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Field Techniques

This Birding Life by Budd Titlow

© Budd Titlow

© Budd Titlow

This Birding Life is a new monthly column by NANPA Member Budd Titlow.

WHITE-TAILED PTARMIGAN: Making the Snow Come Alive!

Images and Story by Budd Titlow

I’ll never forget the day the snow came alive beneath my feet.

It was a Sunday morning in February just after sunrise and I was heading up into the mountains for a day of cross-country skiing. The previous day’s blizzard had dumped more than a foot of snow on Colorado’s high country. But the morning air was surprisingly pleasant—almost balmy—considering it was midwinter and the nearby sign read: Guanella Pass Summit—Elevation 11,699 Feet.

I left the parking lot and started schussing toward a rock-lined ridge about a mile away. The blinding white glare made it difficult to look anywhere but straight down. The wind-whipped ripples of fresh snow squeaked cleanly as I poled along. A few hundred yards in, I paused to check my compass heading.

Suddenly there was a dance of movement all around my skis. Clumps of snow darted away from me in every direction. I knew it wasn’t an avalanche—the ground was barely sloping and, besides, these snow clumps all had orange eyelids, black beaks, and feathered feet.

Even in the harsh glare of the brilliant sun, the frenzy of white was no illusion. Within seconds, bright white, chicken-like birds were skittering everywhere across the snowfield in front of me. After I gathered my wits and realized that I was not about to fall into some deep crevasse or be eaten alive by prehistoric snow monsters, I understood that I had just invaded the snow-laden world of the white-tailed ptarmigan. It was difficult to say who was the more surprised, the birds or me.

Wild animals in Colorado have developed a variety of methods for coping with the rigors of a high-country winter. Many birds just avoid the cold altogether by migrating southward. But the white-tailed ptarmigan sticks around, surviving through some amazing adaptations. By the time the snow starts to pile up above timberline, the ptarmigan’s feathers have morphed from mottled brown to pure white, making these football-sized birds practically invisible to predators during the long Colorado winters. Feeding on twigs and buds of dwarf willows that poke above the wind-blown snowline, ptarmigan have fully feathered feet that keep them warm and allow them to walk on top of snowdrifts.

Ptarmigan also keep warm by digging deep into fresh snowdrifts until they are totally covered by the white powder. Which—as I experienced—makes it possible to be standing smack in the middle of a large flock without even knowing the birds are there. Strangely, these birds have a curious habit of belying their excellent natural camouflage when something stops moving. It’s as if they don’t believe their cryptic coloration actually works. So my compass-check was a lucky one, yielding the unforgettable experience of seeing the snow burst into life right before my eyes.

A Professional Wetland Scientist (Emeritus) and Wildlife Biologist, Budd Titlow is also an international/national award-winning nature photographer and a widely-published writer/author. Throughout his career, Budd has shared his love of photography and nature by presenting seminars, workshops, and field trips Nationwide. He has also authored four books: BIRD BRAINS – Inside the Strange Minds of Our Fine Feathered Friends (ISBN 978-0-7627-8755-5), SEASHELLS – Jewels from the Ocean (ISBN 978-0-7603-2593-3), ROCKY MOUNTAIN NATIONAL PARK- Beyond Trail Ridge (ISBN 0-942394-22-4), and ENVIRONMENTAL SUPERHEROES: Now Climate Change Needs A New One (In Press). Budd’s work is featured on his web site (

Photographing the Unseen by Sebastian Kennerknecht

Malayan Porcupine © Sebastian Kennerknecht

Malayan Porcupine (Hystrix brachyura) at night, Tawau Hills Park, Sabah, Borneo, Malaysia © Sebastian Kennerknecht

Using SLR Camera Traps to Photograph the Unseen

Text and Images by Sebastian Kennerknecht

How do you photograph an animal so elusive that the biologists studying them have never even seen the species themselves? The answer is simple: SLR camera traps. Photographing wildlife with a camera trap seems easy in concept. Place a camera trap in the wilderness, let it sit there, and have it take amazing pictures while you relax at home. This isn’t quite the case. One of the hardest parts about camera trap photography is getting your set-up to work like you want it to. The camera and flashes have to be ready to take a picture at a moment’s notice, but it also needs to conserve batteries enough to last for an extended period of time. And then everything has to be safe in a serious down drench.  Read the rest of this entry »

HAVASUPAI REBORN, by Kerrick James

Havasu Falls and Rainbow

Havasu Falls and Rainbow

The landscape of the Colorado Plateau is ephemeral, a changeling, although to beings with short life spans this land seems immutable, a constant. But in canyon country stunning changes can occur in a single afternoon, altering the course of a stream, stranding a waterfall, even creating a new unheralded cascade. Thus, it has always been in Havasupai, named for the people of the blue-green water.

Havasupai, the mythic side canyon hidden well to the west of the South Rim summer mayhem and adjoining Grand Canyon National Park, has always been near the top of my favorite locations to photograph. I’ve been lucky to shoot this desert Shangri-la a dozen times since the late 70’s, with a progression of cameras from 4×5 to 67 Pentax to a variety of digital formats. For years I blithely assumed that the interwoven terraces of travertine below each of the three great waterfalls, Havasu, Navajo, and Mooney, would always be there to compose as one of the most artistic foregrounds imaginable.

Havasu Falls in autumn

Havasu Falls in autumn.

But in the mid-90s a major flash flood swept the canyon, ripping out the majestic rills of travertine, and though they grew again over the years they never regained their prior perfection. In August of 2008 a nearly catastrophic flood changed the course of Havasu Creek, turning secluded Navajo Falls to dust. But the perennial waters are yet lovely beyond belief, turquoise except during storms, and paradise has slowly been reborn.

My spring 2013 hike to Havasupai was a desire to see how the fabled canyon had recovered, how the familiar waterfalls had fared, and to explore the two new falls gifted us by that epic event, five year’s past. What I found was still pure magic, with scenes both grand and intimate, and wondrous beauty to photograph everywhere you turn. Of course, being an adventure shooter, I had to spice it up, so I brought a kayak. Really.

Havasu Falls in warm spring stormlight

Havasu Falls in spring stormlight.

We all grow as photographers over the years, seeing more acutely and sharpening our technique. But Havasupai seems somehow to offer the gift of extra time. Here the hours feel slower, richer and allow for reflection. In several languid days you can shoot the falls from dawn shadow light throughout the long day into starlight, as I did. And then you can do it again and again, doing variations of exposure (to fine tune the action and detail of the flowing waters) discover new compositions, and so much more.

For example, I had always dreamed of shooting Havasu Falls under the stars, lit by moonlight. But on this trip the tight canyon walls blocked the half moon, so I combined my warm LED light with a standard cool LED wielded by a friend, and over three nights finally made the images that had haunted my dreams. Patience is key with light painting. I liken it to burning and dodging in the darkroom, adding to and withholding light from your canvas of pixels, only you’re playing in real time and space. The exposure equation is complicated by fast diminishing light in the twilight sky above the falls, and by the constant adjustment of both ISO and actual exposure time.

Havasu Falls and starry sky

Havasu Falls at night.

My favorite Havasu Falls star images were shot in the range of 30-45 seconds at f/5.6, at ISO 800, with 12-14mm focal lengths on my Pentax K-3. You can shoot from the trail above the falls or beside the falls, but be wary. When shooting near the falls the spray can precipitate calcium carbonate on your front lens surfaces, and your eyeglasses too. I use older UV filters to protect the delicate lens coatings, and bring a hand towel to wipe off the persistent water blowing your way. An ounce of prevention is worth, well you know the rest! And obviously this requires a quality tripod matched to the combined weight of your camera and lens, plus a release to do long exposures. LED lights and extra batteries complete the kit, and all you need then is a clear night sky to make some magic.

Fern grotto below Mooney Falls.

Fern grotto below Mooney Falls.

Just to the left of old Navajo Falls was a green misty watery groove we called the Grotto. A small but realistic slice of Hawaii concealed in the parched Southwest, it was overwhelming in both beauty and mystery and is now forever gone. Luckily, fate gave us Rock Falls and New Navajo Falls, and these are actually the first waterfalls you’ll see as you hike the dusty trail down from the village of Supai. New Navajo Falls is well off the trail, but has a decided edge in grandeur over Rock Falls, which is more approachable and easier to shoot. Plan to spend a early morning here, catching the warm reflection of the dawn light off the sheer canyon walls on the cool blue waters of Havasu Creek, with intensely green water plants adding to the color palette.

Rock Falls, Havasupai, Arizona

Rock Falls, Havasupai Reservation, Arizona.

After exploring both of the new Navajo Falls and the gem that is Havasu Falls, cinch up for a bit of adventure, the cliff trail down to Mooney Falls. This winding, steep trail descends 200’ through travertine passages and then hold on to the steel cables the last 70’ to terra firma. A mid-size photo backpack will fit through the maze but don’t forget your tripod as you’ll need it for the intense falls experience below. I’ve shot Mooney Falls as a pure scenic many times, so this time I carried down my inflatable kayak, and drafted my friends to paddle the pool below the falls. Not for the faint of heart, but on a hot summer afternoon you’ll never be cooler or more invigorated!

I photograph cities and destinations for many clients, but my heart truly lies in showing friends exploring the natural world, and the challenge I made to myself was to get the wild spirit of the place and the kayaking into some key images. Never have I heard of someone kayaking the waterfalls of Havasupai, and Havasu Creek, and many questions were posed as to where we were going from here. I was tempted to say down the Colorado River to Yuma, but that was too tall a tale to spin, even for me!

