Why and How: Mastering the Rhythm in Nature Photography

Is your passion for nature photography? Underwater, terrestrial, animal or landscape?

Have you ever thought about incorporating rhythm into your photographs? Rhythm is a creative technique I use to create my art prints. I use it to express emotions or convey messages in my collections.

In this article, I suggest that you focus on better understanding the rhythm to strengthen your images and create interesting photos.

This photograph of sand dunes in California's Death Valley is an example of rhythm in a photograph.

Why: Mastering the Photographic Rhythm?

In a nature photograph, the rhythm is an essential element.

By combining repetitions and pauses in the construction of image and composition, you will create a rhythm that attracts viewers.

I have learned that rhythm is an amazing way to build photos that have long-lasting impact.

It is not easy to create rhythmic photographs. You must be very resourceful and efficient to produce interesting results.

Definition of Rhythm

In photography, the rate can be defined by the order and the balance of work in proportion to the arrangement of components.

A simplified definition of rhythm consists in defining it as a regular and dynamic succession of photographic elements in nature.

The rhythm in photography strongly structures an image. It gives the image dynamic strength. Often the rhythm of a photo generates a movement towards an area that is not in the frame.

The rhythm may step a bit beyond the frame towards the viewer, who creates the non-visible components of the photo by piecing them together in his mind.

How to Use Photographic Rhythm

You may think like many photographers that architectural photography is the most creative path to incorporate rhythm. Indeed, human constructions such as buildings and walls lend tempo to a photo. Human constructions are often well organized, straight, and repetitive, creating a natural rhythm.

You have certainly noticed that in nature, it is more difficult to find rhythms because nothing is precisely right. The organic shapes are more random and elusive.

I believe that it takes great ingenuity to find rhythms in nature. Desert sand dunes are perfect examples of rhythmic photographs. If you choose a good point of view, you can capture order with beautiful proportions.

The surface of water waves also provides rhythms. Waves or wavelets are well-ordered repetitions. They harmoniously subdivide a composition.

The trees of a forest or a wood also constitute a very strong rhythm if they are of the same height or the same size. When the trunks are photographed, they strongly pull attention towards the center.

Some Examples of Photographs With Rhythm

This photograph of the Grand Canyon in Arizona is an example of a photograph with rhythm.

Black and white photograph of Zabriskie Point in the Valley of Death to illustrate the photographic rhythm.

Do Not Confuse Rhythm and Repetition

Many photographers confuse rhythm with graphic compositions based on pattern repetition. Although the use of the photographic pattern technique is a form of rhythm, it is only a subset of a more general concept.

Repetition is a graphic technique. Photographic rhythm is a visual approach that allows viewers to see a photograph differently.

The Qualities of Rhythm

If you want to create photographs with rhythms, remember to always order them. This makes the reading much easier because it is predictable.

Rhythm with a regular interval is pleasant to read, as its decryption is very easy.

Rhythm creates a pleasant sensation in the eyes of a viewer.

Photographic rhythm is viewed as a musical tempo. It is a repetition of objects within a scene.

Colors transmit rhythm. The eyes rest on one color after another. While some viewers may focus on one spot in the image, others may study the entire image.

Horizontal and vertical lines can produce rhythm by suggesting movement.

Shapes, textures, and graphics can create rhythm.

Remember that rhythm represents movement in the viewers’ eyes. The viewer analyzes the arrangement of the photographic elements in the scene. The predictability of the rhythm is achieved when the elements are well arranged in the composition.

Curves are the geometric shapes that have the greatest impact on rhythm. They often evoke a feeling of grace, beauty, and flexibility.

Rhythms flow in progressive stages with a gradual increase in size. The best example is the concentric circles around an object when it strikes the surface of the water.

Progressive rhythm corresponds to a constant change in the repeating pattern. The size may expand or decrease.

Rhythm alternation is created by the repetition of two or more elements that are used interchangeably.

The Defect of the Photographic Rhythm

Like musical rhythm, photographic rhythm can become boring due to the monotony it generates.

