Gone Instagramming...

"Snake Bird" An immature anhinga (Anhinga anhinga) takes a break from preening at the Venice Audubon Rookery in Venice, Florida.  

You may have noticed I've been a bit lax in updating the blog and Facebook page recently. That's partly because I've been very busy lately, including some great photography trips, and partly because I've been focusing my social media efforts lately on jump-starting my Instagram presence.

I realize I'm pretty late to the game here. An older model phone with no memory left, and the requirement that images be uploaded from mobile, kept me from really adopting Instagram for quite a while. In this post thought I'd give a brief rundown of what I like about using Instagram for wildlife photographers and what I don't like.

First, let's start with what I like and how I think it differs from my blog, Facebook page, and Twitter. One major difference is organic reach. I feel like I'm reaching a lot more people (and new people) through Instagram than I have with any of the other platforms. Particularly now that Facebook is throttling how many subscribers (and non-subscribers) see your posts in order to get you to purchase more reach. More so than Twitter, I feel like the hashtags and direct mentions are helping me to reach more of an audience that is genuinely interested in my work. I feel like with my blog and Facebook I'm only reaching folks that already interact with my photography (and sometimes barely at that). I also like that Instagram puts the photography foremost. Unlike Twitter where the photograph or blog link are usually secondary to the text (and often requires an additional action from the viewer), Instagram is focused on the image and the text is secondary. Unlike Facebook, the images are featured at full size (usually) and in their best light, instead of being cropped down and requiring the user to once again click and go to another screen to view them. I feel like some of the Instagram hashtags actually have a good following of people looking for interesting images. Twitter always feels like I'm releasing sand grains into the wind or a message-in-a-bottle into the vast ocean. There is just so much noise that the chances that anyone will see and interact with my tweet are slim. I also feel like I am much better able to interact with brands and organizations that might be interested in my photography on Instagram. I've had a lot of luck getting them to respond to my photography. Finally I like that there isn't a tight limitation on the text length in the Instagram posts. They are like mini blog posts. I can say what I want to say, and still have room for relevant hashtags and mentions.

Okay, now what I don't like about Instagram. As mentioned before, I'm not too thrilled that I can't post from my desktop. I'm not a big iPhone photographer, so almost all of my images are coming from my DSLR. The extra step to send the images from my computer to my phone is time consuming and a bit of a pain. Unfortunately, possibly more so than other social media (except maybe Twitter), there seems to be a lot of folks trying to game the system and gain followers at any cost. Lots of folks will follow you and then unfollow you once you've followed back, and/or unfollow you if you don't follow back right away. Quite frankly, I'm just not interested in these games. I want to follow folks who produce content that I'm genuinely interested in and that I want to interact with. And I want folks to follow me or like my stuff because they are genuinely interested in seeing and interacting with my work. The tit-for-tat following and liking mentality just doesn't work for me, and seems counterproductive to what should be the true goal of posting your work on social media. I'd rather have two followers that are really interested in my work, than a thousand that couldn't give a damn other than increasing their own followers and likes. Finally, I'm not sure how I feel about the posts not being presented chronologically in home stream. This has some advantages and many disadvantages.

All this being said, I will strive to do a better job updating the blog with new (and better) content, but if you are on Instagram and you are genuinely interested in my work, please give me a follow @whimbel_nature. On my Instagram account you will see more real-time posting, more of my newest work, and more information on my ongoing projects. I won't promise to follow you back, unless you are producing content that I'm genuinely interested in and feel like I will interact with on a regular basis.

Favorites Of 2017

It's come time for my traditional countdown of my favorite twelve images from the previous year. 2017 was a good year for photography, despite my third (and final) year of wood thrush field work taking up much of my time between the end of April and the beginning of October. As usual, there were some tough choices to be made to narrow it down to just twelve images. Here are my favorites from this year, in no particular order.

