Essential Composition: Balance

Essential Composition: Balance


Essential Composition: Balance


The concept of balance in composition is one most people can easily understand, even those who don’t consider themselves artists or photographers. After all, the idea of balance can be a lifestyle goal; balanced time, a balanced diet, and just trying to stay balanced and upright to keep from falling over are things to which we can relate. Balance is a universal concept.

In gestalt theory, the Law of Symmetry states that the human mind will constantly seek balance in all visual information it receives from the eyes via the optic nerve. It says that if something appears unbalanced, the viewer will waste valuable time trying to resolve the problem instead of focusing on the scene’s contents. Concerning photography and composition, photographic balance refers to “visual weight” within the image frame and how it’s arranged. The placement, size, and brightness values of all the visual elements will determine if the image feels in equilibrium or not. Photographic balance is harmonious. When an image is out of balance, it can give the viewer a negative or uncomfortable feeling or sensation.

There are two types of compositional balance used in photography, art, and design: formal and informal balance. Symmetry is a type of formal balance where two sides of a photo are mirror images of each other. Symmetry can refer to vertical balance – where the top and bottom are essentially the same – or as horizontal balance – where the left and right sides of the image are equal.


A reflection is one of the few instances where bisecting the photo through the center of the image frame is effective compositionally. Symmetry works when the photographer wants to communicate or project equality, equivalence, uniformity, or even fairness. There is little visual tension with this arrangement, and all the visual elements are harmonious.

With informal or asymmetrical balance, visual equilibrium is achieved by counterpoising two or more elements at opposite ends of the image frame. The arrangement can be horizontal, vertical, or diagonal. Image balance is achieved by strategically placing two or more of these strong visual elements and distributing them equally within the photograph. While formal balance creates symmetry, informal balance leads to an asymmetrical composition, yet it’s still balanced.


When positioning two powerful visual elements at opposite ends of the image frame, you give the image informal balance and trigger powerful visual tension and energy by moving the viewer’s eye back and forth between the two elements via a virtual diagonal line (see above). These elements could be two competing focal points with varying sizes and colors, as long as they are conspicuous. The result is an image that achieves photographic balance and harmony and is also dynamic. You can learn more about photographic balance and many other compositional concepts in my e-book, Creative Composition: Image Design Masterclass.

Namibia: 8 Stunning Locations Photographers Must Visit

Namibia: 8 Stunning Locations Photographers Must Visit

Bucket List

Namibia: 8 Stunning Locations Photographers Must Visit


Namibia Photography Hotspots

Simply put, Namibia is a photographer’s dream. It’s also a big, sparsely populated country so knowing where to go when you arrive can save you lots of time and money while optimizing your photography output. Namibia has the planet’s oldest desert, largest sand dunes, world-class wildlife viewing and many more attractions that you probably didn’t know about but should. If you have the opportunity to visit Namibia, here are 8 must-see locations that will make your photography trip a sure-fire success.

Etosha National Park

Etosha National Park in the north-central part of Namibia is renown for its amazing wildlife viewing and photography. It’s the most important wildlife sanctuary in Namibia and one of the largest savannah conservation areas in all of Africa. Elephants, zebras, black and white rhinoceros, lions, leopards, cheetahs, herds of springbok, giraffe, and wildebeest all call Etosha home in plentiful numbers.

The Park is at its prime during the dry months, which is approximately May through November, when the water holes draw the greatest concentration of animals, especially early and late in the day. The gates into and out of the Park are closed and locked at sunrise and sunset (to help thwart the pervasive wildlife poaching) so the holes nearest to the Okaukuejo, Namutoni, and Halali base camps are where you have the chance to work with the best light of the day.

This is one of the easiest wildlife parks to drive yourself, hopping waterhole to waterhole to find the best wildlife activity. You are not allowed to exit your vehicle at any time. Gates open at sunrise and close at sunset.