Kayakers below Mooney Falls

Kayaking below Mooney Falls.

Truth is, whether you hike, ride the horse or helicopter (yes you can), into the wonderland of Havasupai, plan to stay at least two full days. Four is better, as you won’t want to leave. Bring plenty of camera batteries and memory cards, as there’s nowhere to tank up on electrons unless you stay in the Havasupai Lodge in Supai. It’s a long two miles from the village to Havasu Falls and the campground is well sited as a base to photograph the major falls. For reservations, contact the tribe at

The water is Havasu Creek is a constant 72 degrees, perfect from mid-spring to mid-autumn, but chilly to cold in the winter. Summer afternoons are warm to hot, but the creek is always there, as it has been for countless millennia, to cool your body, thrill your soul and create future wonders in a faraway canyon in the high desert of the Southwest.

Kerrick James has worked as a travel journalist around the Pacific Rim and throughout the American West for 25 years, writing and shooting features for publications like Arizona Highways, Sunset, EnCompass, Natl. Geo Adventure and may others. Although his first love is adventure travel, he’s shot and covered all aspects of destination travel as well. He’s also taught nearly 50 photo workshops for Arizona Highways and his own private label, KJPhotosafaris. View his work at and

This Birding Life by Budd Titlow

Sage Grouse Males Fighting  © Budd Titlow

Sage Grouse Males Fighting © Budd Titlow

This Birding Life is a new monthly column by NANPA Member Budd Titlow.

SAGE GROUSE – Happy Hour on the High Plains

Image and Story By Budd Titlow

Sometimes Mother Nature provides a perfect microcosm of human life.

Many years ago, I was invited to observe an annual ritual that had all the elements of happy hour at your favorite neighborhood bar. Totally full of themselves, the males were strutting around in tight circles with their hairless chests puffed out. As they walked, they repeatedly made burping and belching sounds while aggressively posturing toward any other males that came too close to their domains. Meanwhile, all of the females skittered demurely in, out, around, and through all of the absurdly displaying males—acting as if the showboats didn’t exist.

Rather than watching patrons in a dark, after-work bar, I was driving along a Colorado high mountain sagebrush prairie at sunrise next to a “lek,” which is, appropriately enough, the Swedish word for “play.” And the clientele I was observing were chicken-sized wild birds known as sage grouse.

The largest grouse in North America, sage grouse live on the high plains of the American West—at elevations of four thousand to nine thousand feet—including populations in Washington, Oregon, Idaho, Montana, South Dakota, North Dakota, Nevada, Utah, eastern California, and western Colorado. Read the rest of this entry »

The Bio Blitz Concept For Photography by Kevin Fitzpatrick

Bio Blitz © Kevin FitzPatrick

Bio Blitz © Kevin FitzPatrick

Text and Images by Kevin FitzPatrick

A Bio Blitz is a short (usually one-day), intense team effort to discover as many different life forms as possible in one location. This often involves researchers and the general public working together to identify as many species as possible in a 24-hour period. To date, I have photographed over 45 Bio Blitzes from California to Maine and have done four with National Geographic.

For me, the Bio Blitz compasses all that I want to communicate to my audience about conservation and biodiversity and is a wonderful way to communicate with students and their parents about science! Depending on where they live, young people might get a chance to try their hand at species identification, photography, wildlife sketching, writing about nature, or the discovery of the natural history of their area. No two Bio Blitzes will be the same, as each one will be a reflection of the local environment. It is an opportunity for youth to not only enhance their appreciation of the environment through photography, art and exploration, but also to engage in true citizen science. This can be done through the iNaturalist Mobile Application, which makes use of the Encyclopedia of Life’s Species Collections, allowing participants to document species and upload their observations to a collective map that is available freely online. Read the rest of this entry »

The Magic of Flowers by Donna Eaton

I wanted to capture all the interesting & beautiful details of this Dahlia so I chose an aperture of f/32 and filled the frame with the flower. Nikon 105mm lens, tripod, 1/30sec. f/32 ISO800. ©Donna Eaton

I wanted to capture all the interesting & beautiful details of this Dahlia so I chose an aperture of f/32 and filled
the frame with the flower. Nikon 105mm lens, tripod, 1/30sec. f/32 ISO800. ©Donna Eaton

Text and Images by Donna Eaton

When first entering a flower garden I begin to enjoy the colors, the smells and the beauty that surrounds me. As I explore the garden I start to really concentrate on the individual flowers and start the to see all the wonderful details. Flowers are a lot like people. They have faces, quirks, flaws and unique characteristics that give them personality. I look for the ones that have that something “special”. Maybe it’s just a petal that’s curved a certain way, or a color that is irresistible. As a former ballet dancer, I am drawn to the flowers that have a sense of movement and that give me the feeling that they are “dancing”. Read the rest of this entry »

7 Tips for Air Travel with Gear by Jeff Parker

© Jeff Parker

© Jeff Parker

Image and text by Jeff Parker

1) Disguise your gear.

You don’t want your bag to scream “Expensive photography equipment inside!” so make sure it looks like any other bag—or, make it look worse (perhaps you can even have a bit of fun making it look “extra” undesirable).  Cover up or remove any easily recognizable logos like “Canon” or “Nikon.”  A bit of black electrical tape works well.

2) Invest in the right bag.

When it comes to photography, it seems you can spend money endlessly, but I discovered through lots of experience that having the right bag for your gear constitutes money well-spent. And it’s even better money well-spent when the bag has wheels and when your “personal item” bag (e.g. your camera backpack or laptop case) has heavily padded straps. With that said, always double-check that your flight won’t be on a commuter-sized plane requiring you to check in that carry-on bag!

3) Bring only what you need.

Find out the carry-on weight allowance and work backwards from there. If you’re really organized you can keep a list of how much each piece of equipment weighs and tally it up as you pack (beginning with the weight of your bag, of course). Think in terms of what you’ll primarily photograph rather than what your secondary subject will be and pack accordingly. If you’re not sure, ask your photo-tour operator what equipment he/she recommends.

4) Carry on all but the tough stuff.

Lugging your gear around as carry-on can get tiring so, after a while, checking it in might get tempting. When temptation arises, watch workers load and unload luggage from a plane; that should convince you to check-in only your toughest stuff (such as your tripod and head).

5) Prepare for security.

As you prepare for security open camera cases and any other equipment bags to make everything visible.  That minimizes handling of your sensitive gear by curious security-line personnel.  And don’t worry about memory cards; simply traveling through the conveyor belt won’t hurt them.

6) Get on first.

When making reservations, request a seat near the back of the plane as these rows normally board first.  (Note: There is now one airline that boards aisle seats last no matter what the seat number is, so it’s best to check with the airline when booking.)  Now that airlines charge for checked-in bags, passengers tend to push the “carry-on” limit to the limit – this makes overhead-bin space not only tough to find, but tough to procure close by. With thousands of dollars’ worth of equipment inside, you definitely want your bag not only safely secured but secured in sight.

7) Don’t forget to pack a change of clothes.

Remember to carry-on a change of clothing (and a toothbrush!) in case your checked-in luggage doesn’t arrive when you do.  In doing so, think in terms of what you can “pack” into the clothing you’re wearing.  You don’t want to be uncomfortable, but you might be able to store a few items in a photo vest that you are wearing to save on other carry-on space. A clean T-shirt fits into a large pocket (and doubles nicely as an appreciated small pillow or arm-rest padding on a long, international flight).

For more from Jeff Parker and Explore in Focus, check out his website and Facebook page. Jeff leads photo tours around the world and has upcoming workshops in Texas, Costa Rica and many other great locations.

Multi-flash Hummingbird Photography by Nate Chappell

A Sword-billed Hummingbird (left) and a Chestnut-breasted Coronet battle over a hummingbird feeder. © Nate Chappell

A Sword-billed Hummingbird (left) and a Chestnut-breasted Coronet battle over a hummingbird feeder. © Nate Chappell

Images and Text by Nate Chappell

Photographing hummingbirds in flight in countries like Ecuador and Costa Rica with natural light or with just one flash can be very difficult. The reason – most of these birds live in the cloud forest where there isn’t much light due to both shade from trees and cloud cover. One solution for this, which creates beautiful flight shots, is a multi-flash hummingbird setup. By setting up several slave flashes set to 1/32 or 1/16 power around a hummingbird feeder or flower you can produce stunning images of hummingbirds in flight. The reason is that the flashes are actually synching at speeds of 1/8000 to 1/12,000 of a second changing the effective shutter speed from what is on your camera – let’s say 1/200 sec to the lightning fast speed of the flashes synching. The key to this is having the flashes produce all of the light, otherwise you will be mixing ambient light and flash lighting. In that case the 1/200 sec shutter speed will affect the image by causing blurring in parts of it. So you need to have your camera’s exposure set to at least -3 or -4 stops below the ambient lighting.Another helpful component is to have an artificial background – often a large printed photograph held a few yards behind the mutli-flash setup. Read the rest of this entry »

From Photography to Filmmaking: Crafting an Auditory Experience

Green Heron (Butorides virescens) on Cypress knee. Big Cypress National Preserve.

Green Heron (Butorides virescens) on Cypress knee.

In last month’s column in From Photography to Filmmaking, we started to think about sound and how sound can help to shape and craft our story. Today, I’d like to expand on that a bit more and walk you through how I put together the audio for my latest short film from my project Filming Florida.

