Nature's Best :: Don Smith Photography
Exploring our incredible world one image at a time!
Capture and Post-Processing; Learn Both Sides Well
Posted on January 2, 2014
Cottonwoods and Clearing Storm, Grand Teton National Park, Wyoming
Canon 5DMKIII, 175mm, f/16, 1/8th sec., 100 ISO, Singh-Ray CC Polarizer
Perhaps the question that I least like hearing but nonetheless get asked all the time is: “did you Photoshop that image?” Let me answer in one simple word – YES!
Now let me explain. There are really two distinct phases of digital photography: the capture and post-processing. To be a good photographer, one really needs to understand how to control both.
It all obviously starts with the capture side. That begins with allowing something in nature to “grab” your attention, something that stirs your emotions. With this image, it was the glow of the backlit cottonwoods and the majesty of the clearing storm along the Teton Range.
My main determination was what focal length the use. I decided I wanted to compress the trees with the mountains, so I used a 70-200mmL to compress those two main elements.
Now it was time to process the image. I love fall color when it is a little before the “peak” stage, just as these trees were. It was important in processing to bring out both the yellows and the greens.
This is where a part of the photographer’s soul comes through. It is really your call as an artist as to how you wish to process the scene. More contrast, less contrast. Darker or lighter. All of these decisions help to set the mood of the image.
Personally, I am not always trying to capture reality; it is just a starting point. I don’t add elements to my image, but I do think through my choices of how much midtone contrast to add. When one alters contrast, color is also affected. Colors become more rich and saturated looking.
In this particular image, after adjusting my midtone contrast, I felt the yellows and greens could still use a bump. Again, this was my choice; others may say it’s too much, too little, or just right. I wanted to reproduce the luminescent glow that I experienced when capturing this image.
Controlling both tones and color becomes easier with the help of masks. That’s another subject for another day, but essentially, I make a selection of what it is that I wish to control and then make my adjustment through the mask.
Ansel Adams used to say that he “previsualized” the finished print in his mind at the time of capture. I try to do the same with my digital captures.
So, do I use Photoshop? Yes I do. All images need processing. Sometimes, just a few adjustments in Lightroom does the trick. Regardless, learn your craft thoroughly and your image will represent what you visualize in your mind. It takes a lot of practice but the effort is worth it for better results.
2014 Photo Workshops – Complete List
5th Annual Kauai Workshop – Garden Isle and Tropical Paradise – June 20-24, 2014 (3 spots remaining)
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Photomatix Pro 4.2 type in code at checkout: donsmithphotography 15% discount
Topaz Software type in code at checkout: SMITHPHOTO 10% discount
Helicon Focus click on link to receive 15% discount
Hardware Discounts
Special Year End “Black Friday” Offer From Think Tank Photo NOTE: (Use Promo Code WS-643)
My Favorite 12 Images Of 2013!
Posted on December 22, 2013
Image #10 – Dawn, Grand Teton National Park, Wyoming
Canon 5DMKIII, 50mm, f/16, 1.3 sec., ISO 100, Singh-Ray Slim LB Polarizer
My 10th favorite image of the year came about quite by accident. On this particular morning, my Grand Teton workshop group departed Jackson for Oxbow Bend. My co-instructors, Scott Schilling, Pierre Steenberg and I were in the last car following the group.
As we approached the Moran gate, a young ranger put up his hand for us to stop. I saw he had four large orange cones near his booth. As I rolled down the window, he said the park was officially closed due to the government’s inability to reach a budget settlement hours earlier.
I proceeded to plead with him that we were workshop instructors with a valid Commercial Use Authorization permit and that our group was just up the road awaiting sunrise. He apologized, but said we would have to turn around.
Scott made a quick phone call to one of our group members alerting them what had happened and we headed back towards Jackson and stopped to photograph this scene near Triangle X Ranch. I made this image about 10 minutes before actual sunrise and loved the juxtaposition of the morning hues against the fall color of the cottonwoods in the distance.
Our group had great light at Oxbow Bend, and we completed the workshop at awesome locations outside of the park (some that will remain in the lineup for next year’s workshops)!
Image # 11 – Winter Sunset at Garrapata State Beach
Canon 5DMKIII, 44mm, f/16, 1/10th sec., ISO 200, Singh-Ray Slim Polarizer
My 11th favorite image of the year was captured in early February while teaching a private lesson and shooting a sunset at Big Sur’s Garrapata State Beach. The sun had actually set and the color on the horizon had momentarily disappeared. I cautioned my client to not be so quick to pack as we had an extremely clear horizon that evening.
