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BY COURTNEY BROCKMAN
On August 21, the moon will completely block the sun from coast-to-coast for the first time since 1918. A 70-mile wide path will stretch from Salem, Oregon, to Charleston, South Carolina. Viewers in that pathway will see the corona, the outermost layer of the sun, which burns 200 to 300 times hotter than the surface at 1.8 million degrees Fahrenheit.
Sitting in the middle of the total eclipse pathway is Fremont County, Wyoming, and that’s where Jim Brown, an award-winning nature photographer, will attempt to capture it with his camera. He’ll have from 10:22 a.m. to 1:09 p.m. to make pictures, with totality, when the moon completley covers the sun, lasting about 3 minutes and 25 seconds.
Capturing this spectacle is a photographer’s dream, yet it is also challenging. Brown, who has photographed Wyoming’s skies for 40 years but never shot an eclipse, shares how he is preparing to capture this rare event.
PLAN THE PICTURE YOU WANT.
Ask yourself what you want to get out of the photo and whether you want an image with a foreground or just the eclipse in the sky. Study different locations and the surrounding landscapes.
Arrive at your spot a day or two before the eclipse at the same time it will happen and watch the sun move through the location. The totality of the eclipse will only last a few moments, and you want to be ready.
KNOW YOUR CAMERA.
For crisp photos, don’t shoot through a telescope because it will fuzz the edges.
The time lapse between when the button is pushed and when the shutter actually closes may cause problems when using point-and-shoot cameras. However, point-and-shoot cameras may be used for progressive images of the eclipse, such as the dropping light level on surrounding landscapes, as well as the horizon’s glow during totality.
If you have a wide-angle lens, find a beautiful location to shoot. If you have more expensive pieces of equipment, focus on the eclipse and shooting the corona. To capture the corona, the focal lens length must be at least 300 mm.
Brown plans to shoot with two cameras simultaneously: a 600 mm to capture details of the eclipse and a wide, 35 mm lens for shooting a time-lapse of the trail with a rock formation in the foreground.
PREPARE YOUR SETTINGS.
Brown will shoot with a wide-open f-stop at f-2.8 and an ISO at 800. Other typical combinations for eclipse photography include: ISO 100, f-4; ISO 200, f-5 or 6, or ISO 400 and f-8.
Pretest the ISO and f-stop beforehand because they will remain the same. Use manual focus and aim it at the sun. Take some test shots beforehand. You can secure the focus with a strip of tape over the focus ring to prevent movement.
During totality, the eclipse will become as dark as night. As the moon begins moving over the sun, covers the disk and moves away, you must manually adjust the shutter speed to capture each stage. Brown’s shutter will range from fast to fairly slow as the light changes.
The changes during eclipse totality occur rapidly. Run through the series of exposures during the eclipse with the fixed f-stop to capture the full range of the sun’s atmospheric brightness.
PROTECT YOUR EYES AND CAMERA.
Place a glass piece on the front of your camera lens to shield it from the brightness. Although Brown will use a neutral density filter, he suggests buying a 4×4 square of dark welder’s glass for about $10 from any welder’s shop, instead of purchasing an expensive filter.
The filter must remain on the lens during the partial eclipse to avoid damage. It should fit nicely over the front of the camera lens, but also be easy to remove. If the camera does not have through-the-lens viewing, put a filter over the viewfinder as well to protect your eyes. Make sure to remove the filter during totality.
GET A GOOD TRIPOD.
For clear pictures, a tripod is absolutely necessary so the camera is stable.
FIND A UNIQUE SETTING.
In Wyoming, Brown says the Castle Gardens Petroglyph Site will be a popular spot, as well as Hell’s Half Acre with its interesting rock formations along the highway. But the best places are the deserted areas.
“To sell pictures, you’ve got to have one-of-a-kind,” Brown said.
WATCH THE SHOW.
Don’t forget, once you have found a spot and set up your gear, to sit back and watch the sight. Photos will be great memories of the eclipse, but be sure to enjoy the moment while it lasts.
–Courtney Brockman is an OWAA intern and a senior studying journalism at the University of Montana.
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BY RUTH HOYT
I still remember how I felt as I launched my DJI Phantom 4 drone camera for the first time — eager, giddy, euphoric — but over these feelings lay a blanket of terror and anxiety. What if I hit something or hurt someone or something, what if a bird attacks it, or what if I crash it?
These feelings still flash through my mind with each liftoff, but I’ve trained myself to focus on operating my drone safely and smoothly, using good photographic techniques and being acutely aware of the responsibilities associated with piloting a small unmanned aircraft system, often called a drone.
Whether you’re a professional photographer or an enthusiast, setting yourself apart from all the others is an important aspect for successful imagery, and using a drone camera can provide your work with a new perspective. But there are a few things you should know before you make your purchase.
Registration and Licenses
All drones must be registered with the Federal Aviation Administration at ww.faa.gov/uas, before they take to the air. If you plan to operate your craft according to model aircraft rules, the FAA provides you with one identification number to apply to all of your drones. If you plan to use your drone for activities such as inspecting roofs, or in my case, taking aerial photos to generate income, you’ll need a commercial pilot’s license, which I’m currently working on. Once I earn that license, I’ll change the status of my drone from recreational.
The requirements to become a licensed commercial pilot are short but very specific. You must be at least 16 years old, pass an aeronautical knowledge test at an FAA-approved testing center, and pass a vetting by the Transportation Safety Administration.
The testing process is daunting and many people don’t pass the test the first time around. I belong to an online study group, as well several networks of drone camera operators to help me prepare.
The Rules
Rules are evolving when it comes to drones. It’s your job to stay current and know where you are allowed to fly. (It is illegal to fly over national parks.) You can download the free app “B4UFLY” at the App Store or Google Play Store. The app provides awareness of your current or planned operational area and additional reference resources.
On August 29, 2016, the FAA put into effect the NEW Small UAS Rule (Part 107), including all pilot and operating rules. In summary the three-page document states that:

• Unmanned aircraft must weigh less than 55 pounds.
• Pilots are required to fly using only visual line-of-sight unaided by any device other than corrective lenses.
• Pilots may not operate a drone over people, under a covered structure or inside a covered stationary vehicle.
• Pilots may not operate drones at night (from 30 minutes after sunset to 30 minutes before sunrise).
• Pilots must yield right-of-way to manned aircraft.
• Pilots may not fly an unmanned aircraft system faster than 100 mph or 87 knots.
• Pilots may not fly more than 400 feet above ground level.

Working your Drone

• Pre-flight Safety
  Always make sure it’s a safe day to fly — dry, no or low wind conditions, with good visibility and nowhere near an airport. I usually fly in the early morning around sunrise, when the air is calm and the resulting long shadows complement my compositions. Before departing make sure your firmware is up to date and all of your batteries are fully charged, including the one in your aircraft, your remote and your First Person Viewer (FPV). This can be a smartphone, tablet or other device for viewing what the aircraft sees.
  Upon arrival to your takeoff location, turn your phone to vibrate or off, and don’t look at it until you are finished flying. Make sure your propellers are free from damage and are tightly secured. Look for cracks or loose parts on your aircraft. Inspect your takeoff area for obstructions such as buildings, power poles and wires, people and animals. Calibrate your compass on a regular basis (weekly or monthly, depending on how often you fly).
• In-flight Safety
  Stand upwind from your aircraft so that it would blow away from you if a gust of wind kicked up. You don’t need lift like a bird or a fixed-wing plane because your craft uses vertical takeoff and landing.
  Once it is airborne, check your controls by making small movements. Keep watch for potential hazards and obstacles and notice your surroundings.
  If you hear or see emergency vehicles or helicopters, land immediately. You can only get in the way, so don’t be tempted to “help.”
  Remember your craft has spinning parts that can inflict damage to whatever it hits, even if you have propeller guards. Watch out for birds, especially gulls and hawks. If you see one is following or chasing your craft, the easiest way to escape is to climb to a higher altitude.

