If your interest in desert flowers includes a desire to obtain beautiful photographs of them, the following “tips” may be helpful.
MOTION is a major hazard in still photography, and flowers, especially those on long, slender stems, seem to be constantly in motion stimulated by the ever-present desert breeze. The practical solution to this problem is to take your photographing jaunts, if possible, in the early morning when the air is most likely to be motionless. A flower picture blurred by motion is a complete flop!
Except for motion, nothing will irritate you more often than the abrupt, frequent, and marked CHANGES IN LIGHTING due to small clouds passing over the sun. Again, early morning has an advantage in normally cloudless desert skies. Clouds may be expected after 10 o’clock on many days.
DEPTH OF FIELD is highly important in flower photography, and you will be gratified with the results if you take pains to have all parts of the picture, except the background, in sharp focus. This desirable objective has become less difficult to attain with the advent of “faster” films which enable you to use the required small diaphragm “stop” without too greatly reducing the shutter speed, and still obtain adequate exposures.
Too many flower photographers fail to get really CLOSE UP PICTURES. A single blossom or a small cluster of blossoms provides a much more attractive and significant picture than an entire plant. One blossom with, perhaps, a bud, one fruit, and a trace of foliage, if well composed, is tops among flower pictures. This objective requires camera equipment with the ability to focus on objects close to the lens. Also it complicates the goal of getting all parts of the picture into sharp focus.
UNCLUTTERED BACKGROUNDS are a “must” in flower pictures. You might consider joining the flower photographers who carry with them plain gray or variously tinted background cards or light-weight boards. Such a card or board of contrasting color, when placed behind the blossom, will accomplish wonders in giving prominence to the flower. One method of obtaining a dark background is to ask someone (if you are a contortionist you can do it yourself) to stand in such a position as to cast a shadow on the ground or foliage behind the subject. The sky makes an excellent background, and you will find it useful whenever you can set your camera below the level of the subject.
With the foregoing points in mind, study the pictures in this booklet with the aim of trying to surpass them in quality. By exercising care and patience, you should be able to do so.
Introduction
The Desert
When Webster defined a desert as a “dry, barren region, largely treeless and sandy” he was not thinking of the 50,000 square mile Great American Desert of the southwestern United States and northern Mexico. Most of it is usually dry and parts may be sandy, but as a whole, it is far from barren and treeless. Heavily vegetated with gray-green shrubs, small but robust trees, pygmy forests of grotesque cactuses and stiff-leaved yuccas, and myriads of herbaceous plants, the desert, following rainy periods, covers itself with a blanket of delicate, fragrant wildflowers. Edmund C. Jaegar, author of several books on deserts, reports that the California deserts alone support more than 700 species of flowering plants.