Michael Frye Photography

North Coast Wildlife

Michael Frye — Sun, 05 Jul 2026 22:34:10 +0000

Great blue heron at sunset, northern California

An edge habitat is a boundary where two ecosystems meet – like when a forest meets a meadow, or a wetland meets a dry grassland. These edges usually support a greater variety and abundance of animals because you’ll find species from either ecosystem, plus species that need both ecosystems.

Roosevelt elk, for example, are pretty common along the northern coast of California, but live only where forests and meadows meet. They use the meadows (and some more open forest areas) for feeding, while the dense redwood forests provide shelter and protection from predators.

The most dramatic edges in the world are coastlines, where the land meets the sea. There you can find animals that are primarily ocean goers, animals that are strictly landlubbers, and animals that use both the ocean and the land.

On our trip to Northern California last month Claudia and I spent a lot of time along the edge of the ocean, and had some wonderful opportunities to see and photograph the area’s abundant wildlife. We saw many Roosevelt elk – strictly landlubbers. We saw gray whales, who are of course ocean dwellers, but prefer to feed and migrate close to shore. We saw river otters, who, in this part of the world, often feed in the ocean but make their dens on land.

And we saw lots of coastal birds. Some of these, like black oystercatchers, live right along the edge, feeding on beaches and coastal rocks. Others, like common murres, spend most of their lives on the open ocean, and come ashore only to nest.

Brown pelicans, abundant in this area, nest and roost ashore, but feed in the ocean or in open bays. They’re one of only two pelican species that dive to catch fish, and their dives are spectacular. They’ll start by cruising over the water up to 60 or 70 feet above the surface. Then, spotting a fish, they twist and plunge into a vertical dive, going beak-first into the water.

These are big birds, with 7-foot wingspans. But they’re graceful flyers, and incredibly agile divers. I tried to capture photos of them diving, and when viewing photos of them later I could see that a bird would keep its head and beak pointed straight down, but rotate its body and wings around its neck to steer itself as it made its vertical plunge. Sometimes it would flip partially upside-down before entering the water. And it would keep its long neck bent until the last second, when it would uncoil its neck to strike at the fish. It’s spectacular to watch.

We’ve often seen flocks of pelicans feeding well offshore, circling over an area and making repeated dives to catch fish. But twice on this trip we found pelicans feeding in shallow water right along a beach. They were unconcerned about people, which allowed us to sit on shore and photograph them as long as we liked. It was still a challenge to catch the right moments in the right light, but super fun.

Here’s a collection of wildlife photographs from our trip to the Northern California coast. I love photographing the redwood forests of this area, and the beautiful coastline, but the wildlife makes it even more special.

— Michael Frye

Roosevelt elk, northern California

Black oystercatcher flying over a beach, northern California coast

Black oystercatchers, northern California coast

Black oystercatcher calling, northern California coast

Double-crested cormorant with a fish, northern California coast. (Might be an anchovy.)

Brown pelican with a fish, northern California coast. (Also possibly an anchovy.)

Diving brown pelican, northern California coast. Note how its head is twisted 90 degrees from its body. Also, the neck is bent, ready to strike out at the fish at the last second.

Brown pelicans and crashing wave, northern California coast

Brown pelicans in the surf, northern California coast

Brown pelicans fishing, northern California coast. The diving pelican has its belly facing toward the camera, while its head is rotated 90 degrees.

Brown pelicans and ocean reflections, northern California coast

Michael Frye is a professional photographer specializing in landscapes and nature. He lives near Yosemite National Park in California, but travels extensively to photograph natural landscapes in the American West and throughout the world.

Michael uses light, weather, and design to make photographs that capture the mood of the landscape, and convey the beauty, power, and mystery of nature. His work has received numerous awards, including the North American Nature Photography Association’s 2023 award for Fine Art in Nature Photography. Michael’s photographs have appeared in publications around the world, and he’s the author and/or principal photographer of several books, including Digital Landscape Photography: In the Footsteps of Ansel Adams and the Great Masters, and The Photographer’s Guide to Yosemite.

Michael loves to share his knowledge of photography through articles, books, workshops, online courses, and his blog. He’s taught over 200 workshops focused on landscape photography, night photography, digital image processing, and printing.

The post North Coast Wildlife appeared first on Michael Frye Photography.