Weariness can occur when repetition is predictable. The image no longer surprises, it lacks spontaneity. The dynamism of photography disappears in favor of a rigorous and analytical reading.

Reason is then replaced by sedation.

One of the ways to provoke interest again is to interrupt the rhythm somewhere in the picture. The exact location and method are up to you to decide.

Another way to prevent boredom is to introduce the contrast of highs and lows. This alternation will cause the viewer an interest because it recreates dynamism.

Finally

Photographic rhythm is a captivating way to strengthen the reading of your nature photographs.

To successfully incorporate rhythm, you must use your imagination and your experienced eye to spot and capture natural rhythms in our environment.

Rhythm is certainly one of the strongest creative ways to draw a viewer's attention. Rhythm should be used excessively but strategically for it to be effective.

Why and How: Photographing the Bugle of Deer in Black and White

You may have just finished a photo project dedicated to deer slab. This is a highly photographed autumn event for many European wildlife photographers.

Have you tried to create a series of black and white deer photographs?

In this article, I will give you reasons for exploring this artistic creative technique.

A photograph in black and white of a red deer stag during the bugle in France.

Black and White Is Well Adapted to the Bugle of Deer

Like many wildlife photographers, you may think that the bugle of deer must be photographed in a naturalistic way. Indeed, it is an animal behavior that takes place when the foliage is colored in warm tones.

You want to show stag deer in colorful decorations that serve as a showcase. It is quite commendable. I can perfectly understand this reasoning.

It is tempting to want to create behavioral illustrative photographs to illuminate this extraordinary event.

However, hundreds of thousands of color photographs have already been made. Why try to redo what has already been done?

Why not try black and white? Why not step out of your comfort zone and try a new photographic approach?

Indeed, the advantages of black and white photography are numerous:

• It allows you to immediately focus viewers’ interests to the subject of the scene.
• Black and white allows you to deliver messages in a direct manner. Your viewer is not distracted by the mesmerizing effects of color, rather he is immediately drawn to your creative technique of black and white.
• Black and white allows you to return to the essential values of photography. You must manage your contrast, shapes, and textures. You must pay close attention to details.
• Black and white is timeless. Color photographs are more subject to modern trends. When we look at color photos, we are always able to locate the subject and grasp the purpose after spending time studying details. This is not always the case with the black and white photo.

From this list of advantages, you can see that the bugle of the stag deer is shown in black and white.

The Advantages of Photographing the Bugle of Deer in Black and White

Besides its pure and creative technique, photographing in black and white can reveal attitudes and behaviors of the stag deer that might be overlooked if the same image was shot in color. When black and white is used, details and expressions are more noticeable.

• A stag deer has its winter coat, which is darker and thicker. In the black and white photographs, the textures are silkier.
• The antlers are dry unlike the birth fawns where the woods are velvet. In black and white, the antlers are textured and detailed.
• On some antlers, the white tips add contrast to the photo. The form of the stag deer is best suited for black and white.
• During the rut of the deer, you can watch the deer fight for power over a herd. These fights always take place in meadows, where the scenery is lighter than in the forest or the woods.
• It is possible to create more refined photographs by strongly highlighting the combatants. The fights are perfect for black and white.
• You can also photograph deer bugling. The image of the deer bellowing with tremendous force are images that have many connotations. If you have chosen your blind or if you have made a near approach, you can take close-up shots of this majestic scene.
  
  You may even have the chance to see the drip, which is a small hole under the eyes containing a gland that allows him to mark his territory during the rut.
  
  Likewise, hair on the throat is more developed at this time of the year. It is thickly distributed with a darker color. It is the part of the body that accentuates a powerful effect on the deer.
  
  In black and white, the body of the stag deer can be well highlighted.
• You can photograph stag deer surrounded by does. Usually, stags and doe do not mix. During the bugle, herds of animals are formed. Each stag tries to gather some hinds that he will cover. A group of stags and does is called a herd.
  