1. "Placid Lake, Turbulent Skies"

This image was taken near the top of Whiteface Mountain looking down towards Lake Placid during peak foliage at the beginning of October. At the end of our annual camera club trip to the Adirondacks, a group of us decided to take the drive to the top of Whiteface. Despite iffy weather and a small traffic jam at the entrance, our perseverance paid off more than we could know. At the top we were treated to windy and frigid conditions, but also incredible views of the surrounding foliage and mountains with light beams breaking through the stormy cloud cover everywhere. This image is a panoramic composed of seven vertical images taken with my 70-300mm lens set at 70mm. Each of those images was in turn created from a 32-bit HDR made in Lightroom from three identically composed images shot at 1 stop increments. I turned off Auto-Tone and processed the 32-bit images manually. All images were shot at f/16. Obviously to pull this off, all images were shot on a tripod in quick succession.

2. "Gaping Gator"

I encountered this relatively small alligator sunning itself along the dike at the Audubon Swamp Garden in Magnolia Plantations and Gardens near Charleston, SC. The behavior depicted is called "gaping" and is likely a thermoregulatory behavior. The alligator rests with its mouth open and often the buccal pouch extended. This individual was nicely backlit; illuminating the translucent skin of the pouch. With the benefit of almost the full reach (with a 1.6x crop factor camera) of a 100-400mm zoom lens, I was able to carefully get down to eye level to photograph this individual.

3. "Broken Dancer No. 3"

2017 was a great year for my night photography, although mostly with less natural subjects. One of my favorite locations for night photography this year was Woodlawn Cemetery in the Bronx. This cemetery has a large collection of historic, elaborate, and artistic mausoleums and monuments. Although I captured a few images here that made it to the candidates for favorite of 2017, this image is far and away my favorite of the bunch. This image was light painted with the help of my friend Peter Nagy. I'm photographing with my tripod fully spread, lying on my belly on the ground with my Tokina 11-16mm lens. There is a powerful pink/magenta colored light pointed at the front of the statue. I'm using a spotlight from the ground to light the writing on the block and fill in some of the detail on the side of the dancer and remove some of the color cast on the statue. Peter is holding a small spotlight on the hands to emphasize the hands and remove some of the color cast from that area as well. Irene Castle and her husband were a famous dancing couple and when he died during a wartime training accident, she had this statue commissioned for his marker.

4. "Love Bugs"

I captured this macro image late one evening in July near Swan Lake in Rockefeller State Park Preserve. I went to this patch of milkweed plants looking for macro subjects and this pair of red milkweed beetles obliged. I love the contrast between the bright red beetles and the green surroundings. The red and black coloration warn potential predators of their foul taste due to toxic cardiac glycosides obtained from the milkweed plant. In an example of Mullerian mimicry, many of the insect species feeding on milkweed have a similar red/orange with black pattern.

5. "Me And My Shadow"

This image was captured at Nickerson Beach Park on Long Island. I was thrilled to finally capture some images I was happy with of this beautiful and charismatic bird. This image is one of my favorites because the combination of behavior, a parent bringing food to its young, and the perfect shadow, elevate this image beyond the standard animal portrait. This individual passed close by me on foraging runs several times as I sat still and quiet on the beach front.

6. "Give Me Shelter"

While the lighting may not have been ideal, any time you catch a baby owl out and about during the daytime has to make the favorite list. This baby screech owl was waiting in this beech tree with its parents for the rest of its siblings to fledge from the nest. It was soon joined by two other baby screech owls in the same tree. Taken mid-June in Rockefeller State Park Preserve.

7. "Displaying Teal"

This displaying blue-winged teal was displaying in February at the Audubon Swamp Garden at Magnolia Plantation and Gardens. I love the blend of frozen detail (particularly the eye) and blurred action in this behavior shot. Just enough detail is captured in the pale blue, white, and iridescent green wing feathers to show the structure of the colored wing patches. Because of hunting pressure, it can be hard to get good images of these ducks, so it was great to find wild ducks that were mostly habituated the hustle and bustle of the busy plantation.

8. "Gaea Overwhelmed"

2017 also saw many new additions to my "Fairytales" composite series. "Gaea Overwhelmed" is one of my favorites because of its environmental message and the overall visuals. I originally conceived this image and shot the background subway image back in April. But I didn't finish getting the background image into shape and photographing and adding the figures until October. As with all the images in this series, I've tried to layer multiple meanings/interpretations and social commentaries into the fairytale story and mix in modern elements to indicate their modern relevance.