As the sun sank lower below the horizon, it cast warm rays up and under this stratus cloud that was hanging along the shoreline. We quickly moved in front of this rock to anchor the foreground and the light on the cloud became incredibly rich and saturated.
Generally speaking, one does not often see this type of saturated light after sunset on the coast. This light is more often seen in the mountains; yet, on this evening, we got one heck of a show!
Image #12 – Devil’s Cauldron, Pfeiffer Arch
Canon 5DMKIII, 200mm, f/22, 2.0 sec., 200 ISO, Singh-Ray CC Polarizer
Today I start with Image #12, that I captured last week at Pfeiffer Arch along the Big Sur coast. This image is both exciting and sad, as a day after I captured this scene, the Big Sur Pfeiffer Ridge fire broke out along the mountain ridge across from this arch. As I write this, firefighters expect full containment (today), but 34 homes were destroyed.
During December and January, on a clear-sky day, the setting sun aligns with the opening of the arch and allows for this incredible warm light to spill through the opening. One must time the wave surging through the arch. As the mist from the funneled water rises, it is backlit by the sun.
I personally try for a different approach each time I’m at the arch. On this particular evening, the color was gorgeous and I decided to try a tight shot with a 200mm. This was my second to last frame before the sun finally set allowing for the intense warm color.
Sadly, for all those who lost their homes in the Pfeiffer fire, our thoughts and prayers go out to you.
2014 Photo Workshops – Complete List
5th Annual Kauai Workshop – Garden Isle and Tropical Paradise – June 20-24, 2014 (3 spots remaining)
Software Discounts
Photomatix Pro 4.2 type in code at checkout: donsmithphotography 15% discount
Topaz Software type in code at checkout: SMITHPHOTO 10% discount
Helicon Focus click on link to receive 15% discount
Hardware Discounts
Special Year End “Black Friday” Offer From Think Tank Photo NOTE: (Use Promo Code WS-643)
Like A Well-Composed Song – Think About Adding Layers Of Depth To Your Image
Posted on October 13, 2013
First Snow of the Year – Grand Teton National Park
Canon 5DMKIII, 24-70mmL II @ f/20, 2 second timed-exposure, ISO 200, Singh-Ray LB Polarizer
NOTE: Utah has taken control of their (9) National Parks and will fund them while Washington tries to figure things out. I’m off to Moab today for my Arches/Canyonlands Workshop!
When one lives in “sunny” California as I do, it’s easy to get excited about fresh snow! On my recently completed Fall in Grand Teton Workshop(s), we had multiple mornings of fresh snow for our groups to photograph.
While I taught during the day, my two assistant instructors, Scott Schilling and Pierre Steenberg, drove endless miles searching for shooting locations. They found this idyllic scene near the Jackson Hole Ski Resort and when we awoke to fresh snow and a clearing storm, we loaded up the group and made a beeline for this location.
Upon arrival, my first thought was, where are all the other workshop groups and local photographers? Another group did arrive about 45 minutes later but for some strange reason, decided to shoot towards the east and away from the beautiful snow-covered Teton Range.
Scott and Pierre had found this intriguing fence (always thinking foreground objects) to help add a layer of depth to the scene. Similar to a well-composed song, compositions (both musical and visual) build on depth.
I was in the gym the other day and the song, Viva La Vida, by Coldplay, came on my iPhone. I really like this song and noticed how each verse musically built (or layered) on top of the previous. Finally, by the time the chorus came around, all the instruments were fully engaged.
Depth in a visual medium like photography is also important to creating successful images. Photography is a two-dimensional medium but there are ways to add the “illusion” of depth. Let’s take a look at some techniques I teach and use in my own photography.
Highlight / Shadow (Japanese artists call this Notan)
Leading Lines
Perspective Control
In-Focus vs Out-Of-Focus
Stopping Eye Leaks
In the book, Understanding Composition :: Understanding Line, Notan and Color, author Arthur Wesley Dow explores the movement of the viewer’s eye via line, color, and oscillating black-and-white tones (Notan). The use of dark vs. light tones is one of the ways to move the eye and build depth in your image. In the image above, we start with a light layer (foreground snow), then add a dark layer with the fence, which in turn moves the eye to the meadow (light), then back to dark with the line of cottonwoods and evergreens, then back to light (Teton Range), and finally dark again (storm clouds in sky). Remember, light tones move towards the viewer while dark tones recede.
