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Pahrump Valley Gazette, Thursday, August 7, 1997 23
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Canada Geese released in
Nye, Lincoln and Clark
counties
by Ed Tomchin
Each year, various species of geese are trapped
and removed from areas where they have become a
hazard or nuisance and released elsewhere. This is an
effort on the part of various wildlife agencies to help
control urbtn goose populatiofi. ..........
Recently, an overabundance of Canada geese which
became a nuisance at Reno parks and airports were
trapped, transported to Soutern Nevada and released
at four southern Nevada wildlife refuges by the Ne-
vada Division of Wildlife.
Six goose releases, totaling 806 Canada geese,
were made during June and July, 1997, said Roy
Horsley, NDOW installation supervisor. The geese
were mostly young-of-the-year, meaning they were
all goslings under one year of age. They were re-
leased at Wayne E. Kirch Wildlife Managetrmnt Area
ment Area and Pahranagat National
in Lincoln County.
Horsley said that since being released, all 806
results for
dates have not
Wildlife Commission,
fowl huntin
on Nov. 15 in Clark and Lincoln counties;
Fishing Report
by Geoff Schneider
Nevada Division of Wildlife
LAKE MEAD- Striped bass fishing got rolling last week in
the Boulder Basin and anglers are casting lures to fish that are
feeding on the lake's surface.
Boaters report having good success for stripers at Saddle
Island, Sentinel Island, Black Island, Government Wash and the
Hemenway Wall. Shore fishing has been fair at Pumpbouse
Cove.
Channel catfish weighing up to five pounds are being caught
at night in shallow coves. Anchovies and nighicrawlers have
been the most productive baits for catching catfish.
Anglers continue to have some trouble catching largemouth
bass as the fish are still being found in deep water.
LAKE MOHAVE - One Las Vegas boater reported catch-
ing 13 stripers last Thursday (July 31) that had a combined
weight of 231 pounds. The fish ranged from six to 43 pounds and
were taken while drifting and casting an AC Plug between the 43
and 53 mile markers.
Last week the Nevada Division of Wildlife stocked 8,000
rainbow trout below Hoover Dam. Willow Beach Hatchery is
heduled to stock rainbows on Thursday (Aug. 7) at the 52 mile
marker.
Striper fishing has been slow in the Cottonwood Cove area.
About the only success is being found by drifting anchovies near
owrs Point.
Largemouth bass fishing is slow with the fish being found
along drop offs at the 30-foot level.
WAYNE E. KIRCH WILDLIFE MANAGEMENT
AREA - Largemouth bass fishing has tapered off over the past
two weeks while the action for rainbow trout continues to be
slow.
Bass measuring up to 15 inches are still being caught at
Adams-McGill Reservoir. However, anglers report the success
is far below what was being found two weeks ago.
EAGLE VALLEY RESERVOIR - Reports indicate there
is now more weed growth in the lake than has been seen in a o
number of years. The weed problem is caused by livestcw,,k that
are found on private and public lan&: above the reservoir.
Trout fishing is now a nearly impossible task for anglers who
wish to fish with baits from shore. Boaters are havingbetter luck
as they are able to float their baits above the weeds.
ECHO CANYON RESERVOIR - The lake's water level is
now very low, but appears to be stable. Fishillg is slow for
rainbow tront, crappie and largemouth bass.
URBAN PONI. Ponds at Floyd Lamb State Paflc, Loreozi
Park and Sunset Park are scheduled to be stocked with channel
catfish on Thursday (Aug. 7).
Paint your photographs with light
by Ed Tomchin
Some artists work with oil, others with water color, and still
others work with pen and ink. The photographer's medium,
however, is light: sunlight, lamp light, strobe light, or firelight.
All forms of light become the brush with which the photogra-
pher creates portraits in silver.
One of the beautiful aspects of photography, as with any art
form, is that no matter how high-tech
the tools become, a camera will al-
ways need the human touch, the hu-
man point of view, human creativity,
to create art.
However, most people are of the
"point and shoot" mentality which
most frequently results in a waste of
film because when they see their re-
sults, they ask themselves, "What was
I thinking?" Just running, around with
a camera trying to capture an inspiring
composition can be a frustrating expe-
rience because most often nothing
seems to come together.
An excellent exercise is to look at
possible compositions in their most
basic form. This means that rather
than looking at a scene seeing familiar
forms such as a tree, a rock, a brook,
try to see your subject as lines, shapes,
forms and textures.