I spent the first few weeks of the year filming and photographing in south Florida and spent four or five mornings working in Sweetwater Strand in Big Cypress National Preserve. My latest short film explores the transition from night to dawn in the swamp. When I was filming this particular piece, I went about things a little differently since I was also using this as an opportunity to test out a bunch of new equipment. With all the testing of a new camera, I was not focused on recording audio. As a result, two days before the planned release of the film, I had a fully edited film, but it didn’t have any audio to go with the visuals. This afforded me a very interesting exercise–setting out specifically to record audio that matched the visuals for the film. I’m not saying that this is the best way to do it, and in fact I’d much rather capture high quality audio while I am filming, but it was a valuable experience. Take a moment to watch the film and then I’ll walk you through my approach.

Read the rest of this entry »

From Photography to Filmmaking: Starting to Listen

Small American Alligator (Alligator mississippiensis) laying in vegetation on edge of water.

Small American Alligator (Alligator mississippiensis) laying in vegetation on edge of water.

This is the third entry in the From Photography to Filmmaking monthly column by Drew Fulton.  To see the previous posts, visit the archives.

Photography is primarily the pursuit of a single sensory experience that of vision. We talk about composition, exposure, and focus. As we start to think more about using the moving image to tell stories, this all encompassing pursuit of vision all of a sudden must also include another sense. We have to start to listen!

During this busy holiday season, I challenge you to take a few minutes to close your eyes and just listen. I think too few of us really listen to the world around us. Take a moment and sit on a bench in the mall while doing your holiday shopping and just listen. What does the laughter of a child or the wail of a tired infant tell you about the scene? What about the distant rumble of a vacuum or the swish of an opening and closing automatic door? What sounds add to the story? What distracts you?

Read the rest of this entry »

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Posts tagged ‘NANPA Summit’

So You Want to Publish a Book?

by Fred Perrin

A montage of the books that Friesens has published

Compared to challenges nature photographers often face and embrace in their work, creating and publishing a quality book has never been easier. You have the images, likely enough to publish a hundred coffee table books, so what’s next?

This article summarizes what you should know when considering, designing and publishing a photography book.

Before we get to that, let’s review a common book printing question today. Should I print my book digitally or through a traditional offset press? Which is best for me?

“Best” is relative to many technical, artistic and personal variables. Years ago, for professional image quality, digital cameras fell short, yet today they deliver outstanding results. Similarly, the print world has seen impressive advancements in digital press technology. Which is best? Depends. With higher quantity book runs, traditional offset printing remains an “ultimate quality, more options, and lower cost per book” home run. At the same time, print craftspeople using the newest digital presses can print lower book quantities with outstanding quality. Do your homework. If you aspire to deliver trade publishers’ coffee table book quality, does your intended printer print these books? If not, have you reviewed samples of their work? Be careful and inquisitive. There are printers printing books on digital devices much like an office copier, charging as much or more than some book printers printing books on million dollar digital offset presses. There is a quality difference. If you’re unsure of final book quantity (and most book publishers are), ask your book printer to quote multiple book quantities (e.g. 100/250/500/750/1000+) comparing traditional offset and digital prices, and provide samples of both. Depending on your book quantity range and the printer’s press options, you will quickly learn where digitally printed or traditionally offset printed book quantities are attractively or unattractively priced. You must also consider quality bookbinding, but we’ll reserve that for a follow-up article.

book on display stand

Labyrinth Sublime: The Inside Passage, by photographers Pat and Rosemarie Keough. This book opens to almost three feet!*

What’s next?

  • Have a book concept. Tell a compelling story – don’t just show photographs.
  • Showcase unique images – avoid repetition.
  • Are you a photographer or a graphic designer? If you’re a photographer, hire a professional graphic designer.
  • Hire a professional editor.
  • If you choose to personally design your book:
    • Review and compare published books similar to your concept.
    • Consider and compare font sizes and page layouts before beginning design. Design only when you have fine-tuned your intended layout(s) to your (and more importantly your intended audience’s) satisfaction.
    • Calibrate your monitor. Printers can provide kits that help measure a monitor’s accuracy at which point you may need to calibrate your monitor using a colorimeter (prices start around $100).
    • Ask your printer for a cover design template (based on your book specs).
    • You can work in RGB (Red/Green/Blue) up until you select your printer at which point you should convert RGB files into CMYK (Cyan/Magenta/Yellow/Black). Printer profiles for printing on coated paper are available for this (example: GRACoL2006 Coated1v2). Note: When color images are printed on paper the effect of the paper causes the images to look slightly darker because a computer screen emits light rather than paper which reflects light. Converting images to the GRACoL profile on its own does not simulate this effect. You can use the Proof Colors option in Photoshop to simulate this effect when printing on coated paper.
  • Review and understand book manufacturing formats, options and material specifications. Once you have an idea of book size and format, page count, paper, cover, and quantity range, request a quote. Don’t worry about future quote revisions based on changing specs and/or trying to hit a price point. This is part of the business.
  • If you are personally scanning slides, make sure your scans are of the highest quality. Send test scans to your printer for review and proofing to avoid discovering at press that your images are not at their best.
  • Send hard copy proofs as a guide to your printer especially if you will not be present at the press when the job is run (called a Press Check). You should also request proofs to see and compare to what is expected at press.
  • Sewn binding provides higher book quality and longevity.
  • Proofread, proofread, proofread (and not just by you). Errors are easy to miss – even for big publishing houses – but, once printed, impossible to erase.
  • Consider crowd funding to help pay for your book.

  • Design in RGB (can cause issues at press which prints CMYK)
  • Personally scan images unless you have a high quality scanner (by printing industry standards), you know what you’re doing, and you’ve tested your scans through your intended printer.

Good luck with your book! I hope this article is helpful. If you have any book production or publishing questions, please contact me anytime by email at

Fred will be one of the featured Breakout session speakers at the 2015 NANPA Summit taking place in San Diego, California from February 19th – 22nd. To learn more about the Summit and to register for this exciting and inspirational event, please visit

Fred Perrin began his career as a Kodak Technical Sales Representative for Professional Photographers. Fred has received honors from The Professional Photographers of Canada as Craftsman of Photographic Arts (Scenic/Nature Photography) and his lithographs have been presented to sixty world leaders by the Government of the United States. Fred is now VP of Marketing & Business Development for Friesens, North America’s premier book manufacturer. Friesens customers include many of North America’s most prominent museums, art galleries, publishers and photographers. Company Website:

*Pat and Rosemarie Keough detail their experience in printing and binding their beautiful book on their website at

Low Light Visions by Nevada Wier

© Nevada Wier 2014. Kerala, India: Fire dancer, Theyyam Festival. Canon 5DMarkIII,    Canon 16-35mm f/2.8,   1/125sec at f/3.5,   ISO 1600 Shutter Priority. Evaluative Metering. Daylight White Balance. Flash not fired.

© Nevada Wier 2014.
Kerala, India: Fire dancer, Theyyam Festival.
Canon 5DMarkIII, Canon 16-35mm f/2.8, 1/125sec at f/3.5, ISO 1600
Shutter Priority. Evaluative Metering. Daylight White Balance. Flash not fired.

Nevada is one of the featured keynote speakers at the 2015 NANPA Summit taking place in San Diego, California from February 19th – 22nd. To learn more about the Summit and to register for this exciting and inspirational event, please visit

Images and Story by Nevada Wier

Photographing in low light is particularly challenging, but immensely satisfying — if you can overcome the difficulties. However, it is these kinds of situations that stimulate me as a photographer. I know that it is these times when it is more possible to create what I call a “snowflake photo”: one that no one else has in his or her portfolio. So I seek out the difficult light and perspectives. Of course, that also means that the chance of failure is high; I have to work extra hard in these situations. I am on alert, paying attention, anticipating the action and seeking out whatever light is available.

One is definitely constrained by the quality of their equipment. Sorry, an iPhone is not going to be the camera of choice for photographing at night or inside a hut lit by a candle – unless you are going for an abstract with high noise. Many digital camera sensors are not able to produce a relatively noise-free image at an extremely high ISO. Unless you have a top-of-the-line camera that can handle 1600 ISO or more, the highest exploitable ISO for most cameras ranges between 400–1600 ISO. Another limiting factor is the lens. If you are using a zoom lens that has a minimum aperture of f/4.5, it is going to be problematic. Not only will you not have a fast enough shutter speed, the lens will not be able to quickly and accurately focus in dim light. And, it is critical to pay attention to the focusing. During the day in strong light focusing quickly is easy and accurate; it only takes a quick press of the focus button to be accurate (I use the back * button on my Canon for focusing and to set a specific focal point). In low light it is important to squeeze the focus button until you see the focus alert signal in the viewfinder. Sometimes I have to use manual assist. Occasionally I need to shine a flashlight on my subject so I can focus.

Sometimes I use flash but not for a primary source of light, rather to pop color or stop the action with a slow shutter speed. A flash is always a secondary source of light. I usually go to the highest ISO that I am comfortable using and on my Canon 5D MarkIII I rarely go above 1600 ISO; if I can I much prefer to stay at 800 ISO or lower. I photograph primarily on Shutter Priority, but in low light I sometimes switch to Aperture Priority when I want to stay at a wide-open aperture. However, I do like slow shutter speeds (and I’m not afraid to hand-hold at ½ sec. or slower) in combination with flash, either for panning or having a flash stop the action within a blur, so there is sharpness within a sense of motion. I carry a number of different gels for my flash so the flash outputs blends seamlessly with the ambient light. I usually keep my white balance on Daylight unless there is an abundance of red, and then I use Auto (red is a difficult color to desaturate, it tends towards purple).

