In April 1903, President Theodore Roosevelt spent two weeks vacationing at Yellowstone Park, after which he designated the area as America’s first national park, laying a cornerstone at its main entrance. “Nowhere else in any civilized country is there to be found such a tract of veritable wonderland made accessible to all visitors,” he said during his remarks. “This park was created, and is now administered, for the benefit and enjoyment of the people.”

Today, some 120 years later, the National Park Service (NPS), established in 1916, manages more than 400 sites, including about 60 that are designated as national parks. Most are free to enter, allowing the millions who visit each year to enjoy hiking, biking, camping, climbing and exploring these protected lands. Spanning the nation—from California’s Joshua Tree to Shenandoah in Virginia, from Glacier Bay in Alaska to the National Park of American Samoa in the South Pacific—NPS has helped preserve thousands of acres from sea to shining sea and worked to protect the many species of wildlife that call the parks home. What makes them so special? Take a look.

An emotional vigil was held in Southeast D.C. Thursday night — to honor the memory of popular D.C. photographer Joseph Shymanski.

Shymanski, 51, was reported missing from his Calvert County, Maryland, home on Labor Day by a family member. Law enforcement has since arrested a Pennsylvania man of a murder charge in connection to his disappearance.

An investigation into his disappearance is still ongoing.

Human remains were discovered by police shortly before the vigil. In a Facebook post, detectives said they believe the remains may be linked to Shymanski’s murder.

“While we have yet to formally identify the remains discovered, we do believe they are associated with our ongoing investigation,” the post read.

But friends, family, colleagues and others who gathered Thursday said the night wasn’t about the “senseless loss” of Shymanski.

For good friends of his like Anneli Werner, it was about celebrating his life, and his vigil saw the community come together in a profound and special way.

The evening saw many a tearful embrace, all shared in a room filled with memories, snapshots of Shymanski’s life in photos — just the way those who knew him best said he would’ve liked it.

“Joe was the most loving, giving, generous, accommodating, kind soul that you will ever, and that I have ever met,” Werner said.

Werner told WTOP she first met Shymanski in 1998 in her 20s when she stumbled upon his photography booth, which he would set up in Eastern Market in Southeast D.C.

“I asked him to commission an art piece for me, which was all the way in Cathedral Heights,” she recounted. “He said it was no problem, and showed up a couple weeks later with this perfectly wrapped gift of the photos he’d taken.”

Werner said when she asked Shymanski how much she owed him, he responded, “Whatever you feel like.”

“That’s just how he was,” she said. “He had a heart of gold, and would do anything for anyone he cared about at the drop of a hat.”

Werner said she would go on to hire Shymanski to take photos for her law firm, and before his passing, they’d been good friends for 25+ years.

“It feels like I’m in some sort of sick joke,” she said of Shymanski’s passing. “But it’s appropriate we’ve gathered here in this place, in Eastern Market. He was an artist.”

Werner said her Shymanski story is just one of many.

And one by one, by candlelight outside Eastern Market on a muggy late summer night, people shared tales of Shymanski’s kindness, hilarity, generosity and fierce love.

“Joe was such a light, and such a beautiful spirit and beautiful soul. He never said a bad word about anybody, and everybody who was around him just felt happier,” Werner said.

At one point, those who knew Shymanski in the District, to family and friends who flew in from places like Michigan, Los Angeles and beyond, united in song to sing “Here Comes the Sun,” as a way of showing how Shymanski’s light shines on, even if he’s physically gone.

Werner said Shymanski lived larger in his 51 years than most do in their lifetimes. She said he will live on, both through those who loved him and also through the photographs that he leaves behind.

“He just inspired us all to be better people,” she said, fighting back tears. “And if we can carry that out in this crazy world we’re living in, we will all be a little bit better for it. I know that’s how I’m going to honor his legacy.”

Longtime friends recount Shymanski’s life

Two of Shymanski’s friends, Mike and Robyn Goecke, told WTOP that they remember him as an “upbeat, positive, caring, fun” person.