  In black and white, these scenes are interesting because you can intricately display the beauties of the coats. You can also accentuate the size of the stags compared to the does.

The Photo Gallery

• photograph bugle red deer stag in black and white amar guillen photographer 1
  
• photograph bugle red deer stag in black and white amar guillen photographer 2
  
• photograph bugle red deer stag in black and white amar guillen photographer 3
  
• photograph bugle red deer stag in black and white amar guillen photographer 4
  
• photograph bugle red deer stag in black and white amar guillen photographer 5
  
• photograph bugle red deer stag in black and white amar guillen photographer 6
  
• photograph bugle red deer stag in black and white amar guillen photographer 7
  
• photograph bugle red deer stag in black and white amar guillen photographer 8
  
• photograph bugle red deer stag in black and white amar guillen photographer 9
  
• photograph bugle red deer stag in black and white amar guillen photographer 10
  
• photograph bugle red deer stag in black and white amar guillen photographer 11
  
• photograph bugle red deer stag in black and white amar guillen photographer 12
  
• photograph bugle red deer stag in black and white amar guillen photographer 13
  
• photograph bugle red deer stag in black and white amar guillen photographer 14
  
• photograph bugle red deer stag in black and white amar guillen photographer 15
  
• photograph bugle red deer stag in black and white amar guillen photographer 16
  
• photograph bugle red deer stag in black and white amar guillen photographer 17
  
• photograph bugle red deer stag in black and white amar guillen photographer 18
  
• photograph bugle red deer stag in black and white amar guillen photographer 19
  
• photograph bugle red deer stag in black and white amar guillen photographer 20
  
• photograph bugle red deer stag in black and white amar guillen photographer 21
  
• photograph bugle red deer stag in black and white amar guillen photographer 22
  
• photograph bugle red deer stag in black and white amar guillen photographer 23
  
• photograph bugle red deer stag in black and white amar guillen photographer 24
  
• photograph bugle red deer stag in black and white amar guillen photographer 25
  
• photograph bugle red deer stag in black and white amar guillen photographer 26
  
• photograph bugle red deer stag in black and white amar guillen photographer 27
  
• photograph bugle red deer stag in black and white amar guillen photographer 28
  
• photograph bugle red deer stag in black and white amar guillen photographer 29
  
• photograph bugle red deer stag in black and white amar guillen photographer 30
  
• photograph bugle red deer stag in black and white amar guillen photographer 31
  
• photograph bugle red deer stag in black and white amar guillen photographer 32
  

• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 

Advantages to Photographing Stag Deer During the Bugle

Photographing stag deer during the bugle has several advantages:

• You can easily guide yourself through the nature whether it is in the meadows or the woods, listening for the sounds of the slab. Just listen to where the animals are. The slab is a very hoarse and powerful scream. You can hear it from hundreds of feet away.
  
  Usually, it is difficult to locate stag deer by ear. They are silent and calm animals. To find them, you must know the flow of their habits.
• If you do not hear stag bugling, you just need to spot fruit trees such as oaks and wild apple trees. The food is abundant, easy to find on the ground, and is more appetizing than the grass of the meadows. By locating these trees and setting up a suitable blind, you will soon have many chances to capture beautiful pictures.
• During the bugle of deer, you will be spotted less easily than during the other months of the year. Indeed, the master of the place is preoccupied with keeping his rivals at a good distance from the herd. He constantly chases potential suitors who would like to steal a doe. If you make an approach and you are in your blind, even if you make the mistake of making noise, the herd will remain in the same place. The deer will not worry about you.

How to Photograph the Bugle of the Deer in Black and White?

As I described in this article, there are three methods to photograph the bugle of the deer:

• Using a blind.
• Approaching by crawling on the ground.
• Walking.

To make interesting and creative black-and-white photos during the bugle, I recommend that you explore some rather unobstructed areas where there is less bushy foliage so that your images will emphasize the beauty and majesty of animals.