(Clockwise from Top Right) Giraffe silhouettes reflected in Okaukuejo water hole at sunset, Etosha National Park; zebras lining up for a late afternoon drink, Etosha National Park; a stately male lion in Etosha National Park; two elephants greet each other at the evening water hole, Etosha National Park; A parade of elephants in sunset light, Etosha National Park; a giraffe at sunset, Etosha National Park.  All Images © Richard Bernabe

Namib-Naukluft National Park

Namib-Naukluft is a large National Park that stretches across much of Namibia’s southern coast. Within its boundaries are the world’s oldest desert and largest sand dunes. Sossusvlei, an area in the southern Namib, is characterized by enormous red sand dunes – the largest in the world. The dune complex is often referred to as Sosusvlei, although the name specifically applies to a hard clay pan located in the center of this region as well as one particularly large dune.

Deadvlei is another clay pan near Sossusvlei with dozens of stark looking camel thorn trees entirely surrounded by giant red sand dunes. The early morning and late evening light is best for photography when the warm, low-angled sunlight intensifies the dunes’ bright orange and red hues.

Access to the Sosusvlei and Deadvlei area is via the Sesriem gate with a forty-mile drive to the dunes. The final 3 miles (which includes immediate access to both Sosusvlei and Deadvlei) are accessable with a 4WD vehicle with high clearance only. The gate at Sesriem opens at sunrise and closes at sunset.


(Top Left) Tree art at Deadvlei, Namib-Naukluft National Park. (Upper Right) The enormous dunes at sunset, Namib-Naukluft National Park. (Middle Left) A dunescape in Sossusvlei, Namib-Naukluft National Park. (Middle Middle) A lone acacia tree is dwarfed by the edge of a giant sand dune, Namib-Naukluft National Park. (Middle Right) Shadows are cast across the clay pan at Deadvlei, Namib-Naukluft National Park. (Bottom Left) An oryx crests the edge of a sand dune and into the light, Namib-Naukluft National Park. (Bottom Right) Tree art during intense dune light at Deadvlei, Namib-Naukluft National Park. All images © Richard Bernabe

Quiver Tree Forest and Giant’s Playground

Near the southern Namibia town of Keetmanshoop sits a unique forest of “quiver trees”, one of the most fascinating photography destinations in Namibia. These are not actually real trees, but rather several different species of Aloe, which are large enough to be referred to as “quiver trees” by the locals, since bushmen once used the branches to make quivers for their arrows.

The plant’s distinctive candelabra-like shape creates ideal silhouettes against a colorful sunrise or sunset sky. The forest is also the perfect locale for night photography with static starscapes, star trails, and streaking clouds through a moonlit sky.

The Giant’s Playground is only a few miles from the quiver tree forest (and contains a respectable number of quiver trees as well) but In the surroundings of the forest there is another site of geological interest (itself a tourist attraction), the Giant’s Playground, a vast pile of large dolerite rocks.

(Top Left) Symmetry represented in the Quiver Tree Forest near Keetmanshoop. (Above Right) he sunburst though the fork in a tree near sunset.(Bottom) The Milky Way hangs over the Quiver Tree Forest during a light painting night photography session, Keetmanshoop. All images © Richard Bernabe

Desert Horses at Aus

On the eastern edge of the Namib Desert near the town of Aus is a thriving population of feral desert horses, the only herd of feral horses in all of Africa. This group of about 90 -150 members has captured the imagination of Namibian tourists and photographers for years as they survive in some of the harshest conditions imaginable. Your best chance to see the horses is at the man made watering hole at Garub, early and late in the day.


(Above Left) Desert horses graze in a rare area of vegetation as the sun rises through the morning fog. (Above Right) A mare and foal in the barren desert landscape near Aus. All images © Richard Bernabe

Kolmanskop Ghost Town

Kolmanskop was once a bustling village built around a productive western Namibian diamond mine. Located just beyond the coastal city of Lüderitz, Kolmanshop is now a surreal ghost town, well preserved by the dry desert climate.

When diamond production ceased in the mid 1950s, the citizens of Kolmanskop abandoned the town and left the remaining structures to fend for themselves against the advancing desert sands. What’s left is well preserved today, if not partly overtaken by the desert in many places. The juxtaposition of the manmade and the visable forces of nature make Kolmanskop a favorite photography destination for visitors.