Back to the Moab Symposium

Michael Frye — Thu, 02 Jul 2026 22:07:31 +0000

Dried mud and cottonwood leaves, Utah

I’m thrilled to announce that I’ll be going back to the Moab Photography Symposium next year! I was a presenter at the symposium way back in 2011, and had a great time there. I’ve wanted to go back, but it didn’t work out for various reasons – until now.

The symposium has evolved a bit since Bruce Hucko ran it every year. Bruce is still involved, but now the symposium is an every-other-year event, and organized by our good friends David Kingham and Jennifer Renwick, who I think are the perfect people to carry on this legacy.

Next year’s symposium features eight instructors, including David, Jennifer, Bruce, Colleen Miniuk, Michael Gordon, Chuck Kimmerle, Stephanie Johnson, and me. I’m looking forward teaching alongside these outstanding photographers and teachers.

The symposium is designed to be a little different than most photo workshops. It’s focused on creativity, personal vision, conversations, and interaction. It will include field sessions and presentations, but also opportunities for less-structured learning and growth during the evening PhotoJAM sessions. It promises to be a super-fun event, and I’m really looking forward to it!

The dates are April 26-29, 2027. If you sign up by July 31, 2026 you’ll get an early-bird discount. You can learn more or sign up here:

Moab Photography Symposium, April 26-29, 2027

I hope to see you there!

— Michael Frye

P.S. Here are a few images from the Utah canyon country, most of which I haven’t posted before. I love this part of the world, and look forward to exploring and photographing around Moab next spring.

Mud patterns with reflected light, Utah

Mud and reflections, southern Utah

Sandstone waterfall, Utah

Pools and reflections, Utah

Flooded slot canyon, Utah

The post Back to the Moab Symposium appeared first on Michael Frye Photography.

Sea Stacks at Sunset

Michael Frye — Sun, 21 Jun 2026 21:04:29 +0000

Sea stacks at sunset, Pacific Coast, northern California

During our redwoods workshops we always hope to find fog, but we also hope to see a nice sunset or two along the coast. Unfortunately those two things don’t usually go together. The kind of high fog layer (or coastal stratus) that might seep into a redwood forest often appears as a low overcast along the coast. Even if the stratus dissipates late in the morning, it can reform again just before sunset, blocking the light.

The most interesting sunrises and sunsets usually need some clouds to catch the light from the rising or setting sun and add interest to the sky. But the most colorful sunrises and sunsets usually involve high clouds, not low clouds. Since they’re so far above the earth, high clouds can catch the light from the sun well before sunrise or long after sunset. And because the sun can light those high clouds from such a low angle, the light travels through more atmosphere, filtering out the blue wavelengths of light, and leaving only oranges and reds.

But any clouds, even low clouds, can create beautiful sunrises or sunsets, as long as they’re broken clouds. A solid overcast sky will block the sunlight completely, but broken clouds, or a low gap underneath the clouds in the direction of the sun (east at sunrise or west at sunset), will allow the rising or setting sun to light the underside of the clouds. When lit from underneath, low clouds can become amber or orange, while high clouds can, under the right conditions, turn intense shades of red.

As I said in my last post, we got some wonderful fog during our redwoods workshop earlier this month. But looking at cloud forecasts from the weather models, it didn’t seem like a good sunset was in the cards. One evening, however, seemed slightly more promising than the others. Most of the models showed completely clear skies at sunset that evening. For coastal scenes that’s usually preferable to overcast, but not ideal. One or two models hinted that some clouds might be around in the late afternoon, but would clear out by sunset. Still, that seemed like the best bet, so we headed to a spot along the coast with some photogenic sea stacks.

As it turned out, a bank of clouds lingered until sunset and beyond. Even with the amazing abilities of modern weather models, none of them are perfect in predicting such details as whether a bank of clouds might cling to the coast. In this case we were lucky that the models were slightly off target. This was a low bank of clouds, but skies were clear farther west, and the clouds were high enough for the setting sun come underneath them and turn them orange. So it turned into a beautiful sunset.

The photograph above is my favorite from that evening. It was made just after the sun had dipped below the horizon and lit the underside of the cloud bank. I used a neutral-density filter to slow the shutter speed down to three seconds – slow enough to smooth and soften the water, but fast enough to still preserve some texture in the waves.

— Michael Frye

P.S. Happy Father’s Day to all the dads out there, and Happy Solstice to everyone! As a photographer I look forward to shorter days ahead, with a chance for a decent night’s sleep between sunset and the next sunrise. 🙂

Related Posts: Sun Breaking Through Fog; Wave Party

The post Sea Stacks at Sunset appeared first on Michael Frye Photography.

