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Pahrump Mirror
Pahrump, Nevada
August 7, 1997     Pahrump Mirror
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August 7, 1997

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Outdoors / Operation Game Thief: 1-800-992-3030 Operation Cal. Tip: 1-800-952.5400 Pahrump Valley Gazette, Thursday, August 7, 1997 23 t 1 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.