’s building. There were at least a few nicely produced landscape works on the walls that I enjoyed looking at. It’s obvious that the marketing agents for this company decided on what they see as remote landscape art to promote their signal coverage. I kind of doubt they realized the other positive effects this display would produce. Some corporations have realized how important the arts are when designing an environment to house people. It seems to happen more often in larger population centers and resorts. There really isn’t a valid reason for this happening more in these areas, most organizations can realize the benefits regardless of location, regional culture, or attitudes.

Art is not something we live with; it’s something we can’t live without. Leland Howard

Captured on medium format film a few decades ago. There are more lights in the Snake River Valley of east Idaho now. Over time, as technologies developed, first allowing for home office drum scanning, then later adequately combining of images into panoramic. Film will always remain quite a struggle in comparison. Dust spotting alone is time-consuming and even larger film sizes like medium format still created a kind of noise and what I describe as color blobs. Although it takes more work, I can now minimize these problems satisfactorily more easily than say just five years ago.

Noise was less of a problem in 4x5 inch and larger film but factors like dust spotting regardless of prep could take a couple of hours per image. Some talk about several major aspects we lost in all the transitions, and I agree. Still, if I use a 4x5 field system, it’s more for nostalgia. The hand-crafted 4x5 Wisner Classic on a Reiss Tripod stays in my living room as a decorative piece of art.

I’m now able to communicate more effectively with wilderness hikers, and here is the important stuff learned just last week: First, hiking style categorization is necessary. For example, hiking off the trail is “type 2”. This will allow you to guess what type 1 and type 3 represent. Second, what was once called climbing mountains, which later morphed into bagging peaks, is now called “doing a peak.” So, when you encounter other hikers staring at their phones, and they say, “we’re gunna type 2 and do a peak,” you can now respond. An “oh nice, ya!” is good. This provides validation so everyone can move on with a “have a good one.” An expression like “awesome” is outdated and would seem fake. Don’t be a dinosaur like me and just hike and climb mountains.

I should also cover, depending on your perspective, another potential hazard. While type 1-ing, it is possible to stumble on a photo shoot in progress that some would consider; how should I say this? Less than reputable? I know, I know, I said, “some people.” Who am I to judge? Just continue your journey pretending you noticed nothing some would consider unusual, and offer a friendly smile and a hi. This works especially well if they smile and say a warm hi first. By the way, it appears in certain conditions; a backpacking puffy is sufficient for warmth despite having nothing on below. Gotta love new technology. I assume plenty of bug repellent was on hand.

People are far kinder while in a wilderness setting. Lots of smiling and compliments are the norm. It was surprising to receive some personal compliments in passing, like “I really like your mustache.” Anyway, have fun out there and enjoy the wild in the Sawtooth Wilderness of central Idaho.