Sun Breaking Through Fog

Michael Frye — Sun, 14 Jun 2026 21:46:34 +0000

Trail through a redwood forest, northern California

In photography, light is vital. A wonderful subject can look drab without good light. But a mundane subject can look fantastic with the right light.

The light doesn’t have to be spectacular to make a compelling photograph; it just has to complement the subject, and help tell the story you’re trying to tell. But of course special light is always welcome. And one of my favorite kinds of light is sun breaking through fog. This beautiful light can work with almost any landscape, but it’s especially magical with trees or forest scenes.

Claudia and I just returned from another wonderful trip to the redwood country in northern California, and got to see sun breaking through fog on several occasions. On one memorable morning during our workshop the trail we took through the redwoods was right at the top of a fog bank, so we could hang out near the edge of the fog, and saw sunbeams for hours. We finally had to drag ourselves away around midday, not because the light was gone, but because we got too tired and hungry to photograph anymore.

Before and after the workshop Claudia and I were also able to photograph valley fog and river fog, with sunbeams slanting through trees along the edges of the mist. There are many different kinds of fog, and it seems that you can find most of them along the northern California coast – which is one reason why I love photographing this area.

Here’s a selection of sun-breaking-through-fog photographs from our trip to the redwoods. We had a great time in the damp, foggy, primeval forests of this area, and I’m looking forward to our next trip.

— Michael Frye

Sun breaking through fog in a redwood forest, northern California

Sunbeams in a redwood forest, northern California

Young and old redwoods, northern California

Trees and sunbeams, northern California

Trees, fog, and sunbeams, northern California

Redwoods with sunbeams and corona, northern California

Related Posts: Wave Party; Return to the Redwoods

The post Sun Breaking Through Fog appeared first on Michael Frye Photography.

Wave Party

Michael Frye — Sun, 31 May 2026 22:24:51 +0000

Wave splash at sunset, Pacific Coast. 185mm, 1/500 sec. at f/16, ISO 3200.

Claudia and I are in the northwest corner of California scouting for our upcoming redwoods workshop. I always enjoy coming here, as I love both the forests and the coast in this part of the world.

On a previous visit Claudia had spotted some unusual wave activity at one coastal location while I was off photographing something else. Her description intrigued me, so I kept that spot in the back of my mind in case we got the chance to photograph big waves there. And we got that chance on Tuesday, with waves 16 feet or higher according to the nearest wave buoys. Waves like that are unusual for this time of year, so it seemed like a great opportunity.

And everything worked out beautifully. We watched some fascinating wave action, with waves crashing into and rolling over each other. It was a treat to photograph – though the photography was challenging. It wasn’t easy to predict where a wave might break or splash, and I probably missed more photos than I made. But the challenge made it more rewarding when things came together.

I mostly used fast shutter speeds to freeze the motion of the water. But I also tried some slower shutter speeds (either 1/4 or 1/6 sec) while panning with waves, and a few of those images seemed to work.

Here’s a selection of those wave photos from Tuesday, with both fast and slow shutter speeds, and in both color and black and white. All these images were made with a telephoto lens (100-400mm zoom), as I wanted to fill the frame with a wave to show off it’s texture and form.

I love watching ocean waves. They’re always mesmerizing, and really large waves are awe-inspiring. It’s also super fun to try to photograph those big waves, and I had a great time doing that on Tuesday. I hope to have another chance soon.

— Michael Frye

Surging wave, Pacific Coast. 379mm, 1/500 sec. at f/16, ISO 160.

Churning waves, Pacific Coast. 274mm, 1/500 sec. at f/16, ISO 160.

Rooster tail, Pacific Coast. 247mm, 1/500 sec. at f/16, ISO 160.

Rolling wave, Pacific Coast. 315mm, 1/500 sec. at f/16, ISO 160.

Wave form, Pacific Coast. 241mm, 1/6 sec. at f/16, ISO 100, ND filter.

Breaking wave, Pacific Coast. 190mm, 1/6 sec. at f/16, ISO 100, ND filter.

The post Wave Party appeared first on Michael Frye Photography.