(Top Left) The well-preserved, colorful paint on the walls provides an interesting contrast with the overwhelming forces of nature that have overtaken the floor, Kolmanskop. (Top Right) Morning light streams through the doors of an abandoned hospital, Kolmanskop. (Bottom) A bright blue room housing an itinerant sand dune, Kolmanskop. All images © Richard Bernabe

Cape Cross Seal Reserve

Cape Cross Seal Reserve sits along the Southern Atlantic Ocean about 80 miles north of the coastal town of Swakopmund and just south of Namibia’s famed Skeleton Coast. What interests photographers the most is the fact that Cape Cross hosts the largest colony of cape fur seals in the world. Depending on the time of the year, more than 200,000 cape fur seals can be found congregating along the shores of Cape Cross to feed and fight for potential mates.

There is an elevated boardwalk that brings you literally face-to-face with many of the colony’s members. Althoguh your initial impulse might be to grab the longest telephoto lens you can find, there are creative compositional options at many different focal lengths, including a wide-angle perspective.


(Top Left) A backlit cape fur seal shows off its whiskers, Cape Cross Seal Reserve. (Top Right) A lone cape fur seal seems to pose in front of a back lit crashing wave, Cape Cross Seal Reserve. (Bottom) A wailing cape fur seal caught with electronic flash and a wide-angle lens, Cape Cross Seal Reserve. All images © Richard Bernabe

Spitzkoppe Mountains

The Spitzkoppe Mountains are a group of smooth granite peaks and boulders that rise dramatically from the flat Namib Desert. The Spitzkoppe or Matterhorn of Namibia is the highest peak in the group at 5800 feet (1780 meters) iand can be spotted and recognized from many miles away.

In addition to the formidable mountains, Spitzkoppe is home to boulder fields and natural arches that can be the source of endless compositional variations. Early morning and late evening are the best times when the low angled sunlight lights of the orange rocks with brilliant color. To gain access to the area during the best light, the nearby campsite is the best lodging option.


(Above Left) Shadows dance across the glowing rocks at sunset, Spitzkoppe. (Above Right) The rock arches can be used to frame the Spitzkoppe Mountains, especially near sunrise and sunset when you experience the best color, Spitzkoppe. All Images © Richard Bernabe 

Walvis Bay

Walvis Bay, a coastal city of 100,000 residents on the Atlantic Ocean, is an important deep-water port for Namibia’s economy. It also attracts an impressive array of wildlife because of it’s plankton rich waters. Southern right whales, pelicans, and two species of flamingos can be found in the area in large numbers.

Both the greater and lesser varieties of flamingos can be easily seen and photographed right from the center of town on the tidal flats. Morning is the best time when the the sun is at your back and it’s not obstructed by the marine layer hovering over the ocean in the west. Longer telephoto lenses are needed for close-ups but catching large flocks of birds with shorter telephoto lenses is also a good strategy as well.


(Top Left) A group of lesser flamingos taking flight from the tidal flats, Walvis Bay. (Top Right) Flamingos in the cool light of pre dawn, Walvis Bay. (Bottom) A trio of greater flamingos feeding on the tidal flats in the soft light of early morning, Walvis Bay. All Images © Richard Bernabe

Useful Namibia Links

Namibia Tourism Board
Namibia Weather Network
Etosha National Park
Hosea Kutako International Airport (Windhoek)
Air Namibia
Namibia Wildlife Resorts
Namibia Travel Guide
Spitzkoppe Campsites
Quivertree Forest Rest Camp

5 Pro Tips For Wildlife Photography

5 Pro Tips For Wildlife Photography

General How-To

5 Pro Tips For Wildlife Photography

pro tips wildlife photography
Wildlife photography is booming with shooters of all skill levels as advances in digital technology and better lens design make capturing wild creatures easier and less expensive than ever before. And if you’re a wildlife enthusiast, you can practice your passion from the far-flung corners of the world or the comfort of your backyard with a bird feeder and some natural wooden perches.