“He wanted people to be happy,” Robyn remembers. “Everywhere he went he brought such warmth and love and positivity and fun.”

Mike had known Shymanski since high school, and he remembers him being incredibly adept at making people comfortable and committed to capturing “things that were beautiful,” which helped with his D.C.-based photography business.

They said Shymanski’s focus in his portrait and artistic photography was to “capture the happiness and what was going on around him,” which extended from his caring personality. The Goeckes remember seeing Shymanski’s work at many friends’ houses and have heard from many people that own a piece of his work in the past few days.

“He just touched a lot of people,” Mike said. “And it brought him so much joy. Because he got to make people happy for a living. He would say to me, ‘People like my stuff, and it’s fun and they like to put it in their homes and it brings them joy on a daily basis. And I get paid to do that.’ And he just thought he was the luckiest guy ever.”

Shymanski was also able to expand his business with his partner Alton McDougal, who he met as a D.C. public schoolteacher.

“It’s just a great story,” Mike said. “How he was a teacher, developed this relationship with one of his former student’s siblings — they’re now business partners. And Alton’s just a great guy and was critical [and] instrumental in just making Joe’s life run the way it has the last several years.”

Shymanski moved to Calvert County with his ex-wife a few years ago, but remained connected to his community in D.C. by selling his artwork at stands at D.C.’s Eastern Market, as well as the Holiday Market in Gallery Place.

Mike recounted how Shymanski “was such a hands-on, tireless dad” over the past few years, even missing trips with long-distance friends to focus on his two kids and three stepchildren.

“Joe hasn’t been there to do any of that the last couple of years because he’s been going through a tough divorce. And his focus was on his kids,” Mike said. “And my heart’s just breaking for them right now.”

WTOP’s Scott Gelman contributed to this report.

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The Kenai Camera and Coffee photography group is currently displaying its first public art installation at Kenai River Brewing Company in Soldotna. The exhibit centers around the question: what inspires you about your life on the Kenai Peninsula?

“That could mean many different things to a lot of us; what we do with our families, what we look forward to seasonally or every day, what gets us through the harsh times and the really exciting times of living down here,” said Colette Gilmour, photographer and founding member of the Kenai Camera and Coffee group. “All of our pieces reflect that, and every artist wrote an artist statement answering their question.”

The installation features twenty photographs from eight central Peninsula-based photographers. For a few of the featured artists, this is the first time they’ve had work on display in a gallery.

Upon walking into the brewery, onlookers will recognize the various landscapes and scenes that make the Kenai Peninsula so unique. On display are photographs of the Kenai River Estuary in the winter, Mt. Iliamna in the summer, and a caribou resting in the grass, among others.

“There is incredible beauty out there, and sometimes it’s in the simple things,” said Irene Howdek, a member of the group whose work is on view in the gallery.

What started as a passive hobby while backpacking in the early 1980s has since turned into a passion Howdek regularly pursues. With a focus in nature photography, she has two pieces on display in the exhibit.

“The one piece is some fall leaves with a really cool hoarfrost on it,” Howdek said. “I [also] have the beach down on Land’s End where the emphasis was on the rocks, and it’s late evening lights so the rocks are lit up really cool.”

Hanging adjacent to Howdek’s work, Kimberly Sparacio’s photographs focus on the fishing scene of the peninsula. Sparacio and her husband, a fishing guide, moved to the area from Northern California in 2016.

“It’s pretty much our culture,” Sparacio said. “We fish every year, harvest fish, and it kind of just brings our family together. I thought both of these pieces would really explain my life and story, I guess.”

One of her pieces highlights a fly rod placed next to a line of sockeye salmon. Sparacio hopes that onlookers, specifically fishers, resonate with her two photographs.

“A lot of local people will enjoy it, they’ll see a lot of their own lives in it, so I really hope they enjoy that” she said.

Kenai Camera and Coffee was formed in 2019 and is open to photographers of all ages in and around the Kenai Peninsula. Although this is the group’s first public showing, they hope to exhibit more of their work at other venues in the future.