Line movement is also a way to help move and guide your viewer’s eye. There are Real lines (such as this fence and the horizontal created by the trees, and Implied lines (think about a row of rocks in a stream for example). Studies have shown that the brain will fill in the missing information and complete the line. I’m always on the lookout for similar objects in nature that can create an implied line if real lines are not present.
The next example is perspective control. Most of us (myself included) make the mistake of setting the tripod to our eye-line (I’m 6’2″). What this did for the image above was placed a lot of the meadow (which wasn’t that interesting) in the frame. By lowering the tripod and camera, I could control how-much or how-little of the meadow appeared in my composition. I felt this perspective (the camera was about waist high) was just right (it was a feeling and not a mathematical formula – trust your feelings). By lowering my position to the fence line, I in-turn pushed the fence line higher in my composition. In my first try (at 6’2″) the line was too low allowing for too much of the meadow to occupy my frame. I tell my students to be aware of how much “real estate” each element in your frame occupies. There has to be a good reason for allocating space to every element. Sometimes it just “feels right,” but at least think it through and question yourself as to why?
Another way of directing the eye and producing depth is through the creative use of what is in-focus as opposed to what is out-of-focus. We can do this through either using a larger (or smaller) aperture, and/or using a telephoto lens. After I set my ISO and my composition, my first question is always, “what aperture should I use.” For this scene, I needed sharpness from foreground to infinity; thus, I used a wide-angle less and a very small aperture of f/20 (f/16 was not quite enough). This allowed my hyperfocal point to be 30 feet from the camera (there are many smart phone apps that allow you to calculate this), and my image was razor sharp!
My last thought, after I have set my shutter speed (thankfully there was no wind on this particular morning), is to allow my eye to drift around the perimeter of the frame and check for either distractions, or what I like to call, “eye leaks.” These are areas around the edges of the frame where generally a line or a hot (overexposed) part of the image will draw or lead the eye out of the scene. It can happen in any layer of your image, so pay careful attention. Eye leaks are a way to ruin image depth because they allow the eye to escape the frame.
When it all comes together, it’s like the chorus of a great song, I trip the shutter and my image is full of depth and contains my viewer’s visual interest!
2013 Photo Workshops
2014 Photo Workshops
3rd Annual Fall Color in Grand Teton National Park – September 23 – 27, 2014 (5 spots remaining)
Software Discounts
Photomatix Pro 4.2 type in code at checkout: donsmithphotography 15% discount
Topaz Software type in code at checkout: SMITHPHOTO 10% discount
Helicon Focus click on link to receive 15% discount
Hardware Discounts
Special September Offer From Think Tank Photo NOTE: (Use Promo Code WS-643)
Gura Gear – 5% Discount – Use Promo Code DSMITHPHOTO
Purchase Fine Art Prints and Cards
Click on this link to purchase prints and cards from a growing library of my favorite landscape images:
Fall Grand Teton National Park Photo Workshop :: September 23-27, 2014
Posted on October 11, 2013
Fall Color and First Snow of the Season, Schwabachers Landing, Grand Teton National Park, Wyoming
Canon 5DMKIII, 24-70mmL @ f/16, 1/4 second, 100 ISO, Singh-Ray LB Polarizer, Lexar Digital Media
We just wrapped-up two very successful workshops in Jackson Hole and Grand Teton National Park. Even with the government shutdown, we had fantastic conditions and were able to find alternate locations every bit as worthy as those in the park.
Two of the alternative locations were so well-liked by our participants, that I will keep them in the rotation next September 23-27, 2014 when we offer the workshop again!
For more information, or to sign up, please click here: 2014 Fall Grand Teton National Park
This park is absolutely one of my favorites. Add fall color and some early season snow (can’t guarantee that next year) and the place becomes a visual photographic treat!
Don’t wait, the workshop is already filling and we only have (6) spots left.