And even though it takes a great deal of skill and patience to master most basic wildlife photography, it also requires some creativity and imagination to capture images that inspire and stir the soul. If you desire to elevate your images beyond the mere ordinary and uninteresting, these five pro wildlife photography tips will set you in the right direction. Not only will they help you create more professional-looking images, but more compelling ones too.

Compelling Wildlife Photography
“Shadow Bear” Alaskan coastal brown bear in dramatic back light. Lake Clark National Park, Alaska USA

Look Beyond Conventional Front Lighting

The most frequently used lighting choice when shooting wildlife is front lighting. “Point your shadow at the subject” has been the tired refrain of wildlife photographers for decades since it can be assured the bird or animal will be evenly illuminated. It’s easy. It also happens to be unimaginative and dull. You’ll miss out on other exciting and creative lighting possibilities by always opting for the sun at your back. Side lighting, directional sunlight from a 90-degree angle can reveal texture and add depth to your wildlife subject, creating the illusion of three-dimensions. Backlighting, which is essentially shooting directly into the sun, can give translucent materials such as fur and feathers a beautiful glowing rim light. This effect is much more dramatic than conventional front lighting. However, be aware of possible underexposure, autofocus difficulties, and sun flare when shooting backlit subjects.
Wildlife Photography
“Approaching a Rift” I used 1/6 second shutter speed to give this still image the illusion of motion.

Pan With Long Exposures

Add some dynamic movement to your images by introducing some long exposures into your wildlife portfolio. Animals on the move or birds in flight offer suburb opportunities to use slower shutter speeds with camera panning. Freezing the action with faster shutter speeds will nearly always be the initial impulse for most wildlife photographers, but sometimes it’s better to go with the flow! Start with 1/15 second for moving subjects and experiment from there: faster exposures for rapidly moving animals and longer exposures for slower. You want to express motion while preserving the integrity of the animal’s primary features so it’s recognizable, especially the eyes, if possible.
Compelling Wildlife Photography
“Desert Nomad” Oryx stopping for a rest in the Namib Desert, Sossusvlei, Namibia. The wider perspective pulled in the background lines and shadows, making this a far more compelling image than a mere close-up.

Go Wide

When shooting wildlife, the photographer’s first impulse is often to grab the biggest, longest lens in the bag and zoom in as tight on the subject as possible. This strategy is great if you want to start counting fur fibers and feathers, but it isn’t always the most compelling option. Every so often, try resisting this urge and explore a more expansive view instead. Not only can the surrounding environment give perspective to the moment and help tell a story about the creature’s life and habitat, but it can also help create a more compelling composition by bringing in complementary lines and visual elements. The next time you’re using a telephoto lens, pull your eye away from the viewfinder every so often and look around at the subject’s surrounding environment and ask yourself if it’s adding more to the whole story or not. You would be surprised how often the answer is yes.
Compelling Wildlife Photography
“Paulet” An Adélie penguin welcomes visitors to Paulet Island, located on the northeastern tip of the Antarctic Peninsula. I was flat on the ground shooting upward with a wide-angle lens for this intimate portrait.

Get Low

With but a few exceptions, the absolute worst perspective when photographing wildlife is at a downward angle. Capturing the top of an animal’s or bird’s head isn’t going to move or inspire anyone. Psychologically, it’s condescending and authoritative. Aesthetically, you have the immediate ground as your background and little or no eye contact with your subject. Choosing a low, eye-level perspective, especially with the smaller animals, makes it much easier for the viewer of the image to relate and connect with the animal. The emotional implication is mutual respect, not dominance. Getting low also delivers far more interesting, out-of-focus backgrounds where the subject almost “pops” off the screen.
Compelling Wildlife Photography
“Polar Intrigue” Polar bears engaging in play fighting – a great example of both gesture and interaction, Barter Island, Arctic National Wildlife Refuge, Alaska USA

Show Gesture and Interaction

The three most essential ingredients in a successful wildlife image are composition, light, and gesture. Everyone knows something about composition, and we talked a little about light earlier. Gesture is defined as the “movement of part of the body that expresses an idea or meaning.” We want our images to have meaning, so why not let our animal subjects help us express it? Don’t be satisfied with photos that only show a static animal or bird staring blankly into the camera. Show how these animals interact with one another, play, mate, or hunt for food. Unless you intend to photograph a documentary image for a field guide, don’t be satisfied with a simple stock wildlife portrait. Wait for something special to happen, and then be ready to act!