“It’s always interesting to look at the world through other people’s eyes,” said Ben Wishneck, a member of the group whose work is on display in the gallery. “When you can do that through photos, it’s a unique opportunity.”

“Alaskans, we’re off doing our own things in the winter and in the summer, but we all share similar values and why we live here,” Gilmour added. “Knowing that we all come from different backgrounds and different cultures, we all wake up and fill our lives with different things, to ultimately do the same thing; to enjoy our life and take part in what the Kenai Peninsula has to offer.”

The installation will be on display at the brewing company throughout the month of September.

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Thierry Maindrault’s Monthly Chronicle

I grant you, this word is really heavy, relatively indigestible, perfectly dissonant, bordering on banishment. Why am I offering it to you as the title of this column? Because its form and content truly invade and suffocate our entire societal space. Photography, often at the forefront of developments in our social structures, is not deceived after the encounter with this ogre devouring creation. This shapeless and brainless mass which is not adverse to offering itself small treats, by greedily swallowing many of our manifestations, in other times, so prestigious.

At the start, as in all tales, everything went well in this brave new world. All around our planet, a few photographers with more or less talent and some legitimate personal ambitions, imagined events (festivals, meetings, gatherings, etc.) as large as possible to make their works known to as many people as possible. This idea worked well for creative expression, since at the beginning of these trials, photography, still little recognized for its cultural usefulness, took hold and invited itself with recognition and panache into our lives. Objective representation gave way to creative representation, which was overwhelmed by photographic creation. All this worked well with photographers as enthusiastic as they were unconscious, with volunteers as dedicated as they were admiring, with audiences of connoisseurs as eager as they were passionate. A small miracle to discover all these genetically individualist photographers who offered prosperous atmospheres for the development of techniques and their appropriation by enthusiasts. They even ended up imposing some among themselves in the armchairs of the French Academy of Fine Arts (a bit logical for someone wearing a suit made of lights!).

But the great administrators of the well-being of our Worlds do not see it at all with the same lens. Throw me this wide angle with the wide vision that we won’t be able to accept, and close this angle too permissive for our way of life. Let’s put this bunch of photographers back on the right road. How could all these “eggheads”, with or without feathers, succeed in such a public operation to annihilate photography? Quite simply, with a technique that is familiar to them, that of the so-called “ladder”, with the fundamental knowhow of politicians.

When the initial little party, with the festival of friends first, took on a little importance in a society which was slowly returning to leisure, after the war, danger appeared. As anything likely to generate electoral votes (from nurseries to homes for the elderly), the photographic demonstrations attracted politicians who hastened to make many promises. Our initial organizers and managers, a little naive, did not understand that a promise only binds those who hear it. Without realizing that these promises were not lost on everyone. Administration, on the lookout for anything likely to make it indispensable and make it gain weight, rushed into the breach. Certainly, the public authorities were going to release some funds (always much less than the promise); but it is obvious that our happy unconscious photographers had been declared totally incompetent to manage these funds with the lot of procedures and forms, as useless as they are essential to implement. It had become essential to appoint a manager (director if possible) experienced in the workings of this administration, since he came from it. The rungs of the ladder were thus climbed, no longer according to the interest of the event for all, but solely according to the career plans of all those parachuted into the initiate circle. It should be noted that the first responders, other than photographers, were often truly passionate people who took real career risks. Unfortunately, we cannot see the same enthusiasm from their successors, much more attentive to their personal ascension.

The development became comical when our brilliant administrators found themselves confronted with financial problems. The resources of States are not inexhaustible, even by pushing public borrowing lines, the budgetary concepts of our uneducated managers had to find other sources of income. As always in these cases, the original heart of an event became an accessory pretext to operate a gas factory which no longer had a soul.

The lifeguards are the emperors of finance, these heroes who come from the same mold as the administrators, but in a version less limited by scruples. This is how the biggest international photographic events arrive at the last rungs of their ladder and find themselves in a very unstable balancing. Everywhere, communication replaces photographic interest in highlighting kind sponsors who clearly display their omnipresent presence.