I make sure my exposure is absolutely perfect; better too light than too dark. I constantly check my histogram. At a high ISO you do not want to have to lighten your image in post processing and expose ugly noise. Honestly, I rarely use a tripod. I don’t like to walk around with them. The photographs I’m showing you on this blog are all hand-held. In fast moving situations it is difficult to use a tripod, and in crowds – forget about it! Knowing how to use flash appropriately is a big key to success.

Barranquilla, Colombia. Carnival.

© Nevada Wier 2014. Barranquilla, Colombia: Carnival.
Canon 5DMarkIII, Canon 24 f/1.4, 1/50sec at f/3.2, ISO 1600.
Shutter Priority. Evaluative Metering. Daylight White Balance. Flash Fired.

I mentioned earlier that it is important to anticipate so that one can be in the front of a crowd. I am used to “wiggling” myself into a good location. There is a fine line between being assertive and aggressive, but I don’t want to end up in the back of a huge crowd.

I expect a lot of failures; in fact I mostly have failures in these kinds of situations, as they are technically and often socially difficult. However, all I need is one great image! I try as many shutter speeds as possible; depth of field is not a critical concern to me at these times. I try slow shutter speeds with or without panning, usually with the flash on. I turn the flash off and work with natural light. I try everything! I always say, “If you don’t try, you don’t get”. And, often what one gets is that magical snowflake image.

Bagan, Myanmar: Ananada Festival.

© Nevada Wier 2013. Bagan, Myanmar: Ananada Festival.
Canon 5DMarkIII, Canon 24 f/1.4, 1/100sec at f/4, ISO 1600.
Aperture Priority. Evaluative Metering. Daylight White Balance. Flash Fired.

Nevada Wier is a multiple award-winning photographer specializing in the remote corners of the globe and the cultures that inhabit them. Her journeys have her crisscrossing the world in search of compelling travel experiences and images. To read more about Nevada, view her extraordinary photography and get information about her photo workshops and tours, visit her website at

Photographing Water in Motion by Jennifer Wu

Iceland waterfall - vertical

Iceland waterfall: Canon 5D mark II, 24-70 mm lens at 24 mm, f/16, Shutter speed .6, ISO 100. I used a polarizing filter. Smooth effect. © Jennifer Wu

Text and photos © Jennifer Wu

Photographing moving water at varying shutter speeds produces different looks, from a silky effect to frozen detail. When photographing the ocean surf, waterfalls, streams or any moving water, I often bracket the shutter speeds to create a variety of results.

In the vertical waterfall image in Iceland, above, the water appears smooth and gauzy. The horizontal image of the same waterfall, below, presents more detail, permitting more shape with enough blur to endow the shot with a sense of motion. I like both effects, so I vary the shutter speed to get more or less detail. When bracketing the shutter speeds, review each image on view screen to judge the results.  If you see silky water with no detail where it is all white, move to a faster shutter speed. If there is too much detail where the water looks like ice, use a slower shutter to add enough blur for a velvety water effect.

Iceland waterfall - horizontal
Iceland waterfall: Canon 5D mark II, 24-70 mm lens at 24 mm, f/16, Shutter speed 1/10, ISO 100. I used a polarizing filter.
More detail in the water with a faster shutter speed. © Jennifer Wu

Shutter Speed Choice:

How fast or slow the water is moving is a factor to help decided shutter speed for the amount of blur or detail. A slow versus fast moving stream will have different effects at the same shutter speed. In addition, wider-angle lenses show less apparent motion compared to a telephoto from the same distance.

Several factors to help decide the shutter speed:

  • The flow rate of the water – slower shutter for more blur with slow moving streams
  • The amount of blur or detail you want – slower shutter for more blur
  • Distance to the subject – the water flow appears faster the closer you are
  • Focal length of the lens – slower shutter for wide-angle lenses for more blur

Waterfalls all fall at the same rate weather they are a faint stream or large waterfall. They gain momentum with the distance. The air resistance is the only factor that will effect the rate of water falling.

I photographed the waterfall in Iceland while leading a photography tour with Jim Martin. In the horizontal image, I used a .6 second shutter speed for a satiny effect, while the vertical image has a 1/10 shutter speed to show more detail.

waterfall detail with rainbow
Yosemite waterfall with rainbow. Using 1/125 of a second or faster with a medium telephoto lens helps stop the action on a waterfall and give it some detail. Photographed with the 70-300mm lens at 244mm, f/11, 1/250 second, ISO 200.
Polarizer used to enhance the rainbow. Be careful as you can make the rainbow disappear when completely polarized. © Jennifer Wu

In Yosemite, 1/125 of a second contributed some detail in the fast moving waterfalls. By contrast, I prefer 1/15to 1/30 of a second to smooth the slower moving water on the floor of water the valley.

Use a really fast shutter speed to stop the action of moving water. For waves at the ocean, I use around a 1/1000 of a second to get the detail in the splash.  Each droplet freezes.

In the next examples, the ocean images have a 10 to 13 second exposure to blur the water, transforming the surf into a fog.

Morro Bay rocks and surf, 10 second exposure.
Morro Bay rocks and surf, Canon 5D mark II, 24-70 mm lens at 24 mm, f/16, 10 seconds, ISO 100.
I used a 3-stop neutral density filter and a polarizer to smooth out the ocean surf. © Jennifer Wu

Tripod: Using a STURDY tripod will be necessary for the slow shutter speeds. They are still a good idea for higher shutter speeds as they aid in fine-tuning the final composition. Keep in mind it is often windy at the base of a waterfall or around the ocean surf. Weigh down the tripod if necessary to avoid vibration or tipping.

Exposure: when taking a photograph, I decide whether the shutter speed or f/stop is the most important and set that first. Normally, I use manual mode and set the shutter speed first, followed by the f/stop.  Next, I set ISO, ideally the native ISO for the camera, such as ISO 100 for Canon, or 200 for Nikon. Native resolution produces the least noise.  If the shutter speed is too slow, I raise the ISO to the proper exposure.  Finally, I add a filter, as discussed below.

Shutter Speed:  In order to get slow shutter speeds for the satiny effect, try photographing in low light conditions since full sun may demand too fast a shutter speed for slow motion. For example: photograph at low light near sunrise or sunset on sunny days, with the subject catching the first or last rays of light. Exposure it easier when he water is in the shade; be aware that your color temperature will change, shifting toward blue. Overcast conditions work well most of the time.

Filters: Using a polarizer will reduce your shutter speed time by about two f-stops. Turn the polarizer to see the effect on shiny rock surfaces and note how the reduced glare reveals detail and form. However, be careful when using a polarizer so as not to take out desired colorful reflections. Neutral density filters (not graduated neutral density filters), grey in color, will reduce the light to the sensor, allowing for a slower shutter speed.

Morro Bay sunset, 13 second exposure
Morro Bay sunset: Canon 5D mark II, F/16, 13 seconds, ISO 100.
I used a 5-stop neutral density filter to obtain the softness of the waves. © Jennifer Wu

Ideas: Water in all its forms is a dynamic subject open to many approaches. I like photographing streams in the shade with green leaves reflected onto streams in the afternoon (Yosemite’s Fern Spring is good for that). Photographing along Yosemite’s Merced River at sunrise provides the opportunity to capture the warm reflections of the mountains in the river. Fall colors, the leaves lit with sun and the water in shade reflect leaves, is a perennial favorite.

Tips for keeping the lens dry:Use a lens hood to keep spray off the lens. Carry a hand towel or pack towel to dry the camera and tripod when you return to the car from the shoot.Use a chamois cloth to wipe the droplets off the lens. Chamois are used to wipe cars dry and it works just as well on the lens. If you are in heavy spray from waterfalls, the ocean or from rain, it is helpful to carry a small sized soft absorbent pack towel to wipe the lens of most of the water, then use the chamois as it will otherwise get soaked too fast and become useless.

Tips for cleaning sea spray: First, use an air blower (not canned air) to remove any bits of sand or dust that might scratch the lens.

Next, wipe down your camera and lenses with a damp cloth to clean off the salt from the sea spray. Do this as soon as possible.

If you do get sea spray on the front element of the lens, use some lens cleaning fluid on a wipe or tissue and use that to remove it. Use lens cleaning solution and do not use abrasive or solvents. Wipe in a circular motion from the center outward. Do not put fluid directly on the lens. If it is very misty, bring the fluid and wipes with you to the ocean.

Another option is using a UV filter when at the ocean to protect the front element of the lens from the salt in the sea spray and you can clean the filter after the shoot in the same way as mentioned above.

Clean the camera eye-piece in the same way if it is needed.

Have fun photographing moving water and creating inspiring images!

Smooth Wave, Morro Bay, 0.4 second exposure

Smooth Wave, Morro Bay, California: Canon 5D mark II, 70-300 mm f/4-5.6 at 135 mm, f/22, 0.4 second, ISO 100. © Jennifer Wu

Jennifer Wu, a professional photographer since 1992, is best known for her nature, landscape and night photography. Jennifer was named by Canon USA to the elite group of photographers, The Explorers of Light. View more of her work and check out her book and workshop offerings at

Jennifer will speak on “Nature’s Elusive Beauty” in one of the breakout sessions at the 2015 NANPA Summit taking place in San Diego, California from February 19th – 22nd. To learn more about the Summit and to register for this exciting and inspirational event, please visit

Interpretive Nature Photography: Art and Nature

by Jamie Konarski Davidson

Multiple exposure of fern in spin

Ferns – Multiple exposure with spin to highlight patterns and texture.