Essential Photography: Embrace Backlight

Essential Photography: Embrace Backlight

General How-To

Essential Photography: Embrace Backlight

“Daughter of the Sun” Giraffe in backlight at sunset, Etosha National Park, Namibia

Light is the lifeblood of the photograph.

As a photographer – or an aspiring photographer – you might have heard the preceding phrase a time or two. You might have also been taught that the origin of the word photography is a fusion of two Greek derivatives: photos meaning “light” and graphe meaning to “write” or “draw.” The inference here being that photography means to write with light.

George Eastman, the founder of the Eastman Kodak Company, knew a little something about light.

“Light makes photography. Embrace light. Admire it. Love it. But above all, know light. Know it for all you are worth, and you will know the key to photography.”

These are indeed lofty and inspiring words which happen to be mostly true. But he was also fond of saying:

“You push the button and we do the rest.”

It should be noted that Mr. Eastman is best known as a businessman, not a photographer.

It might seem obvious to most of you, but it is light that you capture with your camera, not the subject in your viewfinder. This is pretty profound when you really think about it. Your subject is always the light reflecting off the scene; its direction, intensity, and color. Not only is light the lifeblood of the photograph, light is everything.


When you point the lens in the direction of the light source (for outdoor photographers this usually means the sun) with your subject between you and the light, you’ll encounter a back-lit situation. Backlight produces dramatic lighting effects on your subject or scene and can take an ordinary photo subject and elevate it to something truly extraordinary. Backlight can create beautiful rim light with hair, fur, or feathers or a pleasant glow with other translucent materials like autumn leaves. With more solid objects, backlight will result in silhouettes, especially if the scene in underexposed.

“Shadow Bear” Rim light illuminates the fur of a coastal brown bear, Lake Clark National Park, Alaska USA.

Backlight Challenges and Solutions

While using backlight can produce dramatic lighting effects and visually compelling, jaw-dropping images, it can also present some challenges you will need to overcome. Here are a few.

  • Trouble locking in autofocus. When shooting into the sun, one of the first problems beginners encounter is the autofocus not locking onto the subject. Autofocus systems using Contrast Phase Detection particularly have this difficultly. This is quite common and something I always come to expect during a backlighting situation. The solution is finding a strong contrast edge on which to focus. Refer to the bear photo up above. If your autofocus indicator is over the head of chest of the bear, there wont be enough contrast to lock onto. Rather, move the indicator to an area of rim light – like the ears, where there is strong contrast between the light and dark. You will then discover the autofocus works and the camera fires with no problem.
  • Lens flare/ghosting. Pointing the lens into the direction of the sun will usually cause sun flare and ghosting. Trying shading the front of the lens using the lens hood (if the angle of the sun is somewhat off to the side), your hand, a hat, or some sort of reflector or diffuser board, If none of the solutions work before the actual sun is in for image frame. wait until the sun in low on the horizon and its naturally diffused by the atmosphere or airborne water vapor and dust. Sunset is better than sunrise since there is more dust in the air at the end of the day. It also helps to have a clean, dust and dirt-free front lens element.
  • Underexposure. The bright light or sun streaming through your lens will convince your camera’s meter into severely underexposing the photo. Depending whether or not the sun is in the image frame and unless I purposely want to underexpose the scene (such as shooting silhouettes), I will add +2 to +3 EVs using exposure composition to brighten it up. Consult your histogram to be sure you have shadow detail where you desire it to be and there are no overexposed areas as well.

If you can overcome these common backlight obstacles, you will master backlight and elevate your photography a notch or two.

