The Capitol Dome. Olympia's dome above the trees and the water.
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The Capitol Dome. Olympia's dome above the trees and the water.
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RAW gives you the room to recover what JPEG throws away. A blown sky or crushed shadow isn't lost, just waiting for the edit.
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Puget Sound Sunset, Panel 4 of 5. Panel 4 of 5 from the Puget Sound Sunset set.
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Cascade Peaks in Snow. Two snowbound summits standing over the tree line.
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Last Light at Cape Kiwanda. The sun going down the wet sand at low tide.
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Bixby Bridge, Panel 3 of 4. Panel 3 of 4 from the Bixby Bridge set.
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Haystack Rock in Fog. The monolith standing offshore through mist and branches.
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Through the Rock Window. The Wasatch Range across the salt flats, framed by the rock.
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McWay Falls, Wide. The whole cove, headland to headland.
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Warm tones advance, cool tones recede. Layer them in the same frame and depth builds itself, even when the land lies flat.
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Snowy Range. A white ridgeline over dark timber.
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Rainier Beyond the Firs. The mountain showing itself over the tops of the trees.
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Maryhill Stonehenge. The full scale concrete Stonehenge raised as a war memorial above the gorge.
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Mossy Cascade. A small fall stepping down through moss covered rock.
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Ten years ago, high ISO meant noise. Now it means you can shoot in the light you actually have. Go catch what's in front of you.
Coastal Cliffs, Panel 4 of 4. Panel 4 of 4 from the Coastal Cliffs set.
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Bison on Antelope Island. Two bison grazing the winter grass above the lake.
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Every shot you take leaves a trace. Camera, lens, settings, location, time. The metadata tells the whole story, whether anyone reads it or not.
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Wide shot captures the room alive. Close-up catches the moment someone becomes music. Both matter. Go shoot the whole story.
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The viewer's eye finds the eyes first. Everything else can fall away. Go shoot.
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