9. "Chorus Line"

This line of white ibis was also photographed in the Audubon Swamp Garden at Magnolia Plantation and Gardens near Charleston, SC. I noticed the birds lining up on the branches of this dead tree, but then it was a matter of finding a viewpoint that wasn't obstructed by other vegetation, but allowed me to capture the linear arrangement. The overcast sky provided a nice high-key effect.

10. "Crested Dwarf Iris And Trail, Little Frog Mountain Wilderness"

During 2017 I also continued to work on my "Smallest Wilderness" project; revisiting some local wilderness as well as areas in South Carolina, Tennessee, and Virginia. This image was made just inside the Little Frog Mountain Wilderness in Cherokee National Forest just after a light rain. Crested dwarf iris are among my favorite wildflowers and I love their saturated green and purple colors.

11. "Spring Green"

During my work on the "Smallest Wilderness" project I also visited the small but stunning Gee Creek Wilderness in Tennessee. A combination of waterfalls and wildflowers made this wilderness a joy to hike. The combination of trillium with the spring maple leaves and a katydid nymph combine to elevate this image above the "standard" wildflower close-up shot.

12. "Fall Ring Cycle No. 2"

2017 also saw the development of a new series that I'm very excited about. "The Shape Of Things" series takes elements from my nature photography and turns them into pieces of digital art that in addition to being beautiful also illustrate concepts of morphology, seasonality, cycles, and the passage of time in the natural world. This image is one of my favorites depicting the cycle of color change in foliage and the seasonality of the natural world. To see more of this series and my other composite, night, and digital fine art work, please visit my new website at https://whimbrelnature.myportfolio.com/work .

Happy New Year to all! Wishing you the best and lots of outdoor adventures in 2018!

The Secret Lives Of Peeps

"Ruffled" A semipalmated sandpiper looking disheveled after shaking out its plumage. It's mottled appearance of light grey and darker feathers, plus pointy feathers without buffy edges indicates that this individual is an adult (AHY) bird and not a young bird from this year. The wear on the old plumage and molt makes the adults look distinctly shabby compared to the new, bright, rounded, and neatly bordered plumage of young birds. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

No, not the marshmallow ones, that's a blog entry for another time. This post focuses on the biology and behavior of the small Calidris sandpipers (collectively known as "peeps") and how best to observe them. This post and the accompanying images were inspired by a recent field trip I led to Jamaica Bay Wildlife Refuge in Queens, NY with some great folks from the Color Camera Club of Westchester.

"Quiet Moment" Compare this juvenile (HY) semipalmated sandpiper to the adult pictured above. Notice that there are no obvious molt patterns with distinctly darker fresh feathers next to faded older ones. Notice that each feather on the back is nicely rounded instead of pointed and worn to the shaft on the tips. Also notice that each feather is clearly edged in buff or white. Overall the appearance is crisp, clean, and scaly. If you zoom in, in this image you can also see the fine serrations on the inside of the slightly open bill. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

Aging Peeps On Fall Migration

These techniques also work for many other species of shorebirds as well. First, take in the overall appearance. Juvenile shorebirds in the fall look clean, crisp, generally more colorful, and almost "scaly" in appearance. Adults tend to look slightly shabby, faded, and lack the "scaly" appearance. Next look for molt patterns. On a juvenile feathers will vary with the plumage pattern, but feathers in the same area/set will look roughly the same in color, tone, and brightness. In adult birds you will see feathers that are obviously newer (different, often darker or lighter color and less worn), next to older ones. Then look at the feathers themselves, are they rounded and fresh looking (juvenile, hatch year or HY bird), or distinctly pointed and often worn down to the shaft at the tip (adult, after hatch year, or AHY). Finally are the outer edges of the feathers outlined with a pale buff or white, giving the above mentioned "scaly" appearance on the back? This is an indication of a juvenile bird. In adult feathers this time of year, most of this edging has worn off or is absent.

