City Escapes Nature Photography Newsletter - July 2013

CITY ESCAPES

Nature Photography, LLC

 

 

Newsletter

July, 2013

 

 

 

Protecting Your Gear in Hot Weather

 

We are only in early July, yet temperatures are already soaring well above 90°F in much of the country, with more than a few locales topping 100°F.  And it’s only going to get hotter.  Assuming you are one of those intrepid souls who does not let this kind of heat keep you locked behind air-conditioned doors, how should you protect your camera gear?  The rules are fairly straightforward: try to keep it cool, and don’t shock it.

There are various tricks to keeping your gear as cool as possible that don’t involve keeping it in an ice chest (a bad idea by the way, just in case you were wondering – see the next section).  The first should come as no surprise given all of the warnings we hear every summer about how hot the insides of cars get: don’t keep your gear in a closed vehicle in the sun.  I used to go to work in the mornings with an apple on my dashboard, only to have a beautifully baked apple waiting for me when I left at five o’clock.  Imagine what that kind of heat could do to the sensitive electronics in your camera.  It is literally like putting your camera in the oven, something we would never even consider doing.  Above and beyond frying the electronics, the extreme heat can also cause the various seals to dry out and crack, necessitating another expensive visit to the repair shop.

 

The golden hours of dawn and dusk become especially appealing in hot weather, not just for their magical light, but also because they are among the coolest parts of the day.  (Yet another reason to get up early and / or stay out late.)  Try to avoid mid-day sun, the hottest part of the day.  And when the temperatures are high, try to keep your gear in the shade.  Trees, buildings, even cars or people can provide adequate shade, as can canopies fashioned from any number of nearby objects.  If you must shoot in direct sunlight, cover your camera with a light-colored towel or shirt to minimize heat absorption.  Additionally, minimize the amount of heat generated by the camera itself.  This means limiting the amount of time you use the “live view” function in your digital SLR, and either limiting or altering your use of video recording.  If possible, use an AC adaptor to eliminate heat generated by batteries, and use a separate monitor to decrease the heat created by the view screen.  If your camera’s overheating-warning light comes on, always and immediately turn the camera off and allow it to cool down before continuing.

 

Not shocking your camera means not taking it from one temperature to a significantly different temperature quickly, especially if there is high humidity involved.  In other words, don’t take your gear that has been in a 70°F house out into 100°F weather – or vice versa – without properly protecting it first.  Ideally, your gear should be able to transition slowly from one temperature to the next over the course of 30-60 minutes.  In the real world, however, that rarely has a chance to happen, so you need to protect your gear from the condensation that often accompanies drastic temperature changes.  The easiest way to do this is by sealing your gear (body AND lenses) in a resealable plastic bag, with as much of the air compressed out of it as possible, before changing temperatures.  This will allow the condensation to form on the outside of the bag rather than on – and more importantly, in – your gear.  This prevents not only fogging and spots, but also rust, mold and mildew from forming on the internal components of the camera and lenses, potentially saving your gear from complete destruction.  Once the condensation has evaporated, the gear can be safely removed from the bag.

 

A final note about condensation: “weather sealing” does not stop it from forming, and should not be counted upon to protect your gear. 

 

Happy shooting, drink lots of water, and keep cool!

 

 

Thanks to All Who Came to See Us in Spokane and Blaine

 

Each time we go to a show, we meet new people and make new friends.  Our two shows in June were no exception, and the people we were lucky enough to meet were wonderful.  I love hearing all of the great stories that our visitors share with us when they see our images, from the truly funny to the sentimental to the downright odd.  This time around we heard gut-busting stories of a very clever moose, learned that the national bird of Botswana is the lilac-breasted roller (featured in one of our favorite images, “Neighbors – Lilac-breasted Roller & Elephant”), and saw a gentleman grin broadly as he announced that he proposed to his wife under one of the waterfalls we featured.  Memories of trips taken and dreams of trips not yet experienced were shared with us in abundance, and I loved it all.  I love transporting people to another place through our images, and inspiring in them not just a passion for photography, but for travel and experiencing the world.  Thanks to everyone who came to share a bit of their time with me; I hope to see you all again soon.  I would like to give a special shout-out to Lily, a very engaging and delightful young lady in Spokane who made my weekend a little brighter.  The world is waiting for you, Lily.  Go get it.

 

 

July Specials

 

Get 10% off of unframed, 8x12 prints of “Beguiling Beauty” and / or 8x9 prints of “Late Afternoon Blues” when you order from our specials page. As with all of our unframed prints, these prints are eligible for our No Hassle Returns. 