The Quiet Side of the Grand Canyon

Michael Frye — Sun, 17 May 2026 21:32:40 +0000

Creek flowing through a limestone side canyon, Grand Canyon NP, Arizona

I just returned from a wonderful 12-day raft trip down the Grand Canyon. This was my fourth time down the canyon, and third with Visionary Wild and my amazing co-instructor, Jerry Dodrill. It’s always so special to raft through the heart of this spectacular, wild, and remote landscape, and it was wonderful to share this adventure with our great group of participants, and with our fantastic AZRA guides: Ed, Tony, Michele, and Boh.

During each of my trips down the Grand Canyon I’ve been struck by the contrast between the grandeur and immensity of the main canyon, and the quiet, subtle beauty of the side canyons. You can be walking beside a roaring rapid along the Colorado River, with cliffs and terraces ascending thousands of feet above you, then turn into a narrow side canyon and be out of earshot of the river within a few minutes. And in these quiet sanctuaries you can find tinkling streams, hanging gardens of ferns or flowers, waterfalls, and beautiful, sculpted, polished rock.

I’m still working through the 5,000 photos I made during our trip, but here are a few of my favorites from those beautiful, quiet side canyons.

— Michael Frye

P.S. There’s still time to sign up for my next webinar on sharpening and noise reduction. Click this link to learn more or sign up:

It’s All About the Details: Taking the Mystery out of Sharpening and Noise Reduction

May 18th (tomorrow!) at 4:00 p.m. Pacific time (7:00 p.m. Eastern time)

Waterfall and polished schist, Grand Canyon NP, Arizona

Shaft of light in a limestone canyon, Grand Canyon NP, Arizona

Willow and sculpted sandstone, Grand Canyon NP, Arizona. Although I took this photo on a tripod, the wind was blowing the willow branches, and the light was low, so I had to push the ISO up to 1600 to get a fast enough shutter speed to freeze the motion of the branches (1/20 sec. at f/16). These days I don’t hesitate to use high ISO settings when necessary, since noise-reduction tools have become so good. I’ll discuss and compare these tools in detail during the webinar tomorrow.

The post The Quiet Side of the Grand Canyon appeared first on Michael Frye Photography.

Back to the Grand Canyon

Michael Frye — Sun, 26 Apr 2026 20:09:43 +0000

Sunbeams and the Colorado River, Grand Canyon NP, Arizona

Tomorrow I’ll begin another raft trip through the Grand Canyon. This will be my fourth journey down the canyon, and third for Visionary Wild. And once again my co-instructor will be the fabulous Jerry Dodrill – a wonderful photographer and teacher who knows the Grand Canyon intimately.

My previous trips were either eight- or ten-days long. This one will take twelve days, which I’m really excited about. The more time in the canyon the better!

Prior to arriving here in Flagstaff, Claudia and I did a short road trip through Utah and Arizona, finishing at the south rim of the Grand Canyon on Thursday and Friday nights. It’s always fun to see the canyon from the rim before going down into the heart of it. The perspectives from the top and bottom are very different, but all the perspectives on this canyon are beautiful.

Here are a few photos I made from the rim on Thursday and Friday. We had some clouds Friday afternoon, with beautiful dappled light, and even sunbeams. I’m hoping for more interesting weather like that during our raft trip!

— Michael Frye

Dappled light on the Grand Canyon and Colorado River, Arizona

Sunset over the Grand Canyon, Arizona

The post Back to the Grand Canyon appeared first on Michael Frye Photography.

Spring Snow

Michael Frye — Sun, 19 Apr 2026 19:03:44 +0000

El Capitan and the Merced River after a spring snowfall, Yosemite NP, California

Last Sunday another small weather system came through California. This one was colder – cold enough to turn rain into snow in Yosemite Valley toward the end of the storm. It was wet snow, and melted quickly, but it was enough to briefly etch the tree branches in white.

Seeing snow and mist on the webcams, I drove up early Sunday morning to the valley to see what I could see. One thought was to try and photograph dogwoods with snow. The dogwoods started blooming early this year, no doubt because of the strange, warm weather we had in March.

Arriving in the west end of the valley, I looked for dogwoods with snow, but found that the snow sometimes acted like camouflage. The white blossoms blended with the white snow, hiding the flowers. So I tried to find compositions where the blossoms stood out more. It actually helped if some of the snow had already melted off the branches, so the snow wasn’t competing as much with the flowers.