Flying Basics
To control the images you will produce, you must learn the craft’s controls. My remote control has two joysticks and I chose to leave them configured in the default settings. Each joystick controls different movements: left controls altitude (ascend, descend) and yaw (rotate or spin) and right controls roll (side-to-side) and pitch (forward and backward).
The more you push on a joystick in any direction, the faster the craft moves. Aim to take it slow and easy, especially when you first start flying. Once you reach a safe altitude above people and other obstacles, you can move around.
Work with one joystick at a time until you clearly know what to expect when you use either one. I imagine myself as a miniature pilot sitting at the front of my craft, to keep me oriented as to which direction I’m facing and moving. I first practiced flying in square, circle and figure-eight patterns, all with the craft facing forward. Once I mastered those, I learned to face the craft in the direction it was moving, which required also using the left joystick for yaw.
Photography
My remote and tablet’s flying app, have buttons for choosing still photography or video. My remote has easy-to-find buttons on the front and bottom of the device so I don’t have to take my hands off of the joysticks to take photos. When shooting video, I must touch my iPad’s screen to start and stop, so I am careful when choosing when to switch from stills to video.
The Phantom 4’s camera is capable of photographing stills in Digital Negative, commonly referred to as “RAW” and JPG, as well as video in various increments up to 4K. Most of my
work is stills and I like the flexibility afforded when shooting in RAW format, but I also enjoy the convenience of seeing smaller, camera-processed JPG images. For this reason I chose to set the still format to shoot both digital negative and JPG.
When I purchased my system, I immediately set my video format to 4K, thinking I wanted to capture the highest possible quality. However, I quickly discovered that I didn’t have software that was sophisticated enough to handle the massive 4K files, or a computer with a 4K monitor. Rather than adding yet another learning curve to my new system, I decided I would be less frustrated by choosing the next lower video setting until I saw reason to
change.
Extra Tips
Unless the sky is particularly dramatic, I aim the camera downward and include a small portion of sky. Higher isn’t often better and usually a lower camera angle provides more drama than a straight-down, bird’s-eye view. Normally I fly the camera to have the sun off to one side and behind the camera. This prevents lens flare, white skies and aircraft shadows in your photos.
Processing the still images is not a lot different from the workflow I use when processing my digital single lens reflex camera images. I import everything using Adobe Lightroom, view all the images, choose key images, make corrections and adjustments and export images appropriate for the purpose. Video is another matter; I am not a videographer and am not well-versed on the best software applications to employ. I feel the need to educate myself first through video tutorials from one or more of the masters of this craft, then, if necessary, follow up by taking a workshop. 
— Ruth Hoyt is a full-time nature photographer, writer, public speaker and consultant. She is best known for her Texas bird photography and professional guiding services on private south Texas ranches, but she also pursues landscape, flora, macro, night and more subjects.

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• The polarizing filter.
  I’ll be honest, I keep the UV filter on my camera because I shoot outside a lot and there’s UV light outside, right? Right, but filters have so much more potential than being glorified lens protectors. Ann and Rob showed us an unfiltered photo of a caiman lounging on the shore. The intense midday light on its scales and on the shore destroyed any detail. The next photo, shot with a polarizing filter, was richer in color without harsh reflections. The ridges and grooves of each scale were sharp and visible. You could even see the color of its eyes. Set side-by-side, the two photos looked like a Photoshop before and after. The polarizing filter caught details that were blown out in the unfiltered photos. It’s a built-in tool to reduce harsh light and reflections, no post-production necessary.
• The histogram.
  Ann and Rob presented the histogram in a brand new way for me. The histogram is a tool for photographers to quickly assess their exposure without trusting their eyes and a misleading LCD screen. In the field, a bright or underlit screen may make your photos look properly exposed, but come post-production, you find them much darker or lighter than you expected. Quickly scanning your camera’s histogram after taking a photo ensures that you are getting the proper balance of darks, grays and lights in the image. But, the much-desired bell curve might not be appropriate for each photo, Rob said. Each photo will have a different amount of lights, darks and grays in it, and the histogram will reflect that. He said to be aware of the “devil zone,” which is at the far right of the histogram and indicates overexposed areas of the photo which will have no detail and cannot be fixed in post-production.
• The hood.
  I don’t like camera hoods. They don’t fit in my luggage, and they feel flimsy. I’m always afraid I’ll crush one in transit. But shooting at Pompeys Pillar with my UV filter creating sunspots in my lens converted me, especially when Ann came up and asked, “Where’s your hood?” I sheepishly smiled and held up my hand, which I’d been using to shade my lens like a person without a visor shields their eyes from the sun. She smiled and told me to always carry a hood. Your gear is supposed to be used. It does you no good sitting in your closet — or your office or wherever I left it — when you’re in the beautiful Montana wilderness. Ann and Rob said they don’t go anywhere without their hoods, and from now on, I don’t think I will, either. At least, I won’t as soon as I can find it.