2013 Photo Workshops
2014 Photo Workshops
3rd Annual Fall Color in Grand Teton National Park – September 23 – 27, 2014 (9 spots remaining)
Software Discounts
Photomatix Pro 4.2 type in code at checkout: donsmithphotography 15% discount
Topaz Software type in code at checkout: SMITHPHOTO 10% discount
Helicon Focus click on link to receive 15% discount
Hardware Discounts
Special September Offer From Think Tank Photo NOTE: (Use Promo Code WS-643)
Gura Gear – 5% Discount – Use Promo Code DSMITHPHOTO
Purchase Fine Art Prints and Cards
Click on this link to purchase prints and cards from a growing library of my favorite landscape images:
Dealing With A National Park Shutdown
Posted on October 2, 2013
Aspen Glow, South Park Wildlife Habitat Management Area, Jackson, Wyoming
Canon 5DMKIII, 168mm, f/16, 1/50th, ISO 800, Singh-Ray LB Polarizer
I am in the middle of two Grand Teton National Park fall workshops. One small problem – I no longer am allowed to teach in the park due to the government shutdown. Essentially, all 59 National Parks in our country have fallen victim to the idiocy that is happening in Washington D.C.
As a workshop leader, I am required to have a Commercial Use Authorization permit for the parks I teach in. I have no trouble with this; in fact, I support paying for these permits. It helps keep legitimate workshop leaders above board.
Two days ago I was told by the ranger who oversees the CUA’s, that if the government did indeed shut down, that the main highway through the park (Highway 89), would remain open, and she thought that all the overlooks along with the famous Moulton Barns on Mormon Row would also be available for our group. Yesterday I was part of a conference call where park officials told use we had to immediately cease operating anywhere in the park.
I was extremely fortunate to have my assistant instructor, Scott Schilling, and long-time friend, Pierre Steenberg, begin an all-out scouting search of the greater Jackson area while I taught our workshop classes. The two of them worked tirelessly and came up with 11 locations that will assist me and my students in having some wonderful areas to photograph. We have already photographed with the group at three of them.
Mountain Light, National Elk Refuge. Grand Teton Range.
Canon 5DMKIII, 70-200mmL @ f/22, 13 seconds, 100 ISO, Singh-Ray LB Polarizer, Singh-Ray 2 stop GND
On top of dealing with no park access, we now have two winter storms bearing down on us. We photographed fall color in light rain today until heavy rain finally arrived. Outside my window, it is starting to turn to snow. Four to six inches of the white stuff is forecast to arrive tomorrow. I told my students that if we can’t shoot, we will have class training. Skies are supposed to clear on Friday. If the snow is manageable, we will be smack in the middle of it tomorrow – sadly, just not inside Grand Teton National Park.
We held out hope that something would happen with the shutdown late this afternoon as the President met with both House and Senate leaders, but as you all know, the shutdown is still in effect.
Because we have scouted endlessly for three straight days (Pierre and Scott will be out again tomorrow), we can confidently run our workshop and provide quality locations once the nasty weather breaks.
Grand Teton National Park ranks right up there with the best and most scenic of all our National Parks. It’s a shame, especially in the height of the fall color season with fresh snow now falling, that we cannot access it – even though we have paid for the permit.
Washington’s stubbornness is frustrating but we have worked hard to overcome it. I just hope for all the citizens of our country, this insanity ends soon. As for my workshop students, we have some stunning locations in store for you!
2013 Photo Workshops
2014 Photo Workshops
Software Discounts
Photomatix Pro 4.2 type in code at checkout: donsmithphotography 15% discount
Topaz Software type in code at checkout: SMITHPHOTO 10% discount
Helicon Focus click on link to receive 15% discount
Hardware Discounts
Special September Offer From Think Tank Photo NOTE: (Use Promo Code WS-643)
Gura Gear – 5% Discount – Use Promo Code DSMITHPHOTO
Purchase Prints and Cards
Click on this link to purchase prints and cards from a growing library of my favorite landscape images:
When Seasons Collide :: Beautiful Becomes Spectacular
Posted on September 27, 2013
Fall color and Grand Teton Range after clearing storm.
Canon 5DMKIII, 30mm, f/16, 1/20th, Singh-Ray LB Polarizer, Singh-Ray 2-stop soft edge GND, Lexar Digital Media
It’s hard for me to wrap my mind around the fact that just two weeks ago I was basking in the balmy tropical breezes of Hawaii’s Big Island. Yesterday, I stepped off the plane at Jackson Hole, Wyoming and was immediately thrust into frigid winter conditions. “Where in the heck did fall go,” I thought to myself.