Favorite Images of 2019: A Retrospective

Favorite Images of 2019: A Retrospective


Favorite Images of 2019: A Retrospective

In early 2019, I was casually mugged by a teenaged reggae enthusiast in broad daylight while traveling in Mexico. Thin, lanky, with hollowed-out cheeks and a wolfish face, this young Bob Marley acolyte donned an oversized Rasta beanie and black tee shirt emblazoned with Marley’s visage and the suddenly appropriate words in block letters:


Under the shirt, he kept one hand concealed, which for my sake was to imply a weapon of some sort. I happily obliged, giving him everything on my possession at the time: a first-generation iPad and two 100-peso bills (about twelve US dollars) each of which, before this interruption, were to help me score a mid-morning espresso in the city center of La Paz. This led to an uncomplicated, if not one-sided, transaction between me and the petty thief.

Expect the unexpected might be a tired cliché but that doesn’t make it any less true, particularly with regard to travel. Planning is admirable and always recommended but you should also assume that most of your plans will eventually be replaced by improvisation and gut instinct. Expect the unexpected. But why is the unexpected always biased toward the bad, negative, disappointing, tragic, or catastrophic? Bad travel experiences always eclipse the good ones because they make for better stories afterwards. No one wants to hear your boring tale about how smoothly your trip went off. No one.

Vehicle breakdowns, sickness, missed or cancelled flights, getting lost or even robbed are not necessarily to be expected but are never a total surprise either. My approach to the unforeseen and accidental is to remain calm, stoic, and philosophical as possible. This was expected after all, right? Besides, never in the entire known history of human travel has throwing a tantrum and acting like a spoiled, entitled tourist ever fixed a thing. Take a detached perspective of the situation as a curious bystander might do. It can be interesting or even slightly amusing if you don’t take the turn of fate too personally. It might actually be funny if not for the fact it was happening to you at that very moment. Rest assured, however, you will be able to laugh about it later.

On the dusty streets of La Paz, I wondered how Marley would feel about not only being a witness to this unfortunate situation but an unsuspecting accessory as well. I glanced at the shirt of my antagonist and imagined Bob wearing a pained frown of disapproval. He might even have said, don’t worry…

When the boy suggested that he follow me back to the hotel, presumably for the promise of a bigger and better haul, a wave of panic flooded over me. I looked him in the eyes, shook my head and emphatically said, “No.” No means no in either English or Spanish so he threw both hands up in the air (revealing there never was a weapon), backed away, and disappeared into the steamy La Paz landscape.

I hastily pulled myself together, checked to see if anyone had been watching, and returned to my room for more pesos. Coffee delayed was not going to be coffee denied and yes, every little thing was gonna be alright.

So, now on to some happier moments from this past year.

Silver Silken Blade
Gerlache Straight, Antarctica
December 6, 2019

But what of silver silken blade? I know this image isn’t everyone’s cup of tea, but it sure is mine: moody and mysterious with just a glimmer of hope, glorious details of the Antarctic landscape combined with graphical abstract qualities as well. Canon EOS 5D Mark IV, Canon 100-400mm @ 349mm, 1/1000 second @ f/6.3, ISO 1000.

Okaukuejo Rising
Etosha National Park, Namibia
June 18, 2019

A big African sunrise over the Etosha Plains with a lone elephant kicking up a little dust for some lighting drama. Compositionally I like a asymmetrical balance created by counterpoising the two primary visual elements but I hate the horizon cutting right through the top of the elephant. Bad form by me. Canon EOS 5D Mark IV, Canon 200-400mm w/ 1.4x @ 560mm, 1/1250 second @ f/11, ISO 100.

Meanwhile On Mercury
Cathedral Gorge, Nevada USA
November 12, 2019

This is a real landscape. On this planet. The scale, however, is extremely misleading. Canon EOS 5D Mark IV, Canon 11-24mm @ 22mm, 1.6 seconds @ f/14, ISO 100.

After Glow
Pied Crows at Deadvlei, Namibia-Naukluft National Park, Namibia
June 13, 2019

I’ve been to Deadvlei countless times and it’s highly unusual to see any living things in this surreal place. After the sun set and there was no light other the the glow on the orange dunes, two pied crows set upon one of the most photogenic trees in the valley. This is why I carried my telephoto lens up and over the dunes. Canon EOS 5D Mark IV, Canon 100-400mm @ 248mm, 1/1250 second @ f/5, ISO 2000.