What does interpretive nature photography mean? Nature is nature, art is art, and never the two shall meet, right? For some, perhaps this is true. But only for those who have never walked in the woods, sat in a flower garden or watched the sun meet the day or settle in for the night. Or for those who have never stopped long enough to explore a dandelion or to watch a butterfly break free of its chrysalis. Nature IS art, in its finest and purest form. Capturing this essence is what nature photographers live for. It is what makes us unable to imagine doing anything else. It is what brings me peace, healing and joy. It is what pushes me as an individual to be present in the moment and to slow down long enough to see and feel and connect.

So, how do we do this and what do the results look like? Most of us begin our photographic journey with our eyes, hands and mind — seeing something, grabbing the camera and figuring out how to set the camera correctly. This is natural, as we need to see our subjects and to learn how to use our equipment to capture the moment. The sticky piece in this equation is “correctly.” True, technical knowledge is necessary. What is missing, and what makes our work express the “art in nature” is vision and heart. When we see and connect at the heart level, our work begins to shine, and what we share with the world resonates at a deeper level than a pretty picture. Read the rest of this entry »

My First Experience in Multimedia Storytelling by Chris Linder

I made my first leap into multimedia storytelling after following, with considerable interest, the work of MediaStorm, a video production company founded by Brian Storm.  Their videos wove together interviews, music, ambient sounds, and still photographs into artful, dynamic stories.  As I watched them, I realized that hearing the ambient sounds and interviewee’s voice created a stronger emotional connection to the story—it just seemed more real than a photo slideshow with captions.  I wanted to be able to produce my own multimedia video, but I was intimidated…  I had never recorded audio before or used a video editing program.

In the spring of 2009, a client asked me if I would be interested in documenting a month-long undergraduate research experience in the Siberian Arctic.  I immediately jumped at the opportunity, with one requirement: the chance to produce a multimedia video.

Watch the full edit of Chris’s first multimedia video produced at MediaStorm:

Watch the full edit of Chris’s first multimedia video produced at MediaStorm:

That July, I found myself in Siberia, wading through knee-deep permafrost goo, battling legions of abnormally large mosquitoes (audio recorder in one hand, DSLR in the other).  At the end of that month, my hard drive brimmed with over 20,000 images and about a hundred pages of interview transcriptions. The thought of the next step nearly overwhelmed me: how to create a coherent, compelling story from this mountain of material.  I decided to enlist the experts at MediaStorm for some one-on-one training.

A month later, I knocked on the brushed-aluminum door of MediaStorm’s office in New York.  Storm introduced me to my mentors for the week: Bob Sacha, an award-winning photographer-turned-multimedia-producer, and Maisie Crow, a talented up-and-coming multimedia journalist. In five short days, we needed to turn my pile of photographs and interviews into a living, breathing, multimedia story.

Sacha quickly introduced me to the MediaStorm process.  First, we poured over the material, starting with the interview transcripts.  The edited interviews, he explained to me, would form the backbone to the story.  Once the interviews were on the timeline, Sacha showed me how to choose music and integrate ambient sound recordings I had collected in the field.  Lastly, we added my photographs and credit slides—it was complete!

Looking back, those five days at MediaStorm really changed my trajectory as a photographer.  From a pragmatic standpoint, my new skills opened up a whole new avenue of funding opportunities, allowing me to keep photographing the stories I love.  Since 2009, I have produced dozens of multimedia stories and worked as the lead cinematographer on an hour-long documentary production.  Some of the videos have simply been a series of images set to music or a voiceover. Others have been more complicated, such as a series of videos on ocean robotics that involved filming interviews in front of a green screen and incorporating historical underwater footage.  An unexpected benefit to my multimedia training is that my photography skills have improved as well.  Now, it’s easier for me to break down a story idea into the elements I need to illustrate with my photographs.  In essence, I have evolved into a better storyteller.

Chris Linder Congo River video

Linder also produced this multimedia video about water quality research in the Congo:

At the 2015 NANPA Summit, I will be co-presenting a Breakout Session with fellow photographer and filmmaker Morgan Heim on the lessons we’ve learned producing multimedia.  There you can find out our most critical multimedia storytelling tips, like: whatever you do, don’t forget the…

To see more of our work, visit our websites: and

The 2015 NANPA Summit takes place in San Diego, California from February 19th – 22nd. To learn more about the Summit and to register for this exciting and inspirational event, please visit Early bird registration ends on October 31st!

Chris Linder works part-time at the Woods Hole Oceanographic Institution as an Expedition Multimedia Specialist and runs a freelance photography and filmmaking business.  Chris focuses on communicating the stories of scientists working in the field.  In the last ten years, he has documented over 40 scientific expeditions from Antarctica to the Congo.  Chris’s images have appeared in museum exhibits, books, calendars, documentary films, and magazines worldwide.  He is the author of Science on Ice: Four Polar Expeditions.

Flip Nicklin: A Life Among Whales

Flip Nicklin is one of the featured keynote speakers at the 2015 NANPA Summit taking place in San Diego, California from February 19th – 22nd. Flip will also lead of one of the Pre-Summit Boot Camp sessions. To learn more about the Summit and to register for this exciting and inspirational event, please visit Early bird registration ends on October 31st!

Humpback whale mother and young; Hawaii.

Humpback whale mother and young; Hawaii. © Flip Nicklin

Forty feet below me she hovers quietly. She’s 45 feet long and 80,000 pounds, and her bulk hides her 15-foot-long calf. The calf makes his way out from under her chin to take a few breaths at the surface. On his way back to his mother, the young humpback spots me near the research boat and gives me a good look. After 35 years of photographing cetaceans professionally, situations like this still bring a smile to my face.

The lives of whales aren’t always serene, though. Only a few days after I spot the mother with her calf, our research team finds a dozen male humpbacks fighting over a female. The battle is brutal; many of the whales have open bloody scrapes on the tops of their bodies. Despite whales’ occasional reputation as “gentle giants,” I would never use the word “gentle” to describe these violent, occasionally fatal encounters in the winter breeding grounds off the coast of Hawaii. Read the rest of this entry »

Photographing the Nighttime Landscape by Roman Kurywczak

by Roman Kurywczak

night photo of Park Avenue, Arches National Park

Moonlit Night at Park Avenue, Arches National Park. Sigma 12-24mm lens @ 12mm, f/4.5, ISO 100, exposed for just over an hour. Photo by Roman M. Kurywczak

I have been photographing nighttime landscapes for about 20 years now, capturing images of star trails like the one pictured above with good success (even in the film days). The arrival of digital cameras and their high ISO capabilities has allowed me to push the boundaries of nighttime landscape photography and allowed me to capture the milky way and stars just as we see them. I released my e-book on that subject in February 2011 but wanted to revisit some of the images I had captured with the Sigma 12-24mm lens. The above image is the newest version of my cover shot, but this time the illumination you see is from just the moon. A rock solid tripod and ballhead are a must for this genre of photography. A wide-angle lens is also a must; the Sigma 12-24mm lens is now my lens of choice for my Canon 1D Mark III bodies. For those of you with crop sensors, the 10-20mm F3.5 EX DC HSM should be your go to lens, but keep in mind that any wide angle lens will work (Tip: you should be around 20mm max on a full frame sensor with the settings I will be providing). Read the rest of this entry »

Vision and Craftsmanship by Ron Rosenstock

by Ron Rosenstock

“There are no rules for Technique, only solutions. Today’s Darkrooms may soon be replaced with electronic consoles. Yet after thirty years, Steiglitz’s advice to me remains constant: ‘The only thing that matters is the finished photograph.’ “

Arnold Newman, 1965

As a teacher of photography, I often quote Arnold Newman because he is speaking about the essence of creating a meaningful photograph.

My background is in the traditional, large-format, black and white school of photography of Edward Weston in the 1920s, and later of Ansel Adams. I worked with a camera similar to that used by Weston and Adams, an 8”x10” view camera, so called so because the film was 8×10 inches. My camera, ten film holders, and tripod together weighed 40 pounds. Cumbersome equipment, but that was just the way it was if you wanted to make high quality images. Back in the 60’s and 70’s it was called fine art photography.

Many years have passed but the basic principals are the same. In the dark room we could crop the image, increase or decrease exposure, increase or decrease contrast, burn and dodge areas to lighten or darken those areas selectively. We can do all this and more now with more ease than ever before. Read the rest of this entry »

Wilderness: As It Was In The Beginning

The Bitterroot Mountains and Clearwater Basin

Proposed Wilderness in the Clearwater Basin of Idaho’s Bitterroot Mountains.

By Krista Schlyer

This week marks the 50th anniversary of The Wilderness Act. Americans will be greeting this occasion in myriad ways. Wilderness lovers and protectors will be lauding our foresight as a nation to recognize the value of wilderness and codify that value with strong protections; many will be celebrating the 750-plus wilderness areas now protected under the act. Some will assess the uncounted acres of wilderness that have been lost to development, exploitation, and political failure, as well as the floundering health of this landmark legislation. A few members of Congress will be devising new ways to skirt or dissolve the act, along with every other environmental safeguard. And many Americans will watch the week pass never knowing there was anything special about it.

To me, The Wilderness Act may be the most hopeful piece of legislation ever passed, based on one of the noblest ideas humanity has ever conjured. Wilderness as a valued concept, as a state of being that must be protected, acknowledges three important realities: that untouched, undeveloped, forever-wild land has value in and of itself; that we as a species if given the opportunity will destroy it; and that for so many reasons, impossible to articulate, we need to live in a world where large areas of wild land exist outside of our reach and exploitation. We need it, as Wallace Stegner said, for “our sanity as creatures.”