"Consistency And Variation" Despite overall consistency in size, plumage pattern, and bill compared to the differences between peep species, there can be quite a bit of variation in semipalmated sandpipers (Calidris pusilla) in color, bill length, and body size. Notice in these two juvenile (HY) individuals that the bird on the right is darker, more brownish, and has a bit more rufous in the edges of the upper scapular feathers. Birds can vary between grayish, golden, to dark brown. Bill lengths and the amount of slight droop at the tip can also vary between individuals. This variation can sometimes be a source of confusion with distinguishing from other peeps such as western sandpiper (Calidris mauri). Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

Species

Depending on the habitat and timing, but certainly the case at Jamaica Bay Wildlife Refuge in NY where these images were taken, semipalmated sandpipers (Calidris pusilla) will probably be the most abundant peep species during migration in many east coast locations. Often birders have a difficult time picking out other peep species; and when you are dealing with flocks of hundreds of constantly shifting birds, it can definitely be a challenge. Here are a few tips for picking out other species among the numerous "semis".

"Shake It Off" A white-rumped sandpiper (Calidris fuscicollis) shakes water off its body after bathing. In the field, this peep is noticeably larger than the other three common peeps in this habitat. Also note the elongated appearance and when folded the wing tips will extend beyond the tail. The distinct white supercilium is also a good field mark. When visible, the orange/red base of the lower mandible and the completely white rump (visible when flying or preening/bathing) are diagnostic. For a challenge, can you age this bird using the skills you learned above? Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

Overall shape and size can be good indicators that something is worth a closer look. Western sandpipers (Calidris mauri) average slightly larger, chunkier, and front heavy than semipalmated, while least sandpipers (Calidris minutilla) average slightly smaller and lighter. White-rumped sandpipers (Calidris fuscicollis) are quite noticeably larger than all these peeps and the wings extend beyond the tail giving the bird a distinct sleek, elongated look when compared to other nearby peeps.

"Pale Reflection" A western sandpiper (Calidris mauri) forages in the shallows. Notice the overall paler, grayer appearance and front heavy bearing. Also the bright rufous edged upper scapulars (particularly contrasting with the overall paler appearance) are a strong indicator of a western. Finally, notice the the longer bill with a noticeable droop near the tip. Full disclosure, this image was made in September of 2014 at Jamaica Bay, as I didn't capture any images of western sandpipers on my most recent trip. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/5.6, 1/1000 sec.

Overall color can be another great indicator. Western sandpipers tend to molt earlier than other peeps and by September are often in much paler, grayer non-breeding plumage. Also the bright rufous edges to the upper scapulars frequently stand out as a distinct color patch. Least sandpipers tend to be a much richer, and in juveniles more overall rufous, brown than the other peeps. An additional diagnostic color cue is that least sandpipers are the only peeps with yellow legs (but be careful of mud encrusted legs).

"Least, But Not Last" The least sandpiper (Calidris minutilla) is our smallest common peep. Note the deeper brown color with more rufous, the thin drooped bill, and diagnostic yellow legs. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

Finally, pay attention to bill size and shape. This can be fairly variable in semipalmated and there is some overlap with western, but taken in conjunction with other features, this characteristic can be important for positive ID. Western sandpipers have generally longer bills that are more tapered and drooped at the tip. Semipalmated bills tend to be shorter, straighter, and more blunt in comparison. Least sandpiper has a thinner, more tapered bill, with a very distinct, but small, overall droop. White-rumped sandpipers have a wide base that tapers significantly towards the tip, also with a distinct droop.

"Step Lively" A juvenile semipalmated sandpiper runs towards me during an active foraging session after landing. You can actually see the slight webbing at the base of the toes that resulted in the name "semipalmated". Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

Behavior

Migrating in flocks, peeps make for great behavior watching. One of the main behaviors you'll notice is foraging. Take some time to watch the different species of peeps and individuals. Do certain species or individuals spend more time probing in the water or on land? Do they mostly utilize the wet mud flats near the edges of the water, or farther upland where the mud is dryer or dominated by vegetation. Do they do more gleaning or probing in the mud?

"Mouthful" A semipalmated sandpiper gobbles down a mouthful of invertebrate it gleaned from the surface of the mud and grass. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

Other behaviors to look for include preening and bathing, predator detection and avoidance, as well as small scale territorial squabbles (usually over feeding space or prime resting areas).