Avoid photographing in the undergrowth of forests because these places rarely produce clean images. Tree trunks or branches can become disruptive elements that may attract the attention of viewers away from the subject. Instead, choose simple and uncluttered scenes such as meadows or clearings. Try to isolate your animals. Your black and white photos will have more impact.

If you have never tried photographing with a morning blind, I recommend that you step out of your comfort zone and try using it. Before the day of shooting, explore your region and search for a path or clearing that is free from unwanted animal messes or uneven terrain. Prepare your blind with a tent. On the day of shooting, be prepared one hour before sunrise. Since you have spotted your corner before, you will have no problem moving in the dark. A group of stags or a herd may detect you, but they will not be able to see that you are human in the darkness.

Once you are positioned in your blind you must wait for the perfect moment, one which you will never forget. When the sun begins to rise, you may spot a herd or a stag. Wait a bit before shooting your first pictures. Take time to immerse yourself in the scene. I guarantee that it will be an extraordinary experience.

Finally

Step out of your comfort zone. Dare to paint with black and white in your canvas of photographing the bugle of the deer. You will be surprised by its effect on your creations. Remember to choose scenes that respect the spirit of black and white. Allow the power of your imagination to spark new ideas. Get off the beaten track. Embrace the technique of black and white.

Why and How: Defining the Qualities of a Good Photographer – Part 5

Photograph in black and white of a serval in Kenya.

Quality 28: "Listening to the World Around You"

If you think you are a good photographer, you have certainly discovered that you listen to the world around you as if you were an actor in a movie scene, or a figure captured in a photograph.

You may analyze each photographic element to decide if it is balanced with harmonious and unique compositions or if it repeats the works of others.

This quality of symphony with the outside world is, in my opinion, an essential quality of a professional photographer. It is often called "measuring the temperature" of the world around you.

Quality 29: "Knowing How to Judge Your Own Photos"

A good photographer understands the importance of analyzing and judging images.

I often meet photographers who strive to share their opinions on the photos of others. When I ask them about their own photographs, they are unable to complete a similar analysis.

Nevertheless, this is an essential quality. You must be able to analyze an image immediately after it was taken. You should be able to analyze the composition, the framing, and the impact of the photo on the camera screen and on the computer.

In performing a deep, objective, and uncompromising analysis, you will be able to improve your vision and signature in your next photo session. You will have a more structured perspective when deciding which images to keep and which images to remove when formulating a series with a focused meaning.

By developing this quality, you will save a lot of time in the field. Indeed, you will be able to quickly choose and set up each photographic element in your scene so that it perfectly transmits your messages and emotions.

Quality 30: "Developing Your Sense of Observation"

A good photographer must have a keen sense of observation. Living in with empathy is certainly a necessity for any individual, but it is not enough for a photographer.

You must be able to observe everything that is happening around you so that you can truly seize the decisive moment that is so dearly mentioned by Cartier-Bresson.

This is commonly known as the “photographer's eye”.

The “photographer’s eye” is the ability to quickly analyze a scene and identify key photographic elements which intricately support the point of view, composition, and framing.

You may already have this innate ability, just like many other photographers. However, I am convinced that this photographer’s eye can be developed by anyone who has a desire for it, so long as they adhere to consistent work.

This is how some photographers can still create exceptional photos even if they use a medium-range camera.

Quality 31: "When Your Collections Do Not Meet the Desired Audience"

A good photographer succeeds in creating collections of photographs that have impact, meaning, and consistency.

However, like all human beings, the photographer is fallible. Sometimes you may create collections of photos that do not meet your desired audience.

These are constructive failures that are wonderful opportunities for growth. The best way to learn may be from examining a failure. To rise again, you should analyze the reasons, correct any mistakes, and rebound by beginning new collections.

To create a collection of photos, it might be interesting to approach a new photographic style. As this approach is certainly avant-garde, it might be difficult for a viewer to understand what has been created. Nevertheless, the collection may simply lack interest.

A good photographer never feels sorry for himself. He must keep moving to explore new ideas and venture further into new ways of expression through photography.

Quality 32: "Striving to Be Unconventional"

If you want to be a good photographer, you must be unconventional.