 

 

Fun Facts

 

July 2^nd is World UFO Day, commemorating the discovery on July 2, 1947, of strange wreckage on the ranch of Mac Brazel near Roswell, New Mexico.  A call to all of you talented photographers out there: get us some better photographs, please! 

 

 

If you have any questions, or suggestions for future newsletters, please email us at: relationships@cityescapesphotography.com

 

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CITY ESCAPES Nature Photography, LLC

www.cityescapesphotography.com

774-277-9682

City Escapes Nature Phototgraphy Newsletter - June 2013

CITY ESCAPES

Nature Photography, LLC

 

 

Newsletter

June, 2013

 

 

 

Two Shows to Choose From in June

We’re back to Spokane this weekend for Artfest Spokane 2013.  Come see us and swap a few stories about great places and fun critters. There will be lots to see and do in this outdoor art and music festival about a mile west of Spokane’s city center.  Come to Coeur d’Alene Park (don’t let the name fool you – it’s in Spokane), in Browne’s Addition.  We’ll be there all weekend, May 31 through June 2.  We hope to see you there!

Hours:

Friday, May 31: 1pm – 8pm

Saturday, June 1: 10am – 8pm

Sunday, June 2: 10am – 5pm

 

Or come visit us in Blaine, WA, later in the month.  We’ll be there for the International Art Festival at Peace Arch Park on June 22 & 23.  The festival opens with a Tai Chi demonstration – you can’t get much more welcoming and relaxed than that.  We’ll be in booth #48, but you don’t really need to know that – just come look around, take in all of the cool artists, music, food and performances, and find us in your meanderings.  Don’t forget to practice your “Eh?”s; you’re bound to run into a plethora of Canucks here!

 

Hours:

Saturday, June 22: 10am – 7pm

Sunday, June 23: 11am – 5pm

 

 

Using Flash Outdoors

 

As summer nears, plans for family bbqs, camping trips, and outdoor sports kick into high gear.  How often have we excitedly taken photos at such outings, only to discover that the sky is bright and beautiful, but the faces of our subjects are much too dark?  One solution to this is quite simple, though perhaps a bit counter-intuitive: use your flash.  “Use a flash in bright sunlight?” you might ask.  “Are you crazy?”  Believe it or not, no.  To understand why, you need to know a bit about how your camera works.

 

Unless you are shooting in the manual mode, where you control absolutely all of the settings, your camera will evaluate a scene to determine the proper exposure.  Most cameras will evaluate ALL of the scene and create an exposure that results in the median values (or sometimes, the brightest part) of the image properly exposed.  Also, a camera can only “see” a limited range of tonal values, much fewer than the human eye can.  This means that while we can see both the beautiful blue sky and the pitcher’s shaded face under his baseball cap, the camera can see only one or the other: to see one extreme, it loses the ability to see the other well.  When you combine these two aspects, you end up with an image that has the bright sky properly exposed, but no detail in the faces.  The answer: either darken the sky, or brighten the faces.  (To read a discussion on the sky-darkening options, see our March 2013 newsletter.)

 

There are several techniques to add light to faces or other dark areas of your scene, but this month we will only discuss the simplest: popping that flash up.  Most cameras, now even some smart-phone versions, have some sort of built-in flash.  Turn it on, and fire away.  That’s it.  The added light hitting the foreground elements of your image will bring the tonal values between the foreground and the bright sky closer together, allowing your camera to see and capture them more accurately.  If you have the ability to control the output of your flash, i.e., the amount of light it produces in a single flash, experiment with turning it down from full power.  Lower flash outputs often end up providing a more natural look to the image while still contributing sufficient light to do the trick.  You might only have the option to switch between full-powered flash and what is known as fill flash (not counting the red-eye reduction setting).  You’re in luck; this entire process of adding light, via a flash, to the shadowy areas of an otherwise bright image is called using fill flash.  So set your flash on fill flash and voila!  You’re set.

 

There is an entire art (and a bit of physics) to properly placing flashes for the most effective results, and it almost always involves using off-camera flashes rather than the built-in versions.  But for now, to dramatically improve your summertime shots, put this simple tip into practice.  You will find that your family portraits with that gorgeous sunset in the background will be much closer to what you wanted to capture in the first place.

 

 

 

June Specials

 

Visit us at one of our shows, mention that you subscribe to our newsletter, and receive a free 5x7 greeting card of your choice!