The height has now arrived with a significant number of conferences, meetings, breakfasts, or press conferences focused on photography (its future, its sustainability, its societal place, its role, its ecological function, its social obligations, etc. ). All these essential discussions, more or less subsidized, forget the photographers (the real ones who know how to make a photograph that looks like a photograph) who are never solicited. It must be said that there are fewer and fewer of them, and if they know how to do all this, it is because they are old. But still, it is not acceptable, a little decency is required, I know also excellent young photographers (under 40, too old ?).

Civil servants (more on the financial side), curators (the same, on the cultural side), lawyers (necessarily specialized), exhibition curators (for ten years, they have grown like mushrooms after an autumn rain), journalists (a round table without a journalist is a day without bread), gallery owners (who confuse Indian ink and solarization), they are all invited to speak of nothing, except the end of photography. Some, a little vicious, actively participate in this disappearance of photographer troublemakers.

Let’s return to our photographic scale, professional cultural scale, from top to bottom, it is abundantly stocked with a significant number of specialists  who little know the realities and wonders of the photographic know-how.

Should we accept submission to all these diktats, let people walk all over us, or step on the feet of our colleague? Must we hunt for this so-called comfort (I will take care of everything for you) which looks like an authentic deception. I would rather have told a tall story

Thierry Maindrault, September 08, 2023

your comments about this chronicle and its photography are always welcome at

[email protected]

She sued the pop artist while she was executive editor of Modern Photography. She later travel the world as a nature photographer.

Fall is just around the corner, and why leave “back to school” just to the kids? Learning a new skill is good for everyone, regardless of age or experience, and keeps your brain sharp. Starting this autumn, Houstonians can do just that as they step behind the camera and jump into the Houston Center for Photography’s (HCP) new educational programs.

Houston Center for Photography offers around 100 photography classes and workshops all year round. Classes vary in competency levels and are all taught by esteemed photographers and lecturers. Luckily for Houstonians, HCP has re-envisioned its programming this fall with more advanced courses for photographers that want to push their photography to the next level and develop their portfolio.

“We designed HCP’s new educational program with the intention of making photographers at any level feel at home with our offering, and we even added a unique category for non-photographers” says Natan Dvir, Director of Education. Contemporary Histories of Photography, The Photobook: Its History and Highlights, and Cuts & Glue: We Are All Collages are a few favorites. Dvir continues, “Making engaging and inspiring classes accessible for our audience and community was another goal we set out to achieve.” Affordable and conveniently scheduled courses are designed to reach all budgets and schedules. Additionally, a selection of short workshops offers Houstonians opportunities to study at HCP for less than $100.

The new Fall Term includes a variety of subjects and formats that will match the needs and interests of photographers of all genres. The courses will continue to be taught by HCP’s diverse, professional, and accomplished faculty. Students can explore their creativity with AI Imaging: Techniques and Creative Approaches, learn practical skills and techniques with Storytelling with Color, Creative Landscape Photography: Art & Technique or Street Photography: Capturing the City’s Spirit and apply advanced contemporary approaches with Finding Your Voice: Developing a Personal Project, Mining Your Archive: Identifying Personal Series or Unlocking Creativity & Creating Visual Narratives.

HCP offers four terms of education around the year (Fall, Winter, Spring, and Summer) so if your schedule doesn’t permit diving into photography this season, not to fret. And, for those interested in taking their skill to the next level, HCP also offers personalized one-on-one education, including portfolio reviews and private lessons.

If you haven’t visited the Houston Center for Photography, you’ve been missing out. Founded in 1981 as a small visual artists’ organization, HCP has grown to become an exemplary fine art organization. The gallery is free to the public and features some of the finest works of contemporary photography.

Join HCP staff and faculty at a special Fall Open House event on Tuesday, September 26, between 6-9 p.m. Take advantage of this opportunity to explore the new exhibitions, receive valuable information and discounts, share your photographic work, get advice on classes, and celebrate the upcoming term with Houston’s photographic community. RSVP is required.

