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From Brush Strokes to Bear Behavior: What Lessons from Painting Can Teach Us About Polar Photography


In my most recent podcast on The Wild Photographer, I sat down with Marlo Shaw, and incredible artist, combining paining with photography--one bolstering the other. In this article, I share the key takeaways to inspire you just like I was in talking with Marlo!


As always, I'd like to provide some helpful links for photography promo codes and my recommended gear:


Ok, let's get into the conversation takeaways!


The Artistic Connection Between Photography and Painting


One of the most inspiring parts of my podcast chat with Marlo was the way she draws a direct line between painting and photography.


She grew up painting with a pack of garage-dwelling art-loving retirees, where she learned about composition, color theory, and value—lessons that are still baked into how she frames a photograph.


Her point? Photography is visual art, plain and simple. And once you start thinking like a painter, your photos change. You don’t just snap. You compose. You look for balance. You layer intentionally. You edit with storytelling in mind.


Color Theory Without the Intimidation


I confessed to Marlo that I’m only just dipping into color theory. But she made it wonderfully accessible, especially with her story from Utah: how the natural complementary colors of red rocks and sage created a live-action lesson in teal and orange harmony.


If you’re new to color theory, here's a fast-track:

  • Look for colors opposite each other on the color wheel (blue & orange, purple & yellow, red & green).

  • These combos create visual tension and harmony—a trick that gives images depth and impact.

  • Editing tools and presets today often tap into this subconsciously. Now you can make it intentional.


Composition Rules Are Made to Be... Tweaked


Yes, we all preach rule of thirds, leading lines, layering, etc. And those are important. But Marlo reminded us that powerful photos sometimes break the rules. The key is knowing them first, then deciding when to go rogue.


Her painter’s mindset emphasized "value" (lights and darks) more than rigid compositional templates. Think of how your eye travels through an image—where the contrast leads you. That flow matters more than just about any one component to style and technique.


Art Shows: Why Photographers Should Think Gallery


Marlo has done multiple shows at her local nonprofit gallery, and she shared goldmine advice:

  • Apply to galleries early (often 1+ year in advance).

  • Curate like a storyteller. Think series, not just "favorites."

  • Keep it time-bound. Her month-long shows (not long) built urgency for buyers.

  • Go hybrid. She offered a digital version of her show to expand reach to those that aren't in her local area.


And yes, PosterJack, as a printing company, came through for her on multiple prints. I've given the site a look and I really like what I've found! I'm indeed considering using them for some upcoming projects.


Pro tip: test your big prints beforehand and choose products with proper hanging systems.


Shooting the Polar Extremes: Gear, Grit, and Intentionality


Polar photography isn’t just about stunning vistas—it's about protecting your gear and planning for unpredictability. Marlo keeps it “quick and dirty,” using:

  • Waterproof backpack (think bombproof dry bag).

  • Aperture priority mode for easy depth-of-field and fast reactions when on quick-paced photo expeditions.

  • Long lenses (100-400mm) are her top choice for landscapes. They are versatile and provide "compression" in landscapes.


Why long lenses in big landscapes? Because compression adds drama. Wide angles often dilute grandeur. Shooting with a 70-200 or 100-400mm gives you layers that feel monumental. It also helps break your scene into dominant components and are excellent for creating seriest of work.


Polar Bear Photography: Patience + Perspective


Marlo, a self-proclaimed bear nerd, offered some amazing insights:

  • Simplicity is key—watch those dark willow bushes in Churchill that mess with your background.

  • Lighting and angle matter. Slightly distant bears often yield better "eye-level" shots.

  • Behavior tells the story. Look for curiosity or calm, not alarm. Let ethics guide your distance. Prioritize capturing behavior, not just the subject.


Editing Style: Dark, Moody, and Highly Intentional


Marlo embraces a high-contrast, shadow-loving style she calls "dark and moody." Her workflow:

  1. Cull ruthlessly. From thousands to 50 maybes to 5 favorites to 1 portfolio piece per trip (I'll admit this seems a bit strict, but it's a great lesson that less is more, and quality wins over quantity--something I adamantly believe in!)

  2. Edit globally first—shadows, highlights, white balance.

  3. Then go to local editing with masking and brushes.

  4. Don’t fear warm tones, even in cold places. (Her secret? Auto white balance, then fix in post.)


She also formats her cards nightly (after backups!) and catalogs by trip, not by day.


Words to Live (and Shoot) By


If Marlo could talk to her younger self, she’d say: own your artistry. Don’t wait to call yourself a photographer. Start now. Confidence grows with practice and sharing.


And her final bit of advice? Patience, respect, and emotional detachment from the "perfect" shot. Sometimes you just have to freeze your fingers off trying to shoot a lunar eclipse and northern lights, and sometimes you walk away from an elusive bear with nothing but a lesson in ethics.


Whether you’re wielding a brush, a Canon, or a Sony, the message is clear: art comes from intention. And the more you see photography as a language of emotion, composition, and color—the better your storytelling becomes.


If you'd like to listen to the full episode, I certainly encourage you to do so and you can find it here: Marlo's Full Episode


Until next time,

Court


 
 
 

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©2024 by Court Whelan

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