 

 

Fun Facts

 

June 5^th, 2013, is the 41^st anniversary of World Environment Day.  First created by the United Nations General Assembly in 1972, a different theme is chosen for WED each year, with the goal to not only raise awareness of environmental issues, but also to educate people about actions that they can take locally to support a healthy environment and alleviate environmental problems.

 

The theme for 2013: Think.Eat.Save.  According to the United Nations’ website, “every year 1.3 billion tons of food is wasted.  This is equivalent to the same amount produced in the whole of sub-Saharan Africa.”  It is estimated that worldwide, a third of all food is wasted, while in the U.S. that percentage rises to 40%.  40%!  Even if you don’t care about the environment, think of how much more money you would have in your pocket if 40% of your food bill vanished.

 

 

If you have any questions, or suggestions for future newsletters, please email us at: relationships@cityescapesphotography.com

 

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CITY ESCAPES Nature Photography, LLC

www.cityescapesphotography.com

774-277-9682

City Escapes Photography Newsletter - May 2013

CITY ESCAPES

Nature Photography, LLC

 

 

Newsletter

May, 2013

 

 

 

 

 

The Flowers are Blooming!

Following up on last month’s article on how to photograph butterflies, this month we focus on another of spring’s glorious welcoming signs: flowers.  We’re not talking about staged shots of flowers in vases or other controlled environments, gorgeous though such images may be.  Instead, this month is all about capturing the beauty of the explosion of colors that come with the warming of the earth and the air, without pulling a single stem from the ground.  Get ready to get low!

The first thing to concentrate on is composition.  Very few images shot from above, framed dead center, and with busy backgrounds show off a flower to the height of its beauty and interest.  Look for unusual angles and vantage points, ways of looking at the flower that are not part of our normal, everyday experience.  Try framing the flower off-center to add visual interest.  Don’t feel like you need to include the entire flower in the image; experiment with cropping out parts or entire petals, or even most of the actual flower in order to focus on a small portion.  Pay attention to the background.  Is there something lurking back there that will detract from the image? If you can’t move it out of the way, move yourself to a new angle.

Flower photography is often about getting tightly cropped images of a single or only a few flowers, frequently with a very shallow depth of field.  The shallower the depth of field, the more critical it is to have your focus spot on.  Pay careful attention to precisely what is in the focal plane: very slight adjustments can make a huge difference.  If you are including an insect on the flower, the same rules apply as to other critter photography: unless the major focus is something like the colorful wings of a butterfly, ensure that the insect’s eyes are in sharp focus.

Wind and breezes can be a problem when trying to capture striking images of flowers not in a controlled studio environment.  Sometimes the motion of the flowers can be incorporated into the image to give a sense of motion or to lend an abstact feel.  At other times, even slight movement will drive you batty while you try to capture a sharp image.  There are three major options to deal with wind if you want to leave the flower in place.  The first is, of course, to shoot only on still days.  Because that may be an overly restrictive constraint in some locations, having other tricks up your sleeve is always a good idea.  Building some sort of wind break is often very effective.  This can be as simple as draping a jacket over some brush next to the flower.  (Be careful that whatever you use to deflect the wind does not adversely affect the light falling on your subject.)  Use your imagination.  Cardboard, gray cards, even your camera’s owner’s manual may serve as great wind breaks.  The third option is to actually hold the flower still.  Keep in mind that humans have a tendency to shake ever-so-slightly, so hand-holding the flower stem is not likely to give you the most rock-solid steadiness.  Depending on your shutter speed, this may not be an issue.  There are also various contraptions that are made to hold flower stems still for you, removing the unsteadiness of the human hand.  Basically, they are small clips attached to either end of a thick, stiff coil of wire.  One clip attaches to something that doesn’t move, such as your tripod, and the other is clipped onto the flower’s stem.  I have never personally used one these clips, but I have heard good things about them.  I imagine that a homemade version would not be difficult to construct, and would be just as effective.  Be careful that the clip does not crush the stem, which will kill the flower.  And of course, make sure that your composition does not show the clip or the wire coil.