Through its programs and exhibitions, the organization strives to increase society’s understanding and appreciation of photography and its evolving role in contemporary culture. It aims to encourage artists, build audiences, stimulate dialogue, and promote inquiry about photography and related media through education, exhibitions, publications, fellowship programs, and community collaboration.

Christine Callahan, West Village Waterfall, 2021, from the series Waning Days – Storytelling with Color

With all Houston Center for Photography has to offer for all ages and skills, this fall is looking picture-perfect.

Alaska is known as The Last Frontier, and for those that have visited, it’s easy to see why. As Lindblad Expeditions’ former Director of Photography, travel photographer Ralph Lee Hopkins has photographed Alaska dozens of times in his career. The OM SYSTEM Ambassador says that not only is Alaska beautiful, it also has some of the world’s most unique experiences for photographers to capture.

Full disclosure: This article was brought to you by Lindblad Expeditions

For over 40 years, Lindblad Expeditions has been leading ship-based tours to Alaska, one of the world’s most rugged and pristine destinations. Over 40% of the state’s 365 million acres are federally protected, making Alaska one of the most untouched locations in the world and worthy of its nickname, The Last Frontier.

“Alaska is one of those places that’s almost impossible to describe to people that haven’t been,” Hopkins tells PetaPixel. “The impeccable coastline, dramatic snow capped mountains, stunning fjords, and awe-inspiring wildlife make Alaska a destination that every photographer should visit at least once in their lifetime.”

Luckily for Hopkins, his former job as the Lindblad Expeditions Director of Photography brings him to Alaska on a near annual basis. Hopkins has been helping photographers capture portfolio worthy images on Lindblad Expeditions’ trips across the world for 33 years, and in that time, he has observed a number of unique photography experiences that can only be found in Alaska.

Humpback Whales in the Fjords of Southeast Alaska

Each year, Humpback whales migrate thousands of miles. During the winter, they can be found in the warmer, tropical waters of Hawaii or Baja California, Mexico. It is in these comfortable waters where they give birth and nurse their young before they start the long journey north to feed on the abundance of hearty krill and small fish that lie in the Alaskan waters.

“Alaska is the only place in the world where the Humpback whales reliably do cooperative feeding,” Hopkins explains. “Cooperative feeding is when groups of whales come together and feed as a team. Sometimes it is only five, but in some cases, you can see up to 20 whales working together. One whale blows bubbles through its blowhole, and those bubbles rise and it forms a net that traps the fish. And then another whale, when it’s time to feed, trumpets underwater and you can hear this through the hulls of boats or through a hydrophone. When the whale trumpets, then the rest of the whales come up at once, feeding on the massive amount of fish and krill that is trapped in this bubble net.”

Hopkins says that the natural environment of the Alaskan wilderness can add some stunning backdrops when capturing the photos of the whales.

“It is really incredible to witness when their blows go off like light bulbs in unison,” Hopkins describes. “During the right time of day, they will be back lit and it looks great against the shoreline. The whales often use the shoreline to herd the fish so getting the dark trees in the background can really add some drama and contrast to your image.”

Hopkins always tries to add storytelling elements to his photos, and the fishing vessels that line the whale filled waters provide the perfect story angle. “It is an interesting juxtaposition and semi conflict of resources. Both man and whale after the same prize, and it makes for a great storytelling photograph. It’s also not uncommon for the whales to come right up to the boats, giving us photographers an unexpected treat.”

Hopkins emphasizes that photographers need to be at the ready to adjust their ISO and aperture to gain faster shutter speeds, as there will be moments of action.

“The muscle that connects the humpback whale’s tail stock with their fluke is one of the strongest muscles of any animal in the animal kingdom. A couple of pushes on that tail underwater and they can leap out of the water with incredible force. Having a fast shutter speed is crucial to capturing these moments. I also utilize the fantastic image stabilization of my OM SYSTEM OM-1 camera to make sure that the action images come out sharp.”

