It’s never smart to turn your back on a wild animal.

That’s because you can’t ever know for sure how they are going to act. The only real guarantee that you have when you encounter a wild animal is the fact that you have no idea how things are going to go down. Because of that, there are plenty of rules and guidelines to help humans who find themselves in sticky situations like this one.

First off, if you can stay away from the wildlife, that’s the best way to stay safe. The National Park Service recommends that tourists stay at least 25 yards away from animals that are considered non-violent, like elk and moose. For bears, wolves, and other predatory animals, the NPS suggests (and emphasizes) that people should stay at least 100 yards away.

Secondly, if you do find yourself in a close encounter with a wild animal, backing away slowly and making sure not to run is the best way to retreat. Running away could result in an animal’s chasing instinct to kick in, so that’s why the photographer in this video was trying to stay calm and refrain from making a run for it.

Though the man was handling the situation as best as he could (though we don’t know how he got himself into this in the first place), it didn’t stop this curious bull moose from bluff charging him a couple of times. The only mistake the guy made was turning his back to the young moose from time to time, and that could have ended poorly if the moose had decided to go for a full-on charge. I mean, he’s got quite the lens on his camera, does he really need to be that close? I don’t think so, but I’m not a photographer.

Eventually the photographer gets out of the pickle he got himself into, as you’ll see in the footage below:

That’s a close call right there.

Everything ended up okay for this photographer, but those on social media that watched the video seemingly wish that the moose would have been able to teach the guy a little bit of a lesson:

“Has a three foot lens and needs to be two inches from it. More money than brains.”

“Good thing it wasn’t a female with a calf.”

“People always look surprised when wildlife acts like wildlife.”

“I was hoping he’d end up in the river with that fancy camera.”

“Why do these people do this? Please tell me.”

A question that we would all love to know the answer to…

David Winegar has been a staple in the Park City photography world for a few decades now, seen around at local art shows, the Park Silly Sunday Market, posts on Nextdoor and work adorning Elevated Interiors.

A retired Air Force-turned-Delta Airlines pilot, Winegar focused that same methodical, patient self-discipline that pilots develop to his photography, creating a name for himself and his own company, Park City Photography. 

Over the years, Winegar has earned awards for his wildlife and landscape images in various prestigious competitions.

“When I kind of started down this road, what was going through my mind was ‘How do I differentiate myself from all the other photographers?’” he said. “A separator would be to put my work in front of critics and master judges and see if I could win in these competitions. So I’ve been a competitor pretty much for 20 years, with a lot of humble pie in there.” 

Most recently, his awards have included his image “Leap of Faith,” a photo of a fox leaping over a stream with two ground squirrels in its mouth, winning International Best of Category Wildlife in 2007 at the Art Wolfe Environmental Photographic Invitational; “Better,” a photo of a man looking up at a huge poster of a woman, winning First Place for Outstanding Achievement in the ninth annual International Color Awards Professional Division People Category; “Final Pass,” an image of a DC-10 tanker fighting the Parleys Canyon fire, helping him earn the 2022 Intermountain Professional Photographers Association‘s Photographer of the Year Award.

And he just doesn’t stop. This spring, his piece titled “First Snow On Fall Leaves – La Sal Range – Moab Utah” was one of the 276 pieces out of 1,450 submissions chosen for the 100th Annual Spring Salon exhibition at the Springville Museum of Art.

Being selected for his exhibit, which runs through July 6, further validates Winegar’s eye and process for developing the perfect image, in part natural gift and dedicated study.

“From the beginning, I’ve always been a big consumer of training. So I’ve been to probably over a thousand courses that I’ve taken, from weekend lectures and seminars, to my participation in the Professional Photographers of America, and then the Intermountain Professional Photographers Association, where they have annual competitions,” he said.

He also got a formal education and graduated from the New York Institute of Photography in 2015, always interested in making wildlife and landscapes his subject.

While it’s rarely a lucrative art, pursuing landscape photography is worth the long hours, early mornings and challenging natural elements, Winegar said.

“I love what God’s created, and I like to bear witness to it and capture it through the lens and then make a beautiful art piece out of it,” he said.

Part of his natural talent involves pre-visualizing a scene he intends to capture, and then it’s practice, practice, practice.

“You can spend all of that time in lectures and seminars, unless you get behind the camera and have a complete command of both the technical operation of the camera and to deliver your artistic vision, … it’s getting behind the camera on a regular basis and that means multiple times a week, going to field and shooting with purpose,” Winegar said.

For him, this can mean going out to the same place, shooting the same tree over and over until the light is just right. An example would be his series of photos titled “Ancient Lonely Bristlecone at Dead Horse State Park,” which depicts the same tree under a moonless sky, or in the dim light of dawn.