After photographing dogwoods for a while I noticed sunlight hitting the cliffs, so I tore myself away from the dogwoods and looked for a wider view. I ended up along the Merced River, where I could see mist and light on El Capitan, and a dogwood in the foreground (the photograph at the top of this post). This dogwood didn’t have much snow on it, so the blossoms stood out, but other trees in the middle ground still had a coating of snow. That combination worked well to convey the idea of a spring snowfall.

I hung around the valley most of the day, long enough to see a shower briefly coat the trees again with about an inch of new snow. After that additional snow melted, the sunset didn’t look promising, so I headed home. But, as always, it was fun to fun to venture up to the park with some interesting weather going on.

— Michael Frye

P.S. Thanks for all your support of Circle of Light’s new ebook, The Nature of Place! I know Claudia and everyone else in the group really appreciate all the kind comments people have made about the book. As a reminder, if you haven’t already purchased your copy, the pre-launch discount is still available for two more days. Use the code SIXVOICES to get the ebook for just $25 until midnight, April 21st.

The Nature of Place: Personal Narratives in Landscape Photography
296-page ebook with more than 300 photographs

Dogwoods along the Merced River after a spring snowfall, Yosemite NP, California

Oaks after a spring snowstorm, Yosemite NP, California

Dogwoods and pines with a dusting of snow, Yosemite NP, California

Dogwoods and pines, Yosemite NP, California

Cathedral Rocks and Leaning Tower, Yosemite NP, California

Related Posts: A Stormy Afternoon; Coming Home to Yosemite

Michael Frye is a professional photographer specializing in landscapes and nature. He lives near Yosemite National Park in California, but travels extensively to photograph natural landscapes in the American West and throughout the world.

Michael uses light, weather, and design to make photographs that capture the mood of the landscape, and convey the beauty, power, and mystery of nature. His work has received numerous awards, including the North American Nature Photography Association’s 2023 award for Fine Art in Nature Photography. Michael’s photographs have appeared in publications around the world, and he’s the author and/or principal photographer of several books, including Digital Landscape Photography: In the Footsteps of Ansel Adams and the Great Masters, and The Photographer’s Guide to Yosemite.

Michael loves to share his knowledge of photography through articles, books, workshops, online courses, and his blog. He’s taught over 200 workshops focused on landscape photography, night photography, digital image processing, and printing.

The post Spring Snow appeared first on Michael Frye Photography.

The Nature of Place eBook Pre-Launch

Michael Frye — Mon, 13 Apr 2026 17:20:36 +0000

I’m posting today on behalf of my wife, Claudia Welsh, who has something exciting to tell you about.

As some of you may already know, Claudia joined five fellow photography friends (Anna Morgan, Charlotte Gibb, Jennifer Renwick, Michele Sons, and Sarah Marino) to form a collaborative group called Circle of Light. They’ve been working on something special: an ebook called The Nature of Place: Personal Narratives in Landscape Photography.

The Nature of Place is meant to be something deeper, and worth sitting with: six photographers writing honestly about what it means to truly connect with the landscapes they love. Each lead essay flows into a candid dialogue between all six voices, exploring ideas like identity, authenticity, belonging, curiosity, and what it means to really see a place rather than just photograph it.

It’s clear that all six photographers put a lot of time, effort, and care into this ebook. And the focus goes beyond the typical recipes for making successful photographs. Instead, this ebook invites you to slow down, reflect, and find your own answers. If you’ve ever wanted to bring more of yourself to your photography — more intention, more meaning, more connection — this conversation was made for you.

The official public launch is on Earth Day, April 22nd. But my blog readers are invited to the pre-launch starting today. Use the code SIXVOICES at checkout to get your copy for just $25. That’s $14 off the retail price of $39. This pre-launch price is available through April 21st.

You can find out more and get your copy here:

The Nature of Place: Personal Narratives in Landscape Photography
296-page ebook with more than 300 photographs
Normally $39, but use the code SIXVOICES to get the pre-launch discount price of only $25.

And don’t miss the celebration! On Sunday, April 26th, all six photographers will gather for a day-long Ask Me Anything event. Leave your questions, follow along, and join the conversation.

The Nature of Place Launch Event
April 26th

Claudia and I hope you’ll grab a copy and join the conversation!

And lastly, I hope you enjoy this time-lapse Claudia created of Yosemite Valley last Friday on that rainy spring afternoon. There’s something quietly magical about the valley during a thunderstorm, and Claudia captured it beautifully.