"Making Pretty" A peep preens its feathers as it rests on a small island in East Pond of Jamaica Bay Wildlife Refuge. Pop quiz: which species and what age? Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

And if your entire flock suddenly flushes through no action of your own or other nearby humans, keep your eyes open.

"Wary Of The Skies" A juvenile semipalmated sandpiper scans the skies for aerial predators. If you watch a flock of resting peeps they will frequently make these scans for predators, particularly if the movement or shadow of a larger bird flying over makes them wary. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

You might just be treated to the sight of a hunting peregrine falcon.

"Liftoff!" A semipalmated sandpiper flies from the water to the shore. If your entire flock of shorebirds flushes and it wasn't something you did, keep an eye out for aerial predators like the peregrine falcon. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

Other Species

"Open Wide" Semipalmated plovers (Charadrius semipalmatus) are often found among or nearby flocks of peeps. I think this individual was yawning or stretching. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

When out observing peeps, don't forget to look around for other shorebird species. Often species like the semipalmated plover (Charadrius semipalmatus) will be mixed in with the peeps. Nearby, but usually not part of the peep flock, you might see larger shorebird species like on of the yellowlegs or the stilt sandpiper (Calidris himantopus).

"Eye On The Sky" Peeps are not the only ones that periodically scan for aerial predators. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

Go Slow, Stay Low: Observing Peeps And Other Shorebirds

One of the best ways to observe shorebirds is from a distance with a spotting scope. This is the best way to ensure that you are not unduly disturbing the birds. Even then, wearing muted natural colors that blend into the environment (not white), moving very slowly, and staying low as your body and viewing conditions will allow, will keep your actions from disturbing the birds.

"Close-Up" While not my best composition, I include this image of a foraging semipalmated sandpiper to show how close birds can get if you follow the tips described here. I also like how you can really see the feather detail in this image. This bird and several others actually came even closer, but they came so close (probably within a foot) I could no longer maintain focus without reaching up and switching my lens to "macro" mode, which I didn't want to do for fear of startling them. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

If you need to get closer for photography or you just want to experience the magic of feeling part of the flock and observing behavior on a personal level, then you'll need to take extra care. I need to state explicitly at this point that you should avoid flushing shorebird flocks as much as possible (sometimes trail paths or beach activity make that impractical/impossible). These birds have a limited amount of time to refuel for their long journeys south and time spent flushing back and forth is an additional expenditure of energy on top of the time lost feeding. Never chase birds back and forth, if you inadvertently flush them, back off and accept that the flock might be too sensitive to approach. It is important to note that I didn't flush any of these birds while taking these images, in fact, as I worked, additional birds joined the original flock. Eventually I was practically surrounded by birds on all sides.

"Plover Portrait" This semipalmated plover spent time wandering all over the small island where I was photographing. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

The best strategy is to find a place that seems to be productive and then sit and wait until the birds come to you. Either arrive before first light, or approach an area just after the birds have been flushed by a predator or other human activity. Again, while camouflage/ghillie suits are helpful, it is not necessary, but natural, muted colors are a must.  Get as low as possible. In fact, your best results will be if you lay down. With the possible exception of beach goers, shorebirds are not used to seeing humans lying down and don't perceive them as a threat in that position. This has the added benefit of giving you an eye-level perspective, instead of looking down on the birds. Any movements and readjustments should be done deliberately, glacially slow. Try to avoid direct eye contact with your subject, particularly while moving, as that is perceived as more threatening. Either look through your camera or out of the sides of your eyes.

"Pale Knight" A particularly pale (and longer beaked) specimen of a semipalmated sandpiper strikes a pose while foraging nearby. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

If you must approach a flock, then there are several techniques that can help. Watch the birds carefully (but not directly, see above) and at the first sign of agitation, stop all movement and don't resume until the birds have gone back to normal activity. Signs of agitation can include birds becoming alert from resting postures, birds looking directly at you, birds alarm calling, birds moving away, and birds with a hunched posture indicative that they are readying to take flight. Avoid direct eye contact as you move, in fact try to look at the ground or off to the side. Move exceedingly slow with frequent pauses to give the birds a chance to adjust and to gauge their reactions. It is also often helpful to approach from an indirect route, either zig-zagging to your final destination or heading towards a goal off to the side before shifting into your final position. Stay very low. Inch on your belly if possible. If not, crawl, kneel, or hunch over.