When President Lyndon Johnson signed The Wilderness Act into law September 3, 1964, he stated: “If future generations are to remember us with gratitude rather than contempt, we must leave them a glimpse of the world as it was in the beginning, not just after we got through with it.”

I have worked for more than a decade as a conservation photographer and writer, and during that time I have documented numerous locations that epitomize Johnson’s divergent states of the land, “the world as it was in the beginning” and the world “after we got through with it.” The wilderness, and the once-wilderness, and some places that exist in sad limbo somewhere in between. Each has something to offer to the story of wilderness.

The Anacostia River, in Washington DC, was once a wild paradise of rich diversity that nurtured a sustainable civilization of native people and abundant wild plants and animals. By the time we were finished with it, the native people were extinct, the river’s waters were so toxic and filled with human waste that 2/3 of the catfish now have cancerous tumors, and swimming in the river was pronounced illegal out of public health concerns. The building of a nation brought the Anacostia wilderness to its knees almost two centuries before The Wilderness Act was signed. It didn’t stand a chance.

catfish with cancerous lesion

Brown bullhead catfish with a cancerous lesion in the Anacostia watershed, Washington DC.

But a handful of designated wilderness areas along the US-Mexico borderlands, did stand a chance, and still do, in theory. Lines drawn by Congress, or at least approved by them, continue to demarcate roadless wild lands under the Wilderness Act, but in name only. Since 2005 and the Real ID Act, the borderlands have been stripped of environmental protections by the US Congress. The Wilderness Act no longer applies along 2000 miles of some of the wildest most biodiverse lands in the United States. It was a matter of political expediency. Despite the presence of many endangered species and imperiled ecosystems, (and despite ample evidence that border walls and militarization do not stop human migration), the government didn’t want environmental safeguards slowing down the military machine.

rabbit at border wall

Desert cottontail rabbit at the US-Mexico border wall under construction in southern Arizona.

A different type of machinery stands at the door of a third location, the Clearwater Basin in Idaho, one of the United States’ wildest remaining mountain landscapes yet to receive protections under the Wilderness Act. Advocates began proposing a wilderness designation for the Clearwater decades ago, only to see the acreage whittled away in the interest of timber extraction, road construction and off-road vehicle use.

salmon in river

Salmon heading upstream to spawn in the Clearwater Basin.

All three of these places present a different struggle and opportunity within the discourse about wilderness. The Anacostia offers a cautionary tale about what often becomes of a wilderness unprotected. In this watershed the most economically disadvantaged citizens of the nation’s capital continue to eat fish and swim in a river long ago abandoned by most as a toxic waste pit. But even now, despite centuries of abuse and neglect, there are opportunities to undo some of the harm we have done and re-create this river through restoration and in some places re-wilding.

Kayaker on the Anacostia River.

Kayaker on the Anacostia River.

In the borderlands, where every day the US government is eroding The Wilderness Act and wilderness itself, environmental protections could be returned to the land, if Congress were just to act in good faith and honor our most treasured environmental laws.

Kit foxes in the US-Mexico borderlands.

Kit foxes in the US-Mexico borderlands.

The Clearwater, its crystalline waters, salmon runs and old growth cedar forests, are on the precipice of protection, awaiting the state and local communities to express their faith in the importance of clean water and air and open wild spaces where people can get lost and learn to love the land in a way no other experience can afford them.

And all three of these places offer one singular hope for the wild species that inhabit them, the hope of a future to live their lives in this great ecosystem of Earth. The beaver, catfish and cedar waxwings of the Anacostia River; the jackrabbits, green jays and kit foxes of the borderlands; and the salmon, black bears and wolves of the Clearwater, all depend on us. Our pact with wilderness, made 50 years ago this week, and our commitment to honor that pact, will determine their future, and ours.

Beaver swimming in the Anacostia River.

Beaver on the Anacostia River.

Krista Schlyer is a photographer and writer living in the Washington DC area. She is a senior fellow in the International League of Conservation Photographers, and author of the book Continental Divide: Wildlife, People and the Border Wall, winner of the 2013 National Outdoor Book Award. View more her work on her website at

Schlyer will give a presentation on “Nature At The Borderlands” in one of the breakout sessions at the 2015 NANPA Summit taking place in San Diego, California from February 19th – 22nd. To learn more about the Summit and to register for this exciting and inspirational event, please visit Early bird registration ends on October 31st!

Take It All In And Give It All Back by Dewitt Jones

Dewitt_97A3277 copy_01

by Dewitt Jones

I took the podium and looked out over the room: seven hundred men and women, some of the finest nature photographers in the world. This was the North American Nature Photographer’s Association’s (NANPA) Second Annual Forum and it was my job to bring it to a close.

That morning, I had holed up in my hotel room trying to come up with what I would say. My mind wandered back over my own career as a photographer — not so much the photographs but rather the experiences and the lessons I had learned.

I thought about the natural cycles I had so often witnessed while photographing – the seasons, the tides, the rising and setting of the sun. How many thousands of times I had I watched them? Like watching the smooth muscle of the planet — the things our little orb can’t help but do. Like watching the earth breathe.

Read the rest of this entry »

© 2013 - North American Nature Photography Association
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Review: The von Liebig Art Center's 2008 faculty biennial is an "art party" worth attending

"The von Liebig Art Center's 2008 Faculty Biennial"

When: Through Sunday

Where: von Liebig Art Center, 585 Park St., Naples

Cost: Free

Information: 262-6517,

Wandering through a group art exhibit often feels like dropping in at a large cocktail party. The room is humming with a medley of voices, some familiar and some not. Everyone's talking at once, all telling a different story.

As it turns out, the "von Liebig Art Center's 2008 Faculty Biennial" is a lively art party, and worth popping into for a look before it closes on Sept. 21. Its common thread is that the 25 artists teach in the von Liebig's education programs. Plus, most are local, living here at least part of each year. In other words, these folks are our neighbors, colleagues and friends.

The work on view ranges from William Saladino's fervent recasting of traditional Christian religious iconography to Kelly Hollingsworth's elusive, ambiguous mixed-media collages. There's only a sprinkling of three-dimensional work, including raku ceramics by David Hammel and a found-object assemblage by Naples art writer Sarah Coble.

Coble's construction, aptly enough, involves wordplay. Called "Taking Oneself Lightly," her piece is a doll-sized angel that lights up from within. It's a thrift-shop guardian angel, stitched together from old lamp parts, toys and hardware store bric-a-brac.

One of the main things we expect local artists to do is show us ourselves — though not the unvarnished truth, of course — and the beauty of the natural environment around us. Carmelo Blandino's large-scale painting of Corkscrew Swamp falls into the second category.

He's a relative newcomer to Naples, having moved here from Canada not long ago. But his eight-foot-wide oil on wooden panel makes it clear that this painter has been absorbing his new surroundings.

Broadly brushed and expressionistically charged, Blandino's "Corkscrew Sanctuary" captures the lush humidity and fecundity of Southwest Florida's wetlands. His composition balances adroitly on the divide between representation and abstraction. The paint handling is fluent and evocative, with a suavity reminiscent of abstract art of the 1950s and '60s.

Someone at a cocktail party is always just back from a fabulous trip. Meredith Feist's color photographs of Antarctica fit the bill, at least metaphorically. Her artist's statement notes she visited the region in 2005 as part of a scientific mission on a Russian icebreaker, which must have been a pretty cool experience.

Her pictures from the journey have a wonderful luminosity and clarity, especially "Antarctica I." This image has an Asian sense of delicacy and flatness. It brings to mind the 19th-century Japanese prints that the French Impressionists loved so much.

In this photograph, an otherworldly grayish-brown sky contrasts with blue-green ice and seawater the color of antifreeze. The scene playfully confounds positive and negative space, as the viewer's eye oscillates between a snow-fringed boulder in the foreground, which also reads as a "hole" in space, and the ice shelf behind it.

Feist's other two pictures record interesting scenes of crumpled ice and chilly waters, but her sensibility strays a bit too close to National Geographic for my taste. She's a young artist who moved here from Delaware a few years back, so it will be interesting to see how her work develops in the future.

At just about every party, there are a couple of guys telling jokes in the corner. Sure enough, the von Liebig has Tom Cardamone. His acrylic painting, "Priority Mail," is a visual one-liner. The picture is a painting within a painting —signed, sealed and apparently delivered by the Postal Service.

An expressionistic portrait of a woman peeks out from underneath torn paper wrappings still tied up in string. Cardamone's signature is cleverly inscribed at the bottom of this fictive modern masterpiece. The packaging is rendered in trompe l'oeuil (literally "fool the eye") style, like the 19th century still lifes that sought to trick naïve viewers into thinking the picture was real.

Hanging nearby is Sam Platt's pencil drawing, "Muffin Top at the Coffee Shop." Platt reports good-humored fashion observations he made while sitting in a coffee shop looking at other people's navels, at the height of the fad for low-riding jeans. As his artist's statement explains, "I know, I know, it's a tough job but …"

Ted de Clercq has evidently spent time observing his fellow Neapolitans, too, but from a different viewpoint. His painting, "Dance in the American Mall," has my vote for weirdest picture in show. Meticulously painted in oil on linen, it portrays a group of square dancers performing at Coastland Center mall, dressed in elaborate matching costumes.

De Clercq's statement describes how he watched such a scene, but performed by older dancers. He decided to "age-regress" them for his painting, imagining them as youthful avatars of themselves.