The piece that will be shown at the Springville Art Museum was a combination of this right place, right time coincidence, and his methodical forethought. 

“This was October of ’21, big snowstorm, and the leaves were all in the trees on the La Sal loop which is a loop road that goes through the La Sal mountain range,” he remembered. “And I thought that night, ‘Man, this is the first big snow, and those leaves are going to be informed by those first snowflakes, and that is really going to be pretty.’”

He got up before light and drove up to Warner Lake, where aspen covers the hillsides. Four inches of fresh snow had fallen, untouched by wind.

“It’s a short time period between when you lose those leaves and rare to get that first snow and not have lost the leaves,” he said, and spent hours that day taking photos.

The result was a tangle of branches, juxtaposed with bright snow and the yellow of autumn leaves. Once Winegar chose his best shot, he sent it in to be made as a chromogenic print, pioneered by photographers like Ernst Haas.

“When you see it, it’s like you can walk into the forest. And that’s what I love about the Chromogenic process,” Winegar said. “It’s a museum quality look that, when you see it … there’s a difference. It’s absolutely three dimensional.” 

The printing process is long and expensive, he said, but worth the money for many of his photos. Some of the images displayed at Elevated Interiors are printed in this way, adding emphasis to their already striking scenes.

With his acceptance into the Spring Salon exhibit, Winegar’s years of learning and hard work continue to pay off. Now, starting his Park City Photography School, Winegar hopes to pass on his knowledge to others.

“I’ve just started doing some private instruction,” Winegar said. “I have a syllabus that I’ve worked up and the classes are anywhere from three to six hours depending on what my client would like to focus on.”

Winegar also participates in the Park City Photography Club, which meets for monthly lectures, usually at the Park City Library.

“You get to associate with people that are passionate about photography and anybody with any skill level can come and we keep the lectures so everybody can understand them,” Winegar said.

He continues to search for the next photo, planning to photograph ospreys and burrowing owls on Antelope Island in the coming weeks.

“You get where you have a knowledge of certain animals and the time of year best to photograph them. Pretty much there’s always a month that there’s something cool that you can go out and use as your subject matter in the wildlife kingdom,” he said.

“First Snow On Fall Leaves – La Sal Range – Moab Utah” and other works by Utah-based artists can be seen at the Springville Museum of Art daily, except Sundays, through July 6.

Meanwhile, Winegar will keep pursuing what he loves.

“What my goal was back then, and continues to be, I’m always trying to learn more,” he said.

A photographer has recalled the “emotional” story behind how he managed to take some portrait images of Alex Turner on a train.

The anecdote was shared by photographer Chris Blood, who took to social media last night (April 29) to recall the time he bumped into his “hero” – Arctic Monkeys frontman Alex Turner – and managed to get some portrait shots of him on a train journey.

Taking to Instagram, the photographer shared four images of the Sheffield singer, and used the caption to recall both how the moment arose, and what it meant for him to meet the singer.

“Met my hero on a train,” he began.

“It’s 2005, a band explodes on MySpace. They’re dressed like you and their lyrics are a mirror to your life. Bleeding heck, who the fuck are the Arctic Monkeys? After 19 years on repeat it’s now 2024. Myself and @conor_bloodfilms are travelling back from Paris.

“We arrive at Gare Du Nord and Duffy stops in his tracks. He whispers to me ‘I think that’s Alex Turner.’ ‘F**k off!’ I immediately reply. I gaze over at a guy wearing a leather jacket with long brown hair, his face adorned with aviators. We should probably stop staring as it’s getting weird, sexually and aggressively weird. Turns out it is bloody Alex Turner, the man who’s provided the soundtrack to my life! He strolls past and disappears into the Parisian platform crowd. A missed opportunity.”

He continued, going on to explain that the two coincidentally ended up on the same train journey back to London, where he finally built up the courage to talk to the singer-songwriter.

“We look to our left and there’s Alex. Sitting in his seat accompanied by a notepad. He’s probably writing the next Arctic Monkeys hit ‘Two gawping pricks on a train’. We really need to stop staring,” he explained.

“I tell Duffers I’m going in, he stops me. Reminds me that I’m a fully functioning adult and not to create a scene. Christ, he’s right! I feel like I’m 15 years old again, someone get me a Strongbow and whack Dancing Shoes on, kin hell lad!

“Eventually myself and Con engage, it’s a surreal experience. Alex is polite and returns conversation in a soft friendly manner. The whole situation is just bloody lovely. I awkwardly ask if I can take his portrait, fully aware that it could result in an awkward exchange and destroy this wonderful moment. He smiles and obliges, he’s effortlessly cool, asks for direction and I take a few snaps,” Blood added.