Lighting is another important consideration when photographing flowers.  Backlighting can be gorgeous on flowers, and sidelighting can bring out a stunning dimension to the petals. When getting in close, take care to not get in your own light; it is easy to cast a shadow over your subject.  If fill light is needed and you decide to use a flash, try diffusing or bouncing the light rather than using it straight on.  This will give you a more natural result, without the harsh effects of direct flash.  You can also use a reflector to direct more light onto your subject.  Reflectors can be anything from fancy, purpose-made professional rounds to a sheet of paper –- anything that will reflect light.  They don’t have to be white, either.  Given the enormous range of hues that Mother Nature dyes her flowers, colored reflectors will often provide a much more intriguing feel to the image.  Got a red jacket?  Try it.  A baby blue T-shirt?  It might be just the color needed to give that extra zip to your image.

No matter how you photograph flowers, don’t forget to enjoy the process.  Flowers are little bursts of petaled fireworks, whose immense variety of colors is rivaled only by their fineness and delicacy.  It would be a shame to capture the image without truly appreciating the physical thing.

 

 

Come See Us In Spokane

 

We’re back to Spokane this month for Artfest Spokane 2013.  Come see us and swap a few stories about great places and fun critters. There will be lots to see and do in this outdoor art and music festival about a mile west of Spokane’s city center.  Come to Coeur d’Alene Park (don’t let the name fool you – it’s in Spokane), in Browne’s Addition.  We’ll be there all weekend, May 31 through June 2.  We hope to see you there!

 

Hours:

Friday, May 31: 1pm – 8pm

Saturday, June 1: 10am – 8pm

Sunday, June 2: 10am – 5pm

 

 

May Specials

 

Get 10% off of unframed, 8x10 prints of “Ahoy, Blue Bill!” and / or 10x15 prints of “Yellow Lilies” when you order from our specials page. As with all of our unframed prints, these prints are eligible for our No Hassle Returns. 

 

 

Fun Facts

 

May 18^th is the anniversary of the eruption of Mount St. Helens in 1980.  Do you remember where you were when you heard about it?

 

·         Two months of earthquakes emanating from the volcano, including a magnitude 5.1 quake, preceded its massive May 18^th eruption.

·         In the week prior to the eruption, eight earthquakes of magnitude 4 or above were recorded daily.

·         Ash clouds rolling down the mountainside prior to the eruption created static electricity, which in turn created lightning bolts -- some of which reached two miles in length.

·         Another magnitude 5.1 earthquake triggered the eruption, causing a landslide at a magma bulge that had formed on the north face of the volcano.

·         The release of pressure over the bulge caused the eruption, which had an energy equivalency of 24 megatons of TNT.

·         Flying rock from the blast reached 670 mph.

·         The ash column reached 12 miles in altitude in less than ten minutes. 

·         230 square miles of forest were flattened.

·         Eleven states had significant ash fallout, with visibility in Spokane, Washington, over 350 miles from St. Helens, reduced to 10 feet within 3.5 hours.

 

 

If you have any questions, or suggestions for future newsletters, please email us at: relationships@cityescapesphotography.com

 

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CITY ESCAPES Nature Photography, LLC

www.cityescapesphotography.com

774-277-9682

 

newsletter-2013-04

CITY ESCAPES

Nature Photography, LLC

 

 

Newsletter

April, 2013

 

 

 

Photographing Butterflies

It’s spring!  If they are not already, butterflies will soon be flitting about the green areas near you, perhaps even at your house.  Most of us have an appreciation for these insects’ delicate beauty, and many of us want to try to capture that beauty in a photograph – only to be thwarted by the butterfly’s flitting ways.  They just won’t hold still long enough for us to focus and snap that shutter.  Luckily, there are a few tricks that make the job easier – and they are pretty easy to implement.

The first thing to remember is that butterflies are basically solar-powered: their wings work best when they receive heat from the sun.  In the mornings and evenings, when the sun is lower in the sky and not as strong, and the air temperatures are cooler, they are much more sedate and still.  The magical quality of light at those times of day is just an added bonus.  Conversely, in the middle of the day when the sun is overhead and stronger, and the air is warmer, those wings work just fine and the butterflies often flit about like crazy.  If the weather is generally colder, you will likely have better luck than when the weather is warm.  Of particular note at any time, however, is that the insects will actively seek out sunlight.  That means that if you cast a shadow over the butterfly while trying to get close enough for a really good shot, it is likely to fly away.  It is important to ensure that your movements never put the butterfly in shadow, whether it be from your body, hat, or camera.

Next, move slowly.  Butterflies are skittish creatures, easily frightened into flying off.  Another wise approach (that admittedly takes a good bit more patience) is to not move at all: find a flower that looks like a likely candidate for a butterfly visit and set your gear up in advance.  Especially if you use a remote shutter release, the butterfly will never have to see you move, though you may be sitting only inches from it (you are using a tripod, right?).  This approach could require anywhere from a few minutes to a half hour or more to get a proper opportunity to snap a shot, but the results could be dazzlingly worth it.