Destiny Unbound
The Camargue south of Arles, France
September 12, 2019

“She said, there isn’t even any road, our destiny was bound”

White horses, bright sunset light, slow exposure to create the illusion of motion, high-key processing.

Canon EOS 5D Mark IV, Canon 24-105mm @ 105mm, 1/15 second @ f/5, ISO 1600.

Los Glaciares National Park, Argentina
April 8, 2019

Meraki is a word used to describe doing something with soul, creativity, or love. On the day I created this image it was cold, wet, and misty, with fog rolling in and out of the mountains, keeping them concealed for most of the time. In other words, it wasn’t the best of conditions. Then I found this composition and I created something new and meaningful, at least for me in this location. I was exhilarated! I remember thinking at that moment, “Holy #%*& I love what I do!” I might have even uttered it out loud. Canon EOS 5D Mark IV, Canon 100-400mm @ 135mm, 1/1250 second @ f/16, ISO 1600.

She Lit Up a Candle
Magdalena Bay, Baja California Sur, Mexico
February 14, 2019

The unfortunate title of this image is the result of an unfortunate essay i wrote about an unfortunate popular rock song. I’ll just leave it at that.

There’s an almost zen-like quality to this photo: a wildlife image with no conspicuous wildlife subject? It’s understood. I kind of like that. Despite the many images from this trip with whales in the water and in the air, this photo captured how I felt more than any of the other crowd favorites. This is a gray whale spouting at sunrise in Magdalena Bay, which is protected from the Pacific Ocean by the remote, sandy barrier islands of Isla Magdalena and Isla Santa Margarita. Canon EOS 5D Mark IV, Canon 100-400mm @ 263mm, 1/1000 second @ f/5.6, ISO 500.

Ngorongoro Conservation Area, Tanzania
May 14, 2019

In Tanzania’s Ngorongoro crater, the hills (actually the crater walls) are never quite out of sight. Here you lack the big skies of the Serengeti but the multi-hued hills with the chiaroscuro lighting in the late afternoons are the type of palettes I prefer. Canon EOS 5D Mark IV, Canon 200-400mm @ 490mm, 1/1250 second @ f/6.3, ISO 250.

Wrinkles In Time
Death Valley, California USA
March 25, 2019

It’s all about texture and movement here. The texture is obvious upon arriving at the scene but it’s also somewhat chaotic at first sight. What makes the image work for me is the visual movement. The subtle diagonal, left-to-rightward flow carries the eye through the frame like dancing barefoot through the desert. Canon EOS 5D Mark IV, Canon 24-105mm @ 91mm, 1/10 second @ f/14, ISO 200.

Paulet Island, Antarctica
December 9, 2019

An Adélie penguin welcomes visitors to Paulet Island with an offer of a hug, northeastern tip of the Antarctic Peninsula. Canon EOS 5D Mark IV, Canon 24-105mm @ 35mm, 1/2000 second @ f/11, ISO 640.

Falling Down
Great Smoky Mountains National Park, Tennessee USA
October 29, 2019

No dramatic light or special natural phenomenon. No in-your-face, complex composition or visual design. Just a quiet, peaceful photograph of a spacial place during my favorite season of the year. The overhanging tree branches do help to create a very cohesive composition here, however. Enjoy. Canon EOS 5D Mark IV, Canon 24-105mm @ 35mm, 1.6 seconds @ f/16, ISO 100.

You can check out my Favorite Images of 2018 here as well.

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Here’s to Truth, Adventure, and Passion in 2020 –  Richard

Richard Bernabe is a professional photographer specializing in travel, wildlife, and nature as well as an author of books, magazine articles, and travel essays published world-wide. Richard is a global influencer in the fields of photography, travel, and wildlife conservation with more than one million followers on social media platforms. He leads several photography tours and workshops all over the world and is invited to speak to photography and conservation groups all across the globe. For more great information on new images, gear reviews, book projects, and photography workshops and tours, Sign Up For Our Newsletter.