The picture is strangely compelling, bursting with repressed sexuality while straining to achieve the hearty folksiness of 1930s American scene painting. The artist squeezes 11 figures into his pictorial space, no easy task. But the figures look oddly unreal, like Western wear store mannequins come to life. The men are all square jawed and the women good looking. The ruffles and flourishes of the ladies' dresses are more convincing than their idealized faces, which make me think of "Breck Girl" shampoo ads from the 1960s. Still, de Clercq has created an ambitious image that deserves some attention.

So, grab your partner and do-si-do on down to the Art Center for a look. The art party's not over until the doors close on Sunday afternoon.

E-mail Janice Paine at

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Statistical approaches to 'Life course epidemiology'

Update content

Title Statistical approaches to 'Life course epidemiology'
Period 04 / 2007 - 12 / 2011
Status Current
Dissertation Yes
Research number OND1321964
Data Supplier Promotor, Website SHARE

Life course epidemiology is defined as the study of long term effects on later health or (often multi factorial, chronic) disease risk of physical or social exposures during gestation, childhood, adolescence, young adulthood and later adult life. Studying these associations raises statistical problems as risk factors act in a temporal fashion, often having both a direct effect on the early, preclinical development of disease and on the occurrence or strength of other risk factors (effect modification). Recently within the UMCG a large three-generation population-based study to multi factorial disease has started: LifeLines. The aim of this study is to investigate universal risk factors and their modifiers for multi factorial diseases. General mixed and joint biostatistical models have been developed to analyse the data collected, but these do not optimally use the three generation data and do not quantify the effects of modifiers. This research will aim at developing practical solutions to analyse data from three generation population-based studies which will be applicable both for the Groningen LifeLines project as well as for other cohort studies at the UMCG (Prevend, TRAILS, GLAS...).

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Supervisor Prof.dr. R.P. Stolk
Co-supervisor Dr. V. Fidler
Doctoral/PhD student S. la Bastide

D11600 Probability theory, statistics
D23370 Social medicine

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APRIL FOOLS DAY 2009 “Inconceivable!” Three Princess Bride stars join the Dawn Treader.

We have it on good authority that not one, not two, but three actors from the classic film, the Princess Bride will star in the upcoming adaptation of Voyage of the Dawn Treader. The three names mentioned are Wallace Shawn, Cary Elwes and Mandy Patinkin.
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Nii Yugito (S)

A kunoichi from Kumogakure, Nii Yugito holds within her the two-tailed beast. She has full control over the bijuu Nibi, and is able to transform into it and use its powers to fight. Original Design: lder
Requirement to unlock: Mission: The Two Tailed Beast

Nibi Transformation

Yugito unlocks the power of her bijuu and takes on its form. She gains 50% damage reduction and can use both Spectral Fireball and Claw Swipe. This skill is permanent and cannot be used while in effect.
 Cooldown: None
Chakra required: No Costs
 Classes: Chakra, Unique, Instant

Spectral Fireball

By spitting a large fireball from her mouth, Yugito deals 30 damage to one enemy. That enemy will deal 10 less non-affliction damage for 1 turn. Each time this skill is used it will deal 5 more damage (this effect stacks).
 Cooldown: 1
Chakra required:
 Classes: Chakra, Ranged, Instant

Claw Swipe

Yugito takes a huge swipe of her claw dealing 15 damage to one enemy and 5 damage to all other enemies. This skill will deal 5 more damage each use (this effect stacks).
 Cooldown: 1
Chakra required:
 Classes: Physical, Melee, Instant

This skill makes Yugito Nii invulnerable for 1 turn.
 Cooldown: 4
Chakra required:
 Classes: Mental, Instant

Related subjects:

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News & Media

Patrick to co-host country award show

September 17, 2013, Holly Cain,

Will co-host show with Trace Adkins

The American Country Awards show announced Tuesday that NASCAR driver Danica Patrick will co-host the nationally televised awards ceremony with country music superstar Trace Adkins.

The show will air live (8 p.m. ET on FOX) from Las Vegas' Mandalay Bay resort on Dec. 10 -- the Tuesday after NASCAR’s Sprint Cup Series Awards Ceremony.

It turns out the cowboy hat and belt buckle that Patrick famously donned at the Texas Motor Speedway this spring may come in handy. This year's Daytona 500 pole-winner and Sunoco Rookie of the Year candidate has long been a country music fan and even appeared in music videos with country artists like Miranda Lambert and Colt Ford.

It will be the first time Patrick has co-hosted a full-length live television show and her co-star is already looking forward to the event.

"I can't wait to see if I have what it takes to keep up with this racing superstar," the Grammy-nominated Adkins said.

Patrick who has starred in Super Bowl television commercials for her No. 10 Stewart-Haas Racing Chevy sponsor, GoDaddy and appeared in Sports Illustrated magazine’s famed "Swimsuit Issue" has long proven she's comfortable in the spotlight.

And like the American Country Awards -- whose winners are selected by fan vote -- Patrick has a lot of experience with fan participation. She was voted into NASCAR’s Sprint All-Star race this year by NASCAR fans.

"I'm so excited to host the American Country Awards with Trace Adkins," Patrick said. "I have no doubt he'll be able to keep up with me. I've become a huge fan of country music since I came to NASCAR. …This is going to be a really cool experience and I'm excited to be a part of it. It's going to be a great show!"

READ: Kenseth wins at rainy Chicagoland

READ: Engine failure halts Logano's fast Chase start

WATCH: Post-Race Reactions GEICO 400

WATCH: Final Laps: Kenseth takes Chicagoland


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Sector Update: Tech

Technology stocks were ending moderately higher in afternoon trade with shares of technology companies in the S&P 500 gaining almost 0.5%.

In company news, LogMeIn ( LOGM ) shares were off their worst levels of Wednesday trade after responding to a cautious assessment of the cloud-based collaboration software company by a Boston-area institutional research group.

The Off Wall Street Group today initiated coverage of LOGM with a Sell recommendation and a $30 price target, arguing its core market of remote-access software is saturated while user growth was stagnated following a price increase by the company last year.

But on its corporate blog today, LOGM said it has continued to add IT management customers in recent quarters, adding it has not changed the way it calculates renewal rates and does not include add-on sales in those estimates.

The company also contends Off Wall Street failed to include the potential of its Xively online database service as well as the "Internet of Things" in evaluating LOGM's prospects. It also said its AppGuru was designed specifically for its core customer base and is "highly differentiated" from similar "me-too" applications.

LOGM shares recently were down about 7.7% at $40.69 each, earlier dropping to a session low of $40.25. The stock has a 52-week range of $26.94 to $47.69 a share, rising nearly 50% over the past 12 months.

In other sector news,

(+) PXLW, Seeking Alpha blog touts potential revenue growth as Apple ( AAPL ) includes more of the company's displays in its products. The author, 3D Analystics, forecasts $22 price target for the stock, nearly triple Tuesday's closing price.

(-) GIMO, Lowers Q2 outlook by as much as $7 mln from prior guidance, now forecasting between $34.5 mln to $35 mln in revenue, trailing Wall Street estimates by at least $5.2 mln.

The views and opinions expressed herein are the views and opinions of the author and do not necessarily reflect those of The NASDAQ OMX Group, Inc.

Copyright (C) 2014 All rights reserved. Unauthorized reproduction is strictly prohibited.

This article appears in: Investing , Commodities

Referenced Stocks: LOGM , AAPL

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Bob Waggoner (Lynch-Bages Patron’s Dinner Chef) on Talk of the Town!

For those of you who may have missed this before the l'Eté du Vin Gone Country Auction, you'll want to watch Bob Waggoner on Channel 5's Talk of the Town cook a scallop dish that is now being served at Watermark! Chef Waggoner did a fantastic job on the dish, and was a crowd favorite at the Château … [Read more...]

Tom Laffey Makes An Appearance on Talk of the Town!

Tom Laffey, l’Eté du Vin’s co-executive director, made an appearance on News Channel 5’s Talk of the Town on July 6, 2011 to talk about Nashville Crush and share with viewers the art of purchasing affordable wine.  During his conversation with Talk of the Town anchor Meryl Rose, Laffey discussed how … [Read more...]


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Tell us what you think about Jeffrey Campbell Opulence Chained Pump

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Jeffrey Campbell Opulence Chained Pump

$140.00 $200.00 (30% OFF)
Sold Out
Style #:35885
This item only ships to the U.S. by ground
Waitlist Me

Get an email alert if this goes back in stock.

Super glam black suede pumps featuring acrylic black and gold chains at ankle with crystal and velvet ribbon detailing. Thin gold chain is draped across the front, genuine leather lining. Cushioned insole, stiletto heel. Zip closure at back.

*Genuine Leather Upper/Lining
*Height: 8.5"/21.5cm
*Heel Height: 4"/10cm

If you're not utterly obsessed with your recent purchase, it's now so easy to send it back! All US returns can be completed online using our fast, hassle-free system. Check out the links below for more details.

Hair accessories, opened makeup, earrings, ear cuffs, panties and bodysuits cannot be returned.


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More Cute Stuff

Tell us what you think about N.L.P. Electric Youth Bikini Top

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N.L.P. Electric Youth Bikini Top

$69.00 $138.00 (50% OFF)
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Style #:38482
Waitlist Me

Get an email alert if this goes back in stock.

There's electricity in the air this summer, but only if you can get your hot mitts on this little number. Features neon color blocking, sporty high neck design, and contour stitching. Crazy, sexy, cool just got real. By N.L.P.

