Catch the spirit.

How to capture the presence, mood, and character of trees without breaking the bank on camera gear.

HOW OFTEN have you seen extraordinary trees and wished you could capture their spirit on film? And if you've photographed trees before, do you find your images often fall short of your expectations?

Don't despair--you're in good company. Expressing the essence of trees through the eye of a camera is not as easy as it might at first seem, but armed with a few good pointers, you're going to begin to achieve some pleasing results.

Incidentally, this is not the time to run out and buy one of the new "auto everything" cameras. As the eye behind the camera, your input is much more basic than the most advanced camera equipment could ever be. This I have learned from first-hand experience. All of my work has been done with very basic equipment.

When photographing trees, extraordinary botanical character is only a beginning, albeit a good one. Other elements to consider are light, atmosphere, background, contrast, vantage point, design, choice of film, lens, and (not to be overlooked) a strong dose of reverence.

The right light is critical for creating dramatic images of trees, and some of the best light can be found during the period from 20 minutes before to two hours after sunrise, and from two hours before until 20 minutes after sunset. My rule of thumb is to estimate the length of your shadow. If it is the same as or greater than your height, the light is in a good position for shooting. And the longer your shadow, the more dramatic the light. I especially enjoy photographing around sunrise and sunset because of the warm quality of light.

For mood and emphasis, there is nothing quite like foggy weather. I discovered the magical effect of fog during a trip to photograph the forests in Virginia's Shenandoah National Park, when a thick fog enveloped the Blue Ridge Mountains for the entire period of my stay. Unable to see more than a stone's throw in any direction, I felt as though my entire trip was wasted. However, after my film was developed and I discovered the enchanting results of the fog, I became a believer and have been seeking out foggy conditions ever since.

Fog emphasizes trees in the foreground by progressively muting those in the background and creates a distinctive mood at the same time. When photographing in fog, it is a good idea to put some color in the foreground, since fog will silence colors in the background and create something of an overall monotone. This is especially true in the winter when there is no foliage.

Isolating a tree from an extraneous background can make the difference between a successful and an ordinary image. Trying various vantage points will often reveal one with more promise. I generally study a tree from many angles before arriving at a vantage point. Sometimes getting in close with a wide-angle lens, which makes a tree appear larger than the surroundings, is effective. Other times, using a longer lens from a greater distance works well.

Being aware of and absorbing everything the camera lens is taking in is a fine way to improve your ability to see and to upgrade the quality of your work. Often, caught up in the excitement of photographing magnificent trees, we ignore undesired subjects in the frame, only to discover them too late.

Getting out there often will do wonders for your tree photography. Nothing can compensate for practice; and what could be more enjoyable than practicing among trees and forests?

Photos and captions on the next two pages describe the approaches I use.

David Lorenz Winston is a well-published photographer who travels widely from his home in Merion Station, Pennsylvania.