Children can be excellent guides in this type of composing
because they haven' t yet learned to put names with objects. To
a child (and to the eye of an artist) a tree may look like a giant
mushroom house or a natural maze in which to explore intricate
fantasy worlds. It is only stodgy old adults who need to put a
definitive name on every subject they see.
Texture, color, line and shape all contribute to a compelling
image, but most important is light. From the first grey streaks
of a summer dawn to the last glimmers of twilight, light
surrounds us with continuously changing forms and shapes.
If we begin to look at everyday objects with this child's eye,
previously unnoticed patterns emerge and fade, blending and
changing one to another, as the sun dances across the sky. With
light, the possibilities are endless. Regardless of the location,
combining a child's artistic vision with good technique will
ultimately lead you to photographs that will rise above the level
of snapshots. Your pictures will begin to take on an aura of
artistic beauty.
Strolling through Old Town, Albuquerque, New Mexico, I
was taken by the play of light on the walls and ground reflecting
the vigas (overhead rafters) above. What struck me about the
scene was the intense interplay of converging lines created by
the vigas and their shadows. (Fig. 1)
Graphically, a situation like this can be somewhat difficult
to handle: The problem isn't the lack of subject matter, but
rather an overabundance of confusion. How could I emphasize
the overhead lines and the simplicity of the setting in the same
composition. I think the composition succeeded fairly well.
In tight situations such as forests, a wide-angle lens gives
you the ability to focus on a very small area, expanding it into
a very large region encompassing the entire photograph.
Wide-angle lenses can also be used with foreground subjects
by getting in close and overemphasizing the subject.
By pointing a wide-angle lens toward a forest floor, you can
purposely exaggerated the angle of the trees, whose converg-
ing lines will lead the eye down to the forest floor, emphasizing
the lush carpet of growth. By excluding the sky, the eye can be
led to explore many of the textures and intricacies throughout
a scene without any distractions, giving the illusion that the
forest floor goes on forever.
As pointed out earlier, the most important consideration in
photography is light. Light creates color, texture, and depth.
The mood of light can change signifi-
cantly by the second, especially during
those magic hours at dawn and sunset.
Soft, diffused lighting enhances tex-
tures, while sharp, clear light can cause
shadows to point out the depth and
intricacy of a scene. Shadows and
diffused light used together can give a
surreal quality to an image, such as in
the late afternoon image below of the
La Posada Hotel in Santa Fe, New Mexico.
(Fig. 2)
As the sun dropped in the sky, it' s light
created soft shadows causing beautiful
valleys and textures to come forward
while the darker portions lend depth to the
entire picture. In this photo, a polarizer
was used to darken the sky and eliminate
any harshness to the highlights.
Contrasting colors such as red and
green or blue and yellow, can have a
dramatic effect on a final image.
Complementary colors such as these combinations, are found
everywhere in nature, either in the form of warm light set
against cool light or in the color of the subject itself.
The human eye and mind is such that ones attention is drawn
immediately to the brightest area in an image, be it color or
highlights. Warm colors such as reds and yellows jump out at
the viewer, and cool colors like blues and greens recede into the
background suggesting subtle compositions. This'psychology
is something to keep in mind when choosing which colors to
include in a composition.
Close-up photographs showing patterns of color, shades,
lines and circles take on a more abstract form and create images
which are interesting to look at because the eye weaves in and
out of the patterns, shapes and shades, allowing the imagination
to wander as a chiM's will.
Color plays a very significant role in creating an emotional
response within an image. For example, red conveys love,
danger and rage. Yellow is wild, bright and full of life. Green
is relaxing and hopeful. Blue is subtle and somber. Color can
be used to suggest subtleties or aggressive and bold ideas.
Sometimes you need a small amount of light directed to a
specific portion of a scene. A handy little item perfect for
bringing that little extra light into the shot is a with a small,
round reflector. They can be picked up at most camera shops
and fold up into a small, lightweight package. You can also use
round automobile sun-shields just as easily and for a little less
cost. A large sheet of white posterboard works well too, but is
a bit more difficult to cart around.
There are two types of reflectors: silver/white and gold/white.
The silver/white will add the same color light as exists at your
location, while the gold/white reflector will add warm light to the
scene. The reflector's main purpose, though, is to add light into
shadow areas to bring out color, texture and dimension.
Now that you've learned a little about how to paint with
light, take a day trip and put it all into practice. Your photo-
graphs will show a dramatic improvement.