“We disembark the train, I felt quite emotional and that’s embarrassing to admit. Maybe it was the jet lag, the caffeine and croissant overload? Or maybe it was just the rekindling of my youth.

“This all might sound trivial, however, for me these portraits are deeply personal serving a reminder that life is a series of fortunate events and when fully appreciated can conjure up some pretty awesome memories.”

Check out the shots of Alex Turner in the post above.

In other Arctic Monkeys news, the Sheffield band wrapped up the final night of their world tour last October by bringing out James Ford and Miles Kane as special guests.

The moment took place at their show at the 3Arena in Dublin, as they played the final night of their global tour, celebrating the release of their latest studio album, ‘The Car’.

Their last album dropped at the end of 2022, and was given a glowing five-star review by NME, who described it as “a swashbuckling, strings-fuelled epic”.

“‘The Car’ goes some way to addressing some of the last record’s flaws. While growing in stature once the initial shock wore off and proving to be wildly entertaining live, there were still some nit-picks to be had with ‘Tranquility…’: perhaps it was too slow and one-note, perhaps the full band were under-utilised as performers, perhaps it felt more like a Turner solo record,” it read.

“On ‘The Car’, though, Jamie Cook, Nick O’Malley and Helders are present and powerful; guided by Turner’s songwriting and delicate vocal performance, but never ceding to it: ‘Body Paint’, a swaggering ‘70s-inspired epic, features the full band at their most ferocious-sounding in years. If ‘Tranquility…’s monochrome palette boxed Arctic Monkeys in, here they’re flourishing in full colour.

In today’s landscape, the demand for video content has skyrocketed, creating new opportunities for photographers. The ability to capture motion and tell stories through video is no longer just a desirable skill, but rather an essential one for photographers looking to expand their services and reach.

Coming to you from Evan Ranft, this helpful video dives into the fundamental video skills that photographers need to master in 2024.  Ranft emphasizes the unique advantage photographers possess in their understanding of cameras, composition, and settings, providing a solid foundation for transitioning into the world of video. He highlights the potential for increased brand reach, client value, and ultimately, higher earning potential by incorporating video services into your photography business. 

The video describes key concepts such as shutter angle, ND filters, and the effective use of log footage for achieving optimal dynamic range. Ranft also sheds light on common beginner mistakes in slow-motion capture and post-processing, offering valuable tips for achieving smooth and professional results. He further explores the importance of color grading, specifically the Rec 709 conversion process, for ensuring consistent and accurate color representation across various devices. 

Beyond technical aspects, Ranft emphasizes the significance of understanding shot composition and its impact on storytelling. He explains the role of establishing shots and close-ups in creating a visual narrative that effectively engages viewers. Additionally, he stresses the importance of motion continuity, ensuring smooth transitions between shots to maintain a cohesive and visually pleasing experience. 

Ranft concludes by encouraging photographers to embrace video as a powerful tool for growth and expansion. Check out the video above for the full rundown from Ranft.

Every photographer is unique, with different narratives and styles and various preferences, experiences, and aspirations. Courtney Victoria recently shared her insights on solitude, a particularly important topic in a world overwhelmed with information and impressions. In her video, she discusses the delicate balance between solitude and social interaction in photography. Let’s delve into the key takeaways and lessons you can draw from Courtney’s story.

Understanding your personal preferences

Courtney’s story highlights the fact that photographers have different preferences. Some of us prefer working alone, finding it helpful for the creative process. Others enjoy the energy and collaboration of group projects. This diversity of preferences reminds us that there is no a single perfect way to approach photography. As a photographer, it is important to reflect and understand your preferences, whether you prefer working alone or drawing inspiration from group dynamics.

Finding balance

The main lesson from Courtney’s video is that finding a balance between solitude and social interaction is essential. Solitude can provide moments of self-reflection, allowing you to explore your creativity, pay attention to details, and connect deeply with your subjects. Also, remember that solitude is not the same as loneliness, and it’s nothing to fear.

On the other hand, social interaction offers opportunities for knowledge-sharing, learning, and building a sense of community within the photography industry. Courtney reminds us to embrace both aspects, recognizing that each has its advantages.

Courtney emphasizes the importance of community engagement in photography. This can be achieved through attending meetups and workshops, engaging in online forums, or joining social media platforms. Connecting with like-minded individuals can greatly enhance your photography journey, allowing you to learn from others, gain diverse perspectives, and build meaningful relationships within the photography community.

In conclusion, Courtney’s photography journey offers valuable lessons for photographers at all stages of their careers. You can navigate your artistic path with confidence and joy by understanding your preferences, finding the balance between solitude and interaction, and actively engaging with the community (whether online or in person).