We often use shallow depths of field when photographing butterflies to isolate them from the background.  The shallower the depth of field, the more important it is to have the wings in a single flat plane so that they will be in focus from tip to tip, as it is usually the beauty of the wings that we are trying to capture.  If you are trying for a head-on image, keeping the entirety of the wings in focus will likely not be possible with a shallow depth of field.  In such a case, the tried-and-true rules of all wildlife photography come into effect: focus on the eyes.  If you are relatively new to working with depth of field, begin with a deeper one (a higher f-stop number) until you get more experience.  Having more in focus than absolutely necessary is far better than having a razor-thin plane of clear focus in the wrong spot.

And finally, use a fast shutter speed.  Even if you go out on a cool morning in the spring, a butterfly is not likely to give you a long period of time to get that perfect image with the wings fully spread and the brilliant colors and patterns shown off in all of their glory.  Plus, the insect will very likely be perched on some sort of flower or greenery – which moves with every slight breeze.  To freeze the image, start with your camera’s ISO setting at 400 and a shutter speed of at least 1/125 sec. Then adjust as necessary to get the image you are looking for.

Now that you know how to start, get out there and celebrate the arrival of the butterflies!

 

 

Thanks to All Who Supported Us at March’s Shows!

 

The two arts and crafts fairs we participated in last month in Spokane and Pasco were great experiences for us.  We made the acquaintance of some wonderful new people, had the unwavering support of old friends, heard great wildlife stories, and got a lot of new leads on places we should check out.  A tremendously heartfelt thanks to everyone who came to see us.  We hope to see you again at another show. In the meantime, enjoy the blooming of spring!

 

 

April Specials

 

Get 10% off of unframed, 10x15 prints of “Iridescence -- Butterfly” and / or 8x12 prints of “Amity Blossoms” when you order from our specials page. As with all of our unframed prints, these prints are eligible for our No Hassle Returns. 

 

 

Fun Facts

 

In the Spirit of April Fool’s Day, this month we focus on the currency of fools: Fool’s Gold.

 

·         “Fool’s Gold” is the common name for the mineral pyrite.  It got its name from its similarity in color to gold and its classic metallic sheen.

·          Pyrite was used to provide the spark that ignited the gunpowder in firearms of the 16^th and 17^th centuries.

·          Gold has no odor. Pyrite smells like sulphur – that unforgettable stench of rotten eggs.

·          When hit with a steel hammer, gold will flatten or otherwise deform (but not break).  Pyrite will spark – thus its use in firearms – and / or shatter.

·          Remember those Energizer (non-rechargeable) lithium batteries you recently bought?  They contain pyrite.

·          Early Native Americans polished pyrite and used it as mirrors.

·          In a phenomenon known as dust explosions, the oxidation of iron pyrite (the reaction of pyrite when it comes into contact with oxygen) can produce enough energy to create explosions and incidents of spontaneous combustion in coal mines.  Mitigating steps must be taken to keep this from occurring.

 

 

If you have any questions, or suggestions for future newsletters, please email us at: relationships@cityescapesphotography.com

 

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CITY ESCAPES Nature Photography, LLC

www.cityescapesphotography.com

774-277-9682

 

City Escapes Nature Photography Newsletter - March 2013

CITY ESCAPES

Nature Photography, LLC

 

 

Newsletter

March, 2013

 

 

Upcoming City Escapes Events

 

Spring Arts and Crafts Show – Spokane

Custer’s 36^th Annual Spring Arts & Crafts Show

March 8 – 9 - 10, 2013

Spokane Fair & Expo Center

404 N. Havana Road, Spokane

Spring Arts and Crafts Show – Pasco

Custer’s 14^th Annual Spring Arts & Crafts Show

March 22 – 23 - 24, 2013

TRAC Center

6600N. Burden Blvd, Pasco

 

International Art Festival at Peace Arch Park - Blaine

June 22 – 23, 2013

Peace Arch Park, Blaine, WA

 

Two Must-Have Filters for Landscape Photographers

 

Many of us enjoy playing with our photographs after we take them, applying in-camera or in-computer filter effects to make our images sepia, black & white, have ragged borders, look like they came from the Old West, or any of hundreds of other effects.  This tinkering can be a lot of fun, and one can end up with some impressive images.  But for sheer usefulness, two filters in particular stand out, and they aren’t applied after the shot is taken, but before.  Yep, they are actual physical filters, not computer alterations of the photograph – and they belong in every landscape photographer’s gear bag.