Patience is key. It may take a while for birds to fully accept your presence, but soon they might start acting as if you aren't even there or are part of the environment. With this birds will start moving towards and in front of you and you'll have unprecedented access to details of plumage and behavior. It can be a truly magical experience for those with enough patience, and the will to tolerate wet ground, insects, sun, and uncomfortable positions.

"Sunrise Reflection" I'll leave you with an image of one of the larger Calidris sandpipers, the stilt sandpiper (Calidris himantopus) which I photographed just after sunrise as we emerged out onto the first of the mud flats on East Pond. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/320 sec.

Enjoy and always keep the welfare of the birds utmost in your mind.

Hawley Bog And Carnivorous Plants

Wide view of the dew-covered Hawley Bog with pitcher plants, bog rosemary, and grass pink (or Calopogon) orchid visible.

While attending the NECCC at UMass and doing some night photography, I was also able to sneak away for a morning of nature photography at Hawley Bog. Hawley Bog is a unique well-preserved New England bog complex, jointly owned and managed by the Nature Conservancy and the Five College Consortium. Bogs are one of my all-time favorite habitats; full of exotic plants and often a somewhat exotic northern-type avifauna. Plus, how cool is it to feel the ground shake beneath your feet like jello?

A round-leaved sundew leaf emerges from the mat of Sphagnum moss. The glistening drops of fluid attract and trap insects which are then digested through enzymes.

Acidic bogs are poor in nitrogen and other nutrients, thus you find many carnivorous species of plants which trap insects to provide necessary nutrients they can't extract from the soil. Hawley bog is host to round-leaved sundew (Drosera rotundifolia), purple pitcher plants (Sarracenia purpurea), and horned bladderwort (Utricularia cornuta), all carnivorous species.

The flowers of purple pitcher plants rise above the surface of the bog like funky umbrellas. This flower playing host to a fly.

The flowers of horned bladderwort are quite striking in their own right. The leaves of this plant contain tiny bladders which trap very small invertebrates.

In addition to the carnivorous plants, Hawley Bog also hosts several species of bog orchids. Another group of plants that are just as fascinating and beautiful in my mind.

Grass pink orchids (Calopogon tuberosus) are perhaps my favorite species of orchid. Beautiful and associated with the fairly rare bog habitat.

Rose pogonia (Pogonia ophioglossoides) is another beautiful pink orchid commonly found in bogs and fens.

Rose pogonia (or snakemouth orchid) from the side.

Although I don't associate it as much with bogs as the previous two species, white-fringed orchis (Platanthera blephariglottis) grows out on the Hawley Bog and blooms slightly later in the summer than the other two species. Luckily this plant was farther along than most of the other specimens.

Finally, around the edges of the bog grows yellow loosestrife or swamp candles (Lysimachia terrestris), a wetland indicator plant. As a young birder, I used to love yellow loosestrife because of its beautiful yellow spike of flowers, making it easy to identify, and its apt and poetic alternate name, swamp candle.

Swamp candles add their bright flame to the wetland complex. Yellow loosestrife is the only local yellow-colored loosestrife species that doesn't have leaves obscuring the yellow flowers.

U-Mass, It's Educational

"Campus Pond, Night, 2017" looking towards the Fine Art Center. The fountains are a nice touch to the campus pond, however they still aren't producing enough movement to combat the algae build-up, which has filled in the entire back section of the pond. This is a panorama stitched from 5 vertical images taken with a Tamron 150-600mm (at 150mm) zoom I borrowed at the conference.

The title of this blog post comes from the Pixies song "U-Mass", which incidentally, I was first introduced to when I was a freshman at UMass on a spring break caving trip to WV. I just returned from the annual New England Camera Club Conference (NECCC) which is held at my alma mater. It was interesting to see all the changes that have occurred to the campus in the last ten years (I returned for grad school and defended my PhD in 2007).