Light snow flurries and a stiff breeze greeted me as I walked towards the terminal. A frozen-looking airport employee told me she was not ready for this type of weather so early in the season. The dismayed look on her face told me that she was not kidding.
I could see the Teton Range slowly emerging from the clouds and knew I may have a window of opportunity to capture two seasons in one. The fall color here in Jackson Hole is at what I would consider nearing peak. Some cottonwoods have already leafed-out while others (along with some aspens) are just now starting to turn.
I am here for the next 11 days teaching two fall color workshops. Our bonus, at least if the temperatures stay relatively cold, it that the Teton Range, spectacular regardless of the season, is covered in snow 2/3rds of the way up.
After I picked-up my rental car and checked in to the hotel, I immediately grabbed my camera gear and headed into the park. Fortunately the clouds were still lifting and the peaks were in full view covered in snow. One of my first stops was near Moose Junction. After composing some grand scenes, I became a bit dismayed as I noticed clouds starting to envelope the range once again.
I decided to wait things our but the snow became heavier. My goal was to stay close to the range in the hopes that the clouds would again break. Soon after entering the south entrance gate along Grand Teton Road, I came across this scene that I have always liked. Much to my surprise, the snow flurries subsided and the clouds did indeed lift, leaving me with this incredible scene of fall color and dramatic peaks of the main portion of the Teton Range.
The soft light made the exposure very easy (I did use a 2-stop soft edge grad to hold down the bright parts of the sky), but other than that, I just worked the scene for various compositions. What was even more incredible was the fact that no other photographer was there – I had this all to myself.
Grand Teton National Park is quickly becoming one of my favorites of all the National Parks. Add some fresh snow and fall color, and it becomes a spectacular site.
It was snowing again this morning when I met up with my long-time neighbor Ali. She has been living in Moose for the past four months and had some out-of-way locations to show me. To say the least, they were incredible and I will use them as part of the workshop – thanks Ali The forecast for the next five days is trending towards more normal conditions with warmer fall-like weather. Conditions couldn’t be more perfect. Workshop #1 begins tomorrow!
2013 Photo Workshops
2014 Photo Workshops
Software Discounts
Photomatix Pro 4.2 type in code at checkout: donsmithphotography 15% discount
Topaz Software type in code at checkout: SMITHPHOTO 10% discount
Helicon Focus click on link to receive 15% discount
Hardware Discounts
Special September Offer From Think Tank Photo NOTE: (Use Promo Code WS-643)
Gura Gear – 5% Discount – Use Promo Code DSMITHPHOTO
Purchase Prints and Cards
Click on this link to purchase prints and cards from a growing library of my favorite landscape images:
Fall Is In The Air! Tips For Photographing Fall Color
Posted on September 18, 2013
Stormy Evening, Snake River Overlook, Grand Teton National Park, Wyoming
Canon 1DsMKIII, 32mm, f/16, 1.5 seconds, ISO 400, Singh-Ray LB Polarizer, Lexar Digital Media
The September equinox and first day of autumn in the Northern Hemisphere will occur this Sunday, at 1:44 p.m. PST. At that moment, the sun will appear to cross the equator, going from north to south.
Our planet will be positioned such that its axis will be perfectly perpendicular to the plane of its orbit, meaning that the sun’s rays will be illuminating the daylight side of the planet directly, bathing the Northern and Southern Hemispheres in equal amounts of light and creating days and nights of near equal length.
What it means for us photographers is that the trees and foliage will be preparing for the winter season. With this changeover, and depending on where you decide to photograph, you should be treated to some spectacular displays of fall color!
I have several workshops planned this fall to take advantage of this colorful event. My first of two workshops in Grand Teton National Park begins a week from Saturday. I will be hosting another workshop in Bryce and Zion National Parks the first week of November.
Both workshops have been sold out for months and the anticipation for incredible photography is high.
WHY DO LEAVES CHANGE COLOR?
I’m not a botanist, but I’ll give this my best shot. As we all remember from our grammar school days, leaves appear green because of an abundance of chlorophyll. There is so much chlorophyll in most leaves that it masks other pigment colors during the spring and summer months.
Quite simply, light regulates chlorophyll production. As our days become shorter, the chlorophyll begins to break down and the pigment colors are revealed. Also add to the mix the fact that sugar production ramps up at the same time increasing the production of anthocyanin pigments (resulting in red leaves).