 

The first is a polarizing filter.  Light rays generally enter the camera lens from many different directions and bounce around like crazy once inside, resulting in haziness, reflections, and washed-out colors.  Polarizing filters block stray light rays, allowing in only parallel rays.  The effect can be dramatic: colors are richer and more saturated, reflections vanish, the surface of water becomes see-through.  Anyone interested in photographing lakes, waterfalls, tidal pools, or pretty much anything else with water will find this filter tremendously useful.  Its ability to reveal things under the surface of water adds a tremendous depth to images, often adding just that needed element to turn an okay image into a spectacular one.  Likewise, a photographer dealing with other reflective surfaces will find a polarizing filter good for reducing or eliminating bursts, reflections, and flare.  Want that sky just a bit bluer, but don’t want your entire image to have a blue cast?  This is the filter for you.  (Know, alas, that even the beloved polarizing filter is not quite perfect: it will make rainbows vanish right out of your image.)

 

Polarizing filters come in linear and circular versions. To determine which you need, determine the age of your camera or – gasp! – read the manual.  Linear polarizers only work well with older cameras.  Because of changes in modern SLRs’ reflex mirrors, linear polarizers will often negatively affect the metering and autofocus abilities of the camera.  Have no fear, however: a circular polarizer is but a linear polarizer with a second element attached to compensate for that change in the reflex mirror, so circular polarizers work beautifully with modern SLRs.  As a bonus, they will also work perfectly well with older cameras, so if you have more than one camera and aren’t sure which version to buy, go for the circular.  They are a bit more expensive, but their universality makes the extra cost worth it.

 

The second must-have filter for landscape photographers is a graduated neutral-density (GND) filter.  (Who comes up with these names?)  This is a filter that is dark on one half and clear on the other.  It is used to even out the light in a scene which exceeds a camera’s dynamic range, or the range of light in which the camera can accurately record detail.  The scene perhaps most commonly photographed using a GND filter is a landscape in which the sky is very bright.  Without the GND filter, if the foreground is properly exposed, a bright sky often loses all cloud detail.  The GND filter darkens the sky, allowing the camera to capture more of the elements in it, deepening the color and increasing the contrast, all without changing the exposure or values of the foreground.

 

The transition from dark to clear can either be abrupt (“hard-edged”) or more gentle (“soft-edged”).  Hard-edged GND filters are used for scenes in which the transition from bright area to darker area is well-defined and on a single plane, such as a flat prairie and the sky.  Soft-edged GND filters are used where the transition is less clear, such as a scene including a mountain and the sky.  GND filters are available in a variety of densities, allowing photographers a great deal of freedom in determining just how much they want to tame down a bright area.  They can also be stacked to create even more options.

 

Graduated neutral-density filters are some of the best things around for nailing the exposure of some of Mother Nature’s favorite challenging lighting situations.  Your camera cannot process the same range of light that your eyes can.  A GND filter or two will go a long way toward helping it out.

 

 

 

March Specials

 

We want to see you! Spend $200 or more at one of our spring shows (see sidebar) and get a five-pack of our beautiful Christmas cards!

 

 

Fun Facts

 

Ah, March – a time to celebrate all things Irish! 

 

-      Up for some tongue twisters?  The prize for longest township name is split three ways: Muckanaghederdauhaulia, Glassillaunvealnacurra, & Illaungraffanavrankagh.  Each has 22 letters.

-      The Guinness brewery, begun in 1759, originally had a 9,000 year lease – at £45 per year. (Since then Guinness has bought the property outright.)

-      In 1800, the population of Ireland was almost twice that of the United States.

-      A few famous Irishmen:

·         The playwright Oscar Wilde.  His full name: Oscar Fingal O’Flahertie Wills Wilde.

·         Ernest Shackleton, Antarctic explorer.

·         Hollywood movie director John Ford.  (Born Sean O’Feeney in 1894.)

·         James Hoban, designer of the original White House in Washington, D.C.

·         Dracula.  Okay, maybe not.  But Dracula’s creator, Bram Stoker, certainly was. 

 

 

If you have any questions, or suggestions for future newsletters, please email us at: relationships@cityescapesphotography.com

 

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CITY ESCAPES Nature Photography, LLC

www.cityescapesphotography.com

774-277-9682