Hopkins says that the summer months of July and August are the most active and reliable time of the year to photograph humpback whales feeding in Alaska.

“The best part about photographing the humpback whales in this environment is that you don’t need a super long telephoto lens,” Hopkins describes. “They are so big, and usually not too far from you, so a medium zoom lens is really all you need. I use the M.Zuiko Digital ED 40-150mm F4.0 PRO with the M.Zuiko Digital 1.4X Teleconverter MC-14. It’s nice and light, and I can easily hand hold my camera on the boat. The lens paired with the teleconverter gives me a nice zoom range for whales that are only a few hundred yards away.”

“The humpbacks are very well known for their surface activities, and southeast Alaska is the best place in the world to watch the feeding behavior. It is just so amazing to be around these incredible, very big whales. We are talking about 50 foot animals that weigh 40 or 50 tons. To be among them and see their feeding behavior, and to hear the sounds, hear their blows, hear them rushing up to the surface. It’s why I do photography. It’s to be in those moments. It’s to be out in this grandeur of nature where these incredible moments are happening. That is why the Lindblad Exploring Alaska’s Coastal Wilderness trip is easily one of my favorites to see the most incredible nature and wildlife that Alaska has to offer,” Hopkins concludes.

Blue Ice in Tracy Arm

The Tracy Arm is an Alaskan fjord located near the state capital, Juneau. In 1990, the fjord gained federal protection with the creation of the 653,179 acre Tracy Arm-Fords Terror Wilderness. Running over 30 miles long, the Tracy Arm Fjord is one of the most beautiful, and accessible, fjords in Alaska.

“One of my favorite things about Alaska is its abundance of fjords,” Hopkins says. “You have these beautiful, long, glacially carved valleys that have been flooded by the sea in between the islands, carving back into the Coast Range of Alaska. Even though Glacier Bay is famous for the number of tidewater glaciers that reach the sea, in my opinion, Tracy Arm is the crown jewel of the region.”

“The ship will take its guests on a winding adventure through the Tracy Arm, about 30 miles from the main waterways,” he continues. “The deeper the ship gets into the fjord, the more vibrant blue and green the water, ice and foliage become. There’s two glaciers at the end, which 100 years ago merged into one glacier. When the ship finally arrives at the South Sawyer Glacier, you can’t help but get overwhelmed by the color of the ice. It is the bluest ice in the world, so it really is a landscape photographer’s dream. You have these blue diamonds of ice against the dramatic green forest background, all with wispy mist surrounding it.”

It isn’t uncommon to capture wildlife in these postcard worthy photographs, as bald eagles and harbor seals populate the region. Hopkins explains that harbor seals use the ice to safely give birth to their young while avoiding dangerous Orca whales.

“Tracy Arm is a very special place and a very different photographic story than the humpback whales along the coast. And you don’t want a beautiful sunny day, and luckily, that is one thing Alaska is not known for. I am always hoping for a bright, overcast day which makes the ice appear even more blue, because it absorbs all the warm wavelengths and blue is transmitted.”

Hopkins finds that a wide angle lens is best for photographing the Tracy Arm from a slow-moving Lindblad Expedition ship. While using his OM-1 camera, he often finds himself using the M.Zuiko Digital ED 12-100mm F4.0 IS PRO. “Being a 24mm-200mm 35mm equivalent, it is a great lens for both wide angle shots of the vastness of Tracy Arm, as well as zooming in to compress the landscape scenes. However, being that it is still Alaska, I always have a telephoto at the ready should I need that extra distance to capture the abundant wildlife. In addition to wildlife, however, the telephoto lens can really create some incredible abstract photos.”

On all Lindblad Expedition trips, a dedicated photography instructor is readily available while both on the ship, and during off-ship excursions. Hopkins says that the one thing he recommends photographers bring to Tracy Arm is a circular polarizer filter. “The filter will cut reflection on the blue ice and it enhances more of that effect of the blue ice, that blue color coming through and in some dark places it almost becomes indigo. The circular polarizer is breaking down the wavelength, so not only are blues coming through but so is Violet, so the ice can look almost indigo.”

