Distinctly Montana Magazine

D I S T I N C T L Y M O N T A N A M A G A Z I N E • S P R I N G 2 0 2 1 18 I T WAS APRIL, BUT IT LOOKED MORE LIKE JANUARY! Except there were small evidences of spring, like pale green grass sprouts and large, wet snowflakes that easily clung to whatever was in their path before hitting ground. The wind was howling, and the wet snow flew in the car as I opened the window. A spring blizzard and a prime subject—elk foraging on the grass—were at my disposal. My 500mm lens, resting on the beanbag on the car window, gradually filled with snow inside the lens hood. My view through the camera became obliterated. This is typical but can be rewarding in getting softened, tonality in photos during a spring snowstorm. The flakes are gigantic and, if not windy, they descend through the air like feathers casually drifting to and fro. Before me, my subjects are dappled with white waiflike blemishes while my background becomes soft and hushed, barely visible as though in a fog. The painterly snowstorm style expresses muted form, much like a Russell Chatham painting, as opposed to defined lines. The resulting pictures are soft, ethereal, and mystical. Details are subdued while colors are blended in quiet tones. Thus, my subjects become muted by a curtain of speckled white, whether they are fence lines, animals, or landscapes. The overall impression is introspective and moody. But one word of caution when photographing in snow- storms: remember that the snowflakes can cause frustration when using the auto focusing system. It wants to chase the flurries and not focus on your subject. This can drive the photographer into exasperation, so, switch to manual focus! After suffering through this major irritation, you'll be rewarded. Spring storms can turn an average photo into a piece of fine art with its snowy, mottled appearance. T H E A R T O F Photographing Painterly Snowstorms "Breakfast in Montana with snowy horses" appear as though they've been wrapped in a shroud. As a result, their lines are less severe while soft background tones are subdued. essay and photos by CAROL POLICH

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