*28"/71cm bust
*12"/30.5cm length
*Model is wearing a small
*Measurements taken from size small
*Hand wash cold

XXS 24 0 4 4 32 36, 38 XXS XXS
XS 25, 26 2 6 6 34 38 XS XS
S 27, 28 4 8 8 36 40 S S
M 29, 30 6 10 10 38 42 M M
L 30 8 12 12 40 44 L L
XL 31, 32 10 14 14 42 46 XL XL
XXL 32 12 16 16 44 48 XXL XXL

Please use these size charts to help determine your size. Because sizing and cut will vary between brands, please use the charts as a general guide to compare the various size scales. If you have a specific sizing question or would like more information, please contact Customer Care.

Sizes listed are US, unless otherwise noted.

If you're not utterly obsessed with your recent purchase, it's now so easy to send it back! All US returns can be completed online using our fast, hassle-free system. Check out the links below for more details.

Hair accessories, opened makeup, earrings, ear cuffs, panties and bodysuits cannot be returned.


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Published on: May 12, 2014
Photography by: Edward Small productions "Jack the Giant Killer"

Fan fave JUDI MEREDITH who starred in “JACK THE GIANT KILLER” and WILLIAM CASTLE’s “THE NIGHT WALKER” has gone to the land beyond beyond at age 77.

Born Judith Clare Boutin in Portland Oregon in 1936, she was talented figure skater who turned pro with the Ice Follies at age 15. Her career was shattered as a skater after breaking er back in an accident. Recovering, she continued to skate until she broke her knee when she firmly told by docs to stop skating.

Judi was touring in summer stock when she was discovered by famed comedian George Burns who cast her on his TV “The George Burns & Grace Allen Show” in a recurring role.She made her film debut in “Wild Heritage” in 1958.

A familiar face across the TV landscape of the 1960s appearing in the “87th Precient”, “Wagon Train”, “Gunsmoke”, “Ben Casey”, “Have Gun Will Travel” “Bonanza”, “Emergency” and “Hawaii Five-O” among many, many others.

But her film fame was cemented as the role of the Princess Elaine saved by stalwart hero Kerwin Matthews in the stop-motion classic fantasy film “Jack the Giant Killer”.

Later she appeared in suspense director William Castle’s nightmare flick “The Night Walker” with Robert Taylor and Barbara Stanwyck.

She also appeared in AIP’s sci-fi horror flick “The Queen of Blood” one of the many inspirations of “Alien”.

According to "Movie/TV/Record Stardom" Magazine in May 1960, she dated Bobby Darin prior to his romance with Sandra Dee. She also dated Frank Sinatra.

On the TV show “Hotel de Paree” she met assistant director Gary Nelson.  She told the producers of “Have Gun Will Travel” she’d appear for free, if they allowed Gary to direct.  They agreed.

Soon after they were married but hubby soon laid down the law – that there would be only one professional in the family and Judi Meredith Nelson slowly faded from film and TV as Gary’s career took off. Happily, she was content to support his career, yacht and ply her rose garden.

Her last TV appearance was on the police series’ “Toma” in 1973. “Jack the Giant Killer’ was re-released on video during the 1980s as a musical adding songs where they were none originally in an attempt to Disney-fy it.  Recent releases of the fantasy swashbuckler have been shorn of the added dross.

Judi passed on April 30, 2014 surrounded by husband Gary and her two sons.

Au revoir, Judi.


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49ers, Kaepernick to restart contract talks

Posted · Add Comment

The San Francisco 49ers are resuming contract talks with quarterback Colin Kaepernick this week, according to the Sacramento Bee.

The 49ers negotiated with Kaepernick's agents during the NFL scouting combine in February.

Talks had been on hold while Kaepernick was investigated in Miami, but that is reportedly coming to a close and the 49ers don't seem concerned about any legal complications arising.

"I feel very good there'll be a good resolution, and hopefully a just one, too,” 49ers coach Jim Harbaugh said in April. “I hate to see his reputation be the victim."

The contract, when it's done, is expected to be lucrative, perhaps as much as $18 million annually.

Follow me on Twitter: @RavensInsider

Aaron Wilson covers the Ravens for The Baltimore Sun

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The Tate Gallery opened in 1897 with a benefaction from Sir Henry Tate. It was initially established as the National Gallery of British Art under the National Gallery Trustees, but the National Gallery and Tate Gallery Act of 1954 established it as an independant institution to house the national collections of British painting and international 20th-century art. Unlike the National Gallery, the Tate's collections include sculptures and graphics.

In 1987 the Clore Gallery opened to house the Turner Collection. Tate Liverpool opened in 1988 and Tate St Ives opened in 1993. The new Tate Modern opened in 2000 to house the collection of international 20th century art, whilst the British art remained at the original Tate Gallery, now renamed Tate Britain.A number of important paintings by major British artists are displayed at the National Gallery in order to show these works in a European context.

In 1997 the Tate and the National Gallery decided to rationalise their collections; over 50 Impressionist and Post-Impressionist works painted before 1900, previously held at Tate, have been loaned to the National Gallery in return for some fourteen early 20th-century works from the National Gallery's Collection. The exchange allows the National Gallery to present a richer view of European painting in the second half of the 19th century than was possible before.


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About Us

Welcome to the National Hypnotherapy Society website. Supporting our members, supporting the public and supporting the development of the profession of hypnotherapy.

Stephen Fry Took Cocaine For 15 Years

Stephen Fry, world renowned author and broadcaster, has admitted to having had a problem with cocaine, according to The Telegraph.

In an interview for the Sky Arts programme, 'In Confidence' - to be aired in June - the star claimed he indulged in "15 years of pretty chronic cocaine taking."

In the unlikeliest of confessions, Fry noted that he used to take the drug regularly while solving word puzzles: "I tended to take it alone at home and play word games, mind spinning."

"I'd do very difficult crosswords, I would spend hours on these," he explained. "It took me a very long time to get to a position where I was ready to [stop]."

Cocaine addiction blights thousands of Britons every single year and seeking a hypnotherapist is advised in order to overcome these addictions. Hypnotherapy can pinpoint a root cause for the addiction and outline any other underlying reasons for the problem.

It uses a mixture of neuro-linguistic techniques to help the addicted.

The QI presenter is not the only celebrity to become addicted to a drug. The Sun recently reported that supermodel Kate Moss is undergoing anti-smoking hypnotherapy in order to stamp out her habit.

She has recently cut her smoking addiction from 30-a-day to 15 after being told it could be an obstacle when trying to conceive.


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National Jewish Health Physician Stanley Szefler, MD, Advocates for Continued Availability of Long-Acting Beta Agonists for Asthma

Asthma Expert Addresses FDA on Behalf of American Academy of Allergy Asthma & Immunology and American College of Allergy Asthma & Immunology

Limiting the availability of medications known as long-acting beta agonists(LABA) would set asthma care back 20 years and increase risks of more asthma attacks, neurological adverse effects, growth and adrenal suppression, osteoporosis and cataracts, according to National Jewish Professor of Pediatrics and Pharmacology Stanley Szefler, MD. Dr. Szefler Thursday addressed a joint meeting of FDA committees considering reduced access to the medications. He spoke on behalf of two major physician organizations involved in asthma care: the American Academy of Allergy Asthma & Immunology and the American College of Allergy Asthma & Immunology.

"Based on many studies and patient outcomes, there is no question that LABA is a most beneficial treatment option for asthma patients of all ages," wrote Dr. Szefler in a prepared statement. (Dr. Szefler's actual remarks to the FDA may not exactly match the prepared testimony, but do accurately reflect his position.) "The risk-to-benefit ratio clearly favors their use."

LABA help relax constricted muscles in the airways of asthma patients. They are used as a supplement to inhaled corticosteroids, which reduce inflammation within the airways. LABA are sold as Serevent and Foradil. Advair and Symbicort contain both corticosteroids and LABA. The FDA committees met to address a longstanding controversy about the possibility of increased deaths among asthma patients who use LABA.

Dr. Szefler spoke out strongly in favor of LABA. He said that LABA, in conjunction with other medications and asthma guidelines, had helped move asthma care from a reactive therapy to a preventive one aimed at maintaining control of asthma. Their introduction had helped reduce high doses of corticosteroids given to patients, thus reducing the potential for side effects such as growth and adrenal suppression, osteoporosis, skin atrophy and cataracts. LABA had also helped end common use of theophylline, which carries risk of neurological side effects.

Dr. Szefler noted that the introduction of LABA had coincided with a reduction in asthma mortality nationwide, a plateau in asthma hospitalizations, and a marked reduction in the number of severe asthmatics requiring maintenance oral steroid therapy.

"A step to reduce the availability of LABA as a supplementary therapy for asthma management in children and adults would limit therapeutic options to those with less efficacy or more significant adverse effects," wrote Szefler. "In effect this would move asthma care back to a state of management we witnessed over 20 years ago that was fraught with serious neurological adverse effects related to theophylline and.. would lead to more exacerbations and thus prompt dependence on rescue oral steroid therapy also associated with severe adverse effects."

Dr. Szefler did note that there are little data on the effectiveness and safety of LABAs in children under five. He also said that LABAs should be used only in combination with corticosteroids.

Dr. Szefler was a member of the National Institutes of Health expert panel that recently published asthma treatment guidelines. They called for consideration of LABA for patients whose asthma remains inadequately controlled on low-dose inhaled corticosteroids.

"I urge you to trust that the expert panel has done due diligence in reviewing all treatment options and continue to support the availability of these valuable agents to better manage our patients with asthma," wrote Dr. Szefler.

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