Carotenoids are another type of pigment found in many leaves. These pigments can be yellow, orange or red, but most produce the vivid yellows that we all love to photograph.
WHAT AFFECT DOES TEMPERATURE HAVE?
I learned something a bit new while researching information for this blog. I was always told that for best fall color, daytime temperatures needed to be in at least in the 60-degree range or higher, and cold nights (under 40 degrees) were optimal.
What I discovered was that temperature plays a roll in affecting the rate of chemical reactions within the leaf, but it’s mainly high levels of light (sunshine) that most affect fall foliage colors.
Sunny days will result in our eyes seeing the brightest colors, since anthocyanins require light. When the light is overcast and dull, we will see the leaves as more yellow and brown.
WHEN IS IT BEST TO PHOTOGRAPH FALL COLOR?
That really depends on how you want to record the colors. In the lead photo to this blog, captured in Grand Teton National Park, my friend Mike Hall and I remained shooting after the sun had set and all the other photographers packed and left.
I captured this particular frame 15 minutes after sunset. This vivid color reappeared after the sunset light had left. As you can see, the fall color appears very vivid under this indirect light and the entire range of the scene’s tonality were captured in one frame with no grads or blends needed.
A proper setting of both my highlights and shadows and a bump to the mid-tone contrast, allowed not only the drama in the clouds to be revealed, but also the colors of the trees to appear more saturated. There was no color or saturation enhancements needed – proper contrast reveals color!
God Beams Through Elm, Yosemite National Park, California
Canon 1DsMKII, 24mm, f/22, 1/10th, ISO 100, Lexar Digital Media
This high-contrast scene is one I will always remember. I knew the exact time that the sun would be rising near Yosemite’s Half Dome and had spotted this elm (non-native to the valley) in Cook’s Meadow the day prior. I was helping Gary Hart teach his fall Yosemite workshop and after our sunrise shoot, I asked Gary if I could take anyone who wanted to come along with me. I recall that four students wanted come along. As we arrived, we spotted this mist rising off the meadow’s grasses. I got everyone in place. Just before the sun crested, a small girl ran into the scene and started playing near the base of the tree. Fortunately I spotted her mom, explained what was about to happen, and she kindly asked her daughter to step out of the way. As the sun crested, the backlight made the elm explode with color. The mist also came to life and the steaks of sunlight illuminating the warm grasses sealed the image!
Sunstar Through Oak, Yosemite National Park, California
Canon 1DsMKII, 24mm, 1/80th, 100 ISO, Lexar Digital Media
Here is another example of utilizing a clear-sky day to my best advantage by positioning myself to shoot backlight. I captured this scene in El Capitan Meadow with late-afternoon sunlight in Yosemite National Park. It’s almost an oxymoron for a landscape photographer to desire a clear-sky day, but during the fall, few complain. I find that the leaves will become translucent and reveal colors at their most vivid state.
One other benefit of photographing fall color is that you can keep shooting throughout much of the morning and late afternoon on clear days if you remember to shoot backlit or even a bit side lit. If the sky is overcast, then that is a green light to shoot all day long if you so desire as contrast issues are lessened.
Bridalveil Creek Eddy, Yosemite National Park, California
Canon 1DsMKII, 210mm, 4 seconds, f/16, Singh-Ray LB Polarizer, Lexar Digital Media
I’ll leave you with a fun image I captured in Yosemite’s Bridalveil Creek of some leave swirling in an eddy. I wanted to emphasize the motion of the eddy and decided to use a shutter speed of 4 seconds to allow their motion to blur. It was important that I found a foreground to help anchor the viewer’s eye and I kept moving around the rocks above this pool with my telephoto lens until I spotted these leaves resting on the this rock – simple but effective!
2013 Photo Workshops
2014 Photo Workshops
Software Discounts
Photomatix Pro 4.2 type in code at checkout: donsmithphotography 15% discount
Topaz Software type in code at checkout: SMITHPHOTO 10% discount
Helicon Focus click on link to receive 15% discount
Hardware Discounts
Special September Offer From Think Tank Photo NOTE: (Use Promo Code WS-643)
Gura Gear – 5% Discount – Use Promo Code DSMITHPHOTO
Purchase Prints and Cards
Click on this link to purchase prints and cards from a growing library of my favorite landscape images:
Nature's Best :: Don Smith Photography 