"Water You Doing?" This wall near the Central Residential Area is open for "free expression" by the campus community, which I thought was a neat idea. They just repaint the wall periodically and start fresh. The jumble of graffiti suggested to me the sometimes overwhelming nature and emotions of this time and the transition to "the real world" after college, hence the pose.

While attending talks on various photography subjects and attending a workshop on fine art printing, I was able to spend two nights doing some night photography with my friend Peter Nagy from the Color Camera Club of Westchester (where I live now in NY).

"Obelisk Transmitting" I've been told this sculpture in Durfee Garden is an Andrew Goldsworthy, but I'm not so sure and I've been unable to confirm online. If anyone knows for sure the artist, please comment below. This setting provided an excuse to do some more "hard-core" light painting using a string of LEDs on stretched out copper wire. Many thanks to Peter with the execution. It would have been impossible without his help. This one brings out the sci-fi geek in me.

"Screened" The rice paper-like screens in Durfee Garden are even more beautiful at night when they pick up subtle colors from the different light sources around campus and contain the projections of shadow vegetation.

"The Egg And The Greenhouse" I can't decide if I like the over-splash of blue light on the greenhouse in this one, or if I want to mask it out using a separate frame I got without the blue light. I really like the texture and color on the old conservatory though.

One area we spent a bunch of time in on the first night was Durfee Gardens near the Durfee Conservatory. During my undergrad, time managing a lab, and my graduate degree, Durfee was a welcome refuge and stress-relief for me. If you get a chance, it is well worth a visit. The conservatory has a fabulous orchid room and a tropical room complete with water features and benches.

"Occulus" The new stairway and landscaping between the two Morrill Science Center buildings is gorgeous and includes this great sculpture which is further enhanced by the shadows and sodium vapor lighting present at night.

I have to admit, I was pretty pleased with the changes to the infrastructure I saw while I was there. The new buildings are beautiful and environmentally friendly. The landscaping has improved by leaps and bounds. Other environmental and artistic initiatives are in evidence everywhere. The food services are also incredible! I've been very critical of the UMass administration in the past, but it seems like they've been getting a lot of things right in past few years. I don't have enough info to judge how the academic program is going, although I like what I hear about the new honors college as well.

"Design At Rest" This abstract comes courtesy of the new benches between the Learning Center and the Student Union.

"History And Technology" Metawampe sculpture juxtaposed against the large flat screen displays in the new Learning Center.

"Campus Pond Reflections" Lights reflect in the disturbed surface of the campus pond.

"Campus Center Steps Number One" The steps of the Campus Center terrace provide ample opportunities for geometric abstracts.

"Cold And Warm" The Fine Arts Center did my light painting for me with this juxtaposition of the blue lit alcove and the warm sodium vapor lights. I was packed up and on my way to the car, but I just had to photograph this scene with my new Rokinon 14mm lens.

"Shadow Play" The interplay of light, shadow, and color attracted me to this composition of the back of the Student Union building.

"Campus Center Steps Number Two" I have a soft spot for the texture and geometry of stone work.

The second night we photographed, the wide-angle view just wasn't doing it for me. So I switched to a Tamron 150-600mm zoom that I borrowed at the conference and shot mostly isolations for the remainder of the evening. That change of perspective got the sleep-deprived creative juices flowing again and I made some compositions I was really happy with. Particularly, this next photograph is I think possibly my favorite image of the trip.

"Bi-Cycle" This bike was parked outside the entrance to the Campus Center. Possibly my most favorite image of the trip. I love the almost, but not quite, symmetry of this image and the nostalgic effect of the warm sodium vapor lighting. Even the weeds coming through the crack at the junction of the wheel and it's shadow are perfect. Although the bike is modern, the isolation and lighting make this image somewhat timeless.

Finally, I'll leave you with one more image from Durfee Gardens. My next post will be back to nature with some images I took at Hawley Bog during the conference. Orchids and carnivorous plants, oh my!

"Zen" A different light painting interpretation of the egg sculpture outside of Durfee Conservatory.