Like the humpback whales, Hopkins says that the experience is not only incredible on the eyes, but also on the ears. “Glaciers are a moving river of ice. It’s ice flowing under the influence of gravity, so they’re constantly creaking. It’s an impossible sound to describe to people. You really just have to hear it for yourself. Once the ship is in position, we will go in small groups on the Zodiac boats to get closer and be at the water level. And then we will turn the engines off. It’s awe-inspiring to be surrounded by this incredible scene on all sides of you in complete silence and just listen to the roar of the glacier creaking and cracking.”

Exploring Alaska’s Temperate Rainforest

Tongass National Forest is the largest national forest in the United States, covering most of Southeast Alaska. Much of the region is temperate rainforest and receives an exceptional amount of rain every year. At 16.7 million acres, the Tongass National Forest is the largest temperate rainforest in the world.

“The Tongass National Forest is truly remarkable,” Hopkins says. “Of course, you have tropical rainforests closer to the equator, where the weather is more consistent throughout the year. However, I was always drawn to the incredible diversity that temperate rainforests, especially Tongass, hold. In the waterways along the shores, you have steller sea lions next to humpback and orca whales, and throughout the trees you have just an incredible number of bald eagles. And those old trees are really something to see. Sitka spruce, western hemlock, shore pine and yellow-cedar just to name a few.”

“The amazing thing about visiting the Tongass National Forest for the first time is being spellbound by all the different shades of green,” he continues. “When you have this constant mist and clouds clinging to the vibrant green treetops, it’s a photographer’s dream. When we actually disembark the ship and go into the temperate rainforest, it feels like stepping into a different world. Once you get away from the shoreline, you’ve got the sound of the water slowly drifting off as you enter this vast world of complete silence. It’s mesmerizing. Going deep inside the temperate rainforest in the old growth forest with the spongy under foot, it really makes you want to whisper.”

Hopkins points out that, for all its beauty, Tongass National Forest is not the easiest landscape subject to capture, especially when on foot. Wide angle photos staring up at the tops of the trees can only provide so many photo opportunities, so Hopkins suggests using a macro lens and looking for the small details in the environment.

“The diffused light of the forest makes for some incredible macro photography using my M.Zuiko Digital ED 90mm F3.5 Macro IS PRO lens, no matter the time of day,” he explains. “These situations are where I really utilize the OM-1’s extraordinary image stabilization. The light is low, so you need to open your aperture and increase your ISO a bit, but even then, you might be looking at 1/30 of a second for the shutter speed. So being able to rely on your image stabilization is critical for capturing macro photos in the temperate rainforest.”

Coastal Brown Bears of Katmai

Of course, no trip to Alaska would be complete without photographing bears, and Lindblad Expeditions has a number of itineraries, as well as their sister company Natural Habitat Adventures, that bring photographers up close to these incredible animals. Alaska has the highest number of bears out of any state in the US. The Last Frontier is estimated to be the home of roughly 100,000 black bears, 30,000 grizzly bears, and 4,000 to 7,000 polar bears.

Black bears are the smallest bear species in North America. Brown bears and grizzly bears are the same species, however, brown bears are used to describe bears who live along the coast and feed mostly on salmon. Grizzly bears, on the other hand, live off the coast, in the Alaskan interior. They mostly feed on fruits, roots, grasses and nuts, however, they will occasionally also feast on small rodents or scavenge elk and moose.

“Katmai National Park and Preserve has the highest concentration of coastal brown bears in the world,” Hopkins says. “Over the years, they have gotten used to people fishing or photographing them from a safe distance. So the bears are considered habituated. They’re still wild, but they don’t see people observing them from a safe distance as threats. You can sit right along the shoreline and watch the bears walk right by you as they move to a different fishing spot. It’s remarkable, and something that every photographer should experience. Bears are obviously very photogenic animals, but they are also incredibly animated, which makes the photographs even better.”