Stepping out of your comfort zone is not enough. Seeking inspiration in new directions is not enough.

New sources of inspiration do not equate with copying and creating what is fashionable.

To be unconventional, you must have solid photographic foundations and master your technique perfectly. Then you can create digressions, thus changing the rules and creating aesthetic images with a deeper meaning.

You must always think differently. You must escape conventions and habitual routine. You must not fall back onto what has already been done in photography.

Never be afraid to fall. Failure naturally follows when one initially explores new concepts.

Quality 33: "Relying on a Rigorous Methodology"

If you want to become a good photographer, you must adopt a rigorous methodology that can be used in the field or during the development of your images.

The methodology allows you to limit wasted time and unnecessary questions, allowing you to focus during critical moments.

The methodology allows you to define your photographic approach and to be guided by your creativity goals.

For example, in wildlife photography, it is essential to have a list of all your accessories for shooting on the field. In landscape photography, if you take long-exposure photographs, you may need an application or a chart to calculate the correct exposure speed based on your filter.

During our organized photo workshops, I usually repeat that the more methodical one is, the more creative one is.

Indeed, if your time is optimized, you are less likely to lose it. All your time spent will benefit your creativity.

Quality 34: "Enriching Yourself with Experiences"

To become a good photographer, you must enrich yourself with experiences. Experience allows you to easily adapt to new situations.

It is in accepting these new experiences, that you will enroll in a photographic and artistic creative process.

The acquisition of new experiences will allow you to anticipate events that may occur during the sessions of your photographic projects. By anticipating events, you can stay focused on the essentials without having to deal with unnecessary details.

Quality 35: "Grasping the Main Photographic Element"

A good photographer can identify the main photographic element of a scene. He must also understand that this element is not necessarily the subject of an artistic photograph.

Never forget that when you create an artistic photograph, your main subject is important, but you should focus on the emotions or messages you want to convey through it.

Quality 36: "Revealing Your True Photographic Identity"

A good photographer always reveals his or her true photographic identity.

Defining your photographic identity will allow you to say who you are, who you wish to be, and how you desire others to perceive you, regardless of whether they are photographers or not.

Your photographic identity will define how you see the world and how it sees you.

Defining your photographic identity allows you to list the artistic data that individualizes your artistic approach.

It is a bit like your administrative identity with your physical characteristics, your date, and your place of birth.

A photographic identity allows you to individualize yourself, to step out of the mass of photographers, to ensure both your singularity and your artistic individuality.

Finally

This exhaustive list of qualities that a good photographer must possess may seem long and difficult to grasp. Nevertheless, it works. You must simply devote some time to assimilating each of these qualities.

If I had to summarize in a few words what is most important, I would say this:

A good photographer has a photographic (and artistic) approach that is clearly and perfectly defined. He has a true photographic consciousness. He knows how to create a coherent and consistent collections of photographs that timelessly speaks the photographic language. He knows how to tell stories that will be remembered by his viewers.

Why and How: Defining or Becoming a Good Photographer – Part 4

Photograph in black and white of Caddo Lake in Texas.

Quality 22: "Understanding the Words Patience and Perseverance"

If you really want to become a good photographer, you must learn to be patient and to persevere.

If you want to create interesting photographs, you must know that it is very rare to capture them in your first session. In landscape photography, the lighting may cause you to wait a long time.

In wildlife photography, animal attitudes can create delays in production that may last for days, especially in Europe.

Both qualities are closely related. I believe that perseverance is the most difficult to acquire. I often come back to a scene 7 or 8 times to create the picture I dreamed. Even if I try to build it, it is likely that the light is missing.

Patience and perseverance are also important to understand, as they enable the photographer to capture the soul of a scene. To create a good photo, you must be in communion with all the elements surrounding you. You must immerse yourself in the atmosphere. If you stay neutral, you will never achieve the photos you want.

Quality 23: "Having Seen the Light"

Light is one of the three essential points I use to build photos with the ACANP method. It is necessary to create interesting photos; however, it is not enough.