— Katy Spence interned with OWAA in summer 2016. She is a journalism graduate student at the University of Montana. She enjoys new recipes, new places and old souls.

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• Seek complementary colors.
  When possible, juxtapose color pairs opposite one another on the color wheel. For striking contrasts place red and green, blue and orange, or purple and yellow objects next to or near each other. This makes each color appear more intense and brighter.
• Watch the light.
  Take photos with the sun behind you and your shadow pointing in front of you. If the person you are photographing is wearing glasses, tilt the glasses slightly up or down to avoid potential glare from a flash or sunlight. If the person is wearing a hat, use your flash so it fills in shadows cast on the face.
• Find shapes in nature.
  Wedges, diagonals, ovals and curves add interest to photos. They engage the viewer to linger and look rather than scroll to the next frame. These shapes evoke a sense of movement and grab attention to follow each line to see where it goes. Triangular wedge imagery is a powerful compositional element as in the “V” formations commonly seen with airborne geese. Diagonal lines lead you into the picture with a sliding motion and create dramatic dynamics. Ovals gently draw the viewer’s eye around the image while C-curves add a graceful element. And S-curves — envision a winding river flowing from the lower corner of the photo and streaming back into the scene — create a feeling of depth and motion.
• Avoid centering your subject.
  This is also known as the rule of thirds. When looking through the viewfinder, imagine the scene before you overlaid with a nine-block grid. Rather than placing your main subject in the middle block, put it in one of the four spots where the lines of the grid intersect. This not only adds interest and balance to your composition, but also provides an opportunity to include more of the setting in front of or behind the main subject, which rounds out the scene for the viewer.
• Never place the horizon in the middle.
  Following the rule of thirds, horizons are most appealing when located in the upper or lower third of your picture. For a sunset photo where you want to show a widespread splash of color, place the horizon in the lower third. For a lake portrait featuring cloud reflections or submerged rocks, raise the horizon line to the upper third of the frame so the focus remains on the foreground. And wherever you place the horizon, it should be level.
• The odds are better than the evens.
  While you might expect the human eye to appreciate perfect symmetry in artwork, the opposite is true. We humans instinctively prefer compositions consisting of three, five, or seven focal points over those with two, four, or six elements. Odd numbers move the eye around the image better than even numbers and add appeal to your compositions.
• Notice your background.
  Don’t include anything in the frame that is not needed to deliver your visual message. Extraneous elements distract the viewer. Additionally, make sure nothing in your background, like a branch behind someone’s head, could be interpreted by the human eye as piercing that individual’s head. If you fill your frame with your subject, this is less likely to occur.
• Less can be more.
  Sometimes you may want to show part rather than all of an element in your photo. The human eye will compensate for the omission and complete the picture for the viewer so you need not show an entire arm or plate of food. If you “amputate” an arm or leg, do it right below the joint.
• The eyes have it.
  Focus tightly on the subject’s eyes so they are clearly visible even if the rest of the head or body is not sharp. Likewise, if you have prominent text in the image, it must be sharp. Out-off-focus lettering and eyes disorient the viewer. If several of your subjects have eyes, the most important ones to keep in focus are those of the main subject. The rest need not comply with this rule.
• Try a Dutch tilt.
  This camera shot is useful when you want to add interest or possibly tension to a simple composition. As a general rule, angles create energy. Rather than taking the picture straight up as the eye sees the scene, tilt your camera at an angle so that the shot is composed with vertical lines angling to one side of the frame.To create photos you are proud to show and share obviously requires more than mere luck. It takes concentration plus a passionto lasso the image that has prompted you to pick up your camera, iPad, or cell phone.
  To again quote Joan Miro, “The works must be conceived with fire in the soul but executed with clinical coolness.”

— A five-time Excellence in Craft Award winner from West Glacier, Montana, Gail Jokerst has been an OWAA member since 2000. She spends as much time as possible hiking and photographing in nearby Glacier National Park. Visit her website at www.gailjokerst.com.

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