“There is nothing more thrilling than being on the ground at eye level with a 1,000 pound bear running around in front of you; so close, you’re almost getting splashed. It is moments like this that give me gratitude for being able to take my passion and turn it into a career.”

Autumn in Denali National Park

Fall colors have been a popular subject for landscape photographers for decades, however, most don’t book a trip to Alaska to capture them. Hopkins says that is a mistake, as Denali National Park is at its most beautiful during the autumn months as the foliage changes.

Denali National Park is a 6 million acre protected region centered around Denali, the highest mountain in North America with a summit elevation of 20,310 feet. “The mountain is magnificent,” says Hopkins. “It actually took me three trips to see the mountain, due to typical Alaska weather, but when I did, it was jaw-dropping. Denali really is all about the landscapes. You might see dall sheep, moose, caribou, wolves, and grizzly bears, but the real star of the show is the landscapes.”

Hopkins stresses that there is no bad time to photograph Denali National Park, but for the best photographs, he recommends autumn. “Across the entire park, the willows will turn gold and yellow, and the bearberry and blueberries will turn red and orange. It’s like a kaleidoscope of color and one of the most photogenic landscapes anywhere on the planet.”

“Denali in autumn is so special because it really hands you the three elements needed to make a great image,” Hopkins explains. “Light, composition, moment. Any light is good light in Denali, from bright overcast, to misty days, to backlit. And then you just use the abundant vibrant colors, which become a crucial part of the composition.”

“In autumn, the conditions always seem to line up,” he continues. “You have crisp, cool mornings with mist and fog…and you get that beautiful scent of wet tundra. Coupled with the endless berries, it’s a beautiful aroma. It just all comes together in the fall. You can’t look in any direction and not see the bursts of color. And if you are lucky to get a grizzly bear in the scene, then the moment really can’t be beat. And if you are even luckier, you might just get one of the most magnificent aspects of visiting Alaska in the autumn: the northern lights.”

Over a 33 year career with Lindblad Expeditions, Hopkins has traveled the world with his OM SYSTEM cameras in hand. However, for him, few places invoke the wonder and awe that Alaska does. “My first trip with Lindblad Expeditions was to Baja, California and it was incredible. I couldn’t imagine other places in the world that could compare to the experiences that Baja provided. But soon after, my second trip with Lindblad Expeditions was to Alaska.”

“It was quite the shock going from a desert environment to a temperate rainforest with glaciers, jagged mountains, blue ice like I had never seen before, and bears casually roaming the shores while humpback whales breach the surface of the water during a mad feeding frenzy. I was immediately hooked. And being in a ship, the best part was that we were always in protected waters, what is called the inside passage, so the seas are calm and free from the violent waves of the open ocean.”

With so many experiences throughout his career, Hopkins says that many of the most memorable moments came from Lindblad Expeditions’ Alaska trips. “Even though it was 30 years ago, one moment that has been ingrained in my mind since it happened was when a pod of orcas came right to the side of our ship. They were right at eye level, just meters away. It was at the end of the day, so the light was incredible. We stood completely still on deck, not wanting to say a word. We just listened to their blows, which was an incredibly surreal sound among the typical calmness of Alaska. It was awe-inspiring. It was such a simple moment. Nothing was really happening, but it was the gravity of the experience, one that could only happen in wild Alaska, that I will never forget.”

More from Ralph Lee Hopkins can be found on his website, and Instagram.

Image credits: All photos by Ralph Lee Hopkins.

Full disclosure: This article was brought to you by Lindblad Expeditions. Lindblad Expeditions is a global provider of small-ship expeditions and adventure travel experiences recognized as the category leader for its pioneering, cutting-edge programming and conservation commitment. Lindblad Expeditions works in partnership with National Geographic to inspire people to explore and care about the planet. The organizations work in tandem to produce innovative marine expedition programs and to promote conservation and sustainable tourism around the world. Guests interact with and learn from leading scientists, naturalists and researchers while discovering stunning natural environments, above and below the sea, through state-of-the-art exploration tools.