Even if all the photographers discuss lighting, few can boast of having seen "The Light", that is, “light” with a big “L”.

If this has happened to you then you understand what I mean.

If this has not happened to you yet, you will see that everything will be different in your photographs when you have experienced this unique moment.

When we have seen “ The Light" we know exactly how to photograph. We know what is needed for the photos to be perfect.

"The Light" is an important moment in the life of a good photographer.

From this day, nothing is the same again. It is as if we have reached the nirvana of photography.

During my workshops, this is a subject that I do not mention because it is not imaginable or easily understood by those who have not experienced this moment of grace.

However, I have been lucky to see trainees come back with ecstatic looks. Seeing the looks on their faces, I understood what had happened. I did not ask them anything. I simply knew.

A few hours after we talked about it, they took a giant step.

Every single good photographer I have met has had the privilege of experiencing this intense moment. They saw "The Light". They now know what it looks like.

Quality 24: "Preventing Accidental Photos"

You are a good photographer when you do not wait until you are on the field to create your photos.

You must be mentally prepared before shooting and after development.

It is certain that some of your photos are taken with luck, in fact, luck is a necessary factor to create interesting photos. You must search for it.

Although luck is necessary, it should not control your photographic process. You must always know exactly what you are looking for when you wish create photos. If you do not know, once you are on the field, it will be too late. The beautiful lights will pass quickly. The extraordinary animal attitudes will disappear before you have realized how you wish to portray them.

On the field, you will face unforeseen difficult situations. Nothing ever happens as you planned. You will have to react as quickly as possible. By preparing correctly, you will avoid wasting time trying to find solutions to problems that have recently arisen. Preparation allows you to maintain efficiency.

Quality 25: "Understanding Your Equipment Perfectly"

You are a good photographer if you have perfectly mastered your photographic equipment.

Your camera should not be a secret to you. You must master all the settings and understand their impacts on your photographs. For example, you need to know the impact of aperture or speed on specific photos. You must know how to use the level and how to check if the area of sharpness has enough width.

If you are struggling with choosing your camera settings, you will waste time when you are finally in the field. The lights or the animal attitudes will have disappeared by the time you find a solution.

Simply knowing how your camera works is not enough to be successful. In landscape photography, knowing how to use a tripod, a remote trigger, and graduated filters is essential. In wildlife photography, mastering a gimbal head and using a cloth photo blind is essential.

Each photographic discipline has its own equipment. You must master the equipment before capturing your photos in the field.

You must always use equipment adjusted for your specific needs. For example, if you practice underwater photography, you should not need to use a 70-200mm lens. If you practice European wildlife photography, a 400mm lens is a necessity.

In conclusion, you must be well informed about the photo equipment. Do not hesitate to contact other photographers who have expertise. You will save a lot of time in learning from their mistakes.

Quality 26: "Technique Is Only the Means of Expression"

Knowing how to use your equipment and photographic techniques is necessary to create interesting photos.

Knowing and mastering the techniques of composition, framing, the theory of photographic elements, and the theory of masses is not enough.

You must master technique, but your creativity depends on yourself. Your imagination, definition of a clear artistic approach, curiosity, and desire to express yourself with photographic language are elements that will allow you to create interesting photos.

For years, while I animated nature photography workshops, I noticed that many photographers believed that an expensive and good quality camera was the only essential item needed to create photos. They thought that it was enough to look through the viewfinder, and that the camera would do the work for them. This was a terrible mistake. A camera is only hardware. Without a brain to direct it, nothing extraordinary will happen.

Quality 27: "Having a Photographic Consciousness "

To become a good photographer, you must develop a photographic consciousness. You must be able to relate to other photographers who may or may not have the same photographic activity as you.

You must be able to situate yourself in your own time and at your own pace.

You must be able to analyze your own experiences to improve your artistic approach.

Experience allows you to give meaning and value to your technique. It is for this reason that you must acquire patience and perseverance.

Quality 28: "Listening to the World Around You"