The post The Nature of Place eBook Pre-Launch appeared first on Michael Frye Photography.

A Stormy Afternoon

Michael Frye — Sun, 12 Apr 2026 20:46:09 +0000

Stormy afternoon at Tunnel View, Yosemite NP, California

The weather is upside down here in central California. Our wettest season, winter, was exceptionally dry. But now that spring has arrived the storms have returned. We’ll take it – we need the rain, and, as the saying goes, it’s better late than never.

And just to make things more interesting, over the last few days unstable air has triggered numerous thunderstorms, with lots of lightning and thunder. That’s quite unusual for this part of the world.

Thunderstorms can create wonderfully photogenic atmospheric conditions, and I’ve been alert for any opportunities that might arise. On Friday afternoon radar images showed a broad line of thunderstorms approaching Yosemite, so Claudia and I made a spur-of-the-moment trip up to Yosemite Valley.

I was hoping to see dappled light, or maybe even a rainbow as the sun popped out between showers. Instead, one thunderstorm followed another, with only slight breaks in between. At one point, while we were waiting out a rain shower in our vehicle at Tunnel View, spots of sunlight started to hit the valley, and I saw a faint rainbow starting to form, so I grabbed my camera and rushed out. But the light faded almost immediately.

Landscape photography often requires letting go of expectations, and adapting to the conditions in front of you. Even without sunlight, the rain created wonderfully moody, misty scenes in Yosemite Valley. So I pivoted, visualizing how these scenes would look in black and white, and concentrating on capturing moments when the mist and clouds were particularly interesting – and moody.

The challenge was keeping ourselves and our cameras dry. We waited out the worst of the deluges in our vehicle, venturing out when the rain let up a bit. I kept my camera covered with a plastic rain sleeve, and used a lens hood to help keep raindrops off the front of the lens.

Luckily the wind was at our backs, so that helped. I don’t mind photographing in the rain as long as the wind isn’t blowing water onto the front of my lens. And even if the wind is in my face I can just keep wiping the lens clear. That’s annoying, but worth the trouble for special situations. I’ve photographed in the rain many times, and made some of my favorite images that way.

So while we didn’t get the light we were hoping for on Friday, Claudia and I had a lot of fun photographing the mist and clouds. It’s always a treat to see Yosemite Valley in stormy weather.

— Michael Frye

P.S. Circle of Light Update

A project that Claudia and the Circle of Light group have been quietly working on for a long time is almost ready to share with the world.

The Nature of Place: Personal Narratives in Landscape Photography is a new collaborative ebook from Circle of Light — six women photographers (Anna Morgan, Charlotte Gibb, Jennifer Renwick, Michele Sons, Sarah Marino, and my wife, Claudia Welsh) who came together around a shared belief that landscape photography can be something more personal, more meaningful than what we typically see. The ebook launches officially on Earth Day, April 22nd. But they’re offering a special pre-launch price for readers of this blog.

Starting tomorrow, you can get your copy for just $25 – that’s $14 off the regular price of $39. I’ll send out another post tomorrow with the discount code, so look for that! This pre-launch price is available through April 21st only. On launch day, the price moves to $29.

If you’ve ever felt a deep pull toward a particular place — if you’ve wondered how to bring more of yourself into your photography — this book was written for you.

More photographs from Friday afternoon:

Trees, mist, and Bridalveil Fall, Yosemite NP, California

Cathedral Rocks and Bridalveil Fall through rain and mist, Yosemite NP, California

Related Posts: Coming Home to Yosemite; Monsoon Season in Yosemite

Michael Frye is a professional photographer specializing in landscapes and nature. He lives near Yosemite National Park in California, but travels extensively to photograph natural landscapes in the American West and throughout the world.

Michael uses light, weather, and design to make photographs that capture the mood of the landscape, and convey the beauty, power, and mystery of nature. His work has received numerous awards, including the North American Nature Photography Association’s 2023 award for Fine Art in Nature Photography. Michael’s photographs have appeared in publications around the world, and he’s the author and/or principal photographer of several books, including Digital Landscape Photography: In the Footsteps of Ansel Adams and the Great Masters, and The Photographer’s Guide to Yosemite.

Michael loves to share his knowledge of photography through articles, books, workshops, online courses, and his blog. He’s taught over 200 workshops focused on landscape photography, night photography, digital image processing, and printing.

The post A Stormy Afternoon appeared first on Michael Frye Photography.