Monterey Dusk
Using a large format film camera, like the 8×10 I used for this image, really slows my artistic process down and enables me to simplify my compositions and focus on the mood of the image. I took this picture about 10 minutes after sunset, as the light softened and the atmosphere became blue. The low light required an 8 minute exposure, which caused the waves to “dissapear” into an ethereal mist. The strong rock formations anchored the image, giving it strength and power. I chose black and white for both the classic, almost vintage look, as well as to simplify the final print. I believe this image evokes a mood of relaxation and mystery that can only be found on the coast.
Photo Tip: Be there when the natural conditions enable you to take the shot. This sounds simple enough, but many people I know have become lazy, and aren’t willing to do the work necessary to get the shot right to begin with. If you would like to take a long exposure and create a misty look with moving water, don’t expect your 8 stop ND filter to make things right in the middle of the day. Shoot before sunrise, after sunset or on a cloudy day. Part of the joy in photographing nature is earning the image by experiencing nature when the light is right. Get out there, enjoy the experience and be proud that you earned the shot in the best natural light possible.
Equipment Used: Canham 8×10 Metal Field Camera, Rodenstock 240mm Sironar-S lens, Really Right Stuff BH-55 Ball Head, Gitzo 1325 Carbon Tripod, Fuji 8×10 Film.
Pastel Sunrise, Maui, Hawaii
What better way to start your day than with a soul full of tranquility! As I enjoyed the peace and solitude of the pre-dawn hour in reflection here on the beach in Maui, Mother Nature added just enough pastel color to spice things up. Given that the sun had not yet risen, there was an even, soft light that projects little contrast, and enables us to feel the calmness of the moment. The relatively long exposure time softened what little wave activity there was, the outgoing water blended nicely with the sand, and the puffy clouds were washed in the same colors and tones as the rest of the scene. The light reflection of of the water, mirroring the sky added to the cohesiveness. The different elements add a bit of interest, yet they are blending together in such a way that the feeling of peace is strengthened. I hope this image shares the with you the joy I felt while composing this amazing moment in time. Enjoy the view!
Photo Tip: Shooting pre-dawn or post sunset can enable you to capture soft glowing light not seen at other times of day. As opposed to direct light, these special times provide an other worldly mood created by light filtering through greater amounts of atmosphere and reflecting off of the atmosphere. This is a sure way to add drama to otherwise common or familiar locations. Given the low light, a longer exposure time will be required. Remember to use a sturdy tripod along with a cable release to avoid camera shake.
Details: Canham 5×7 metal field camera with 4×5 reducing back, 150mm Rodenstock Sironar-S lens, Fuji Provia 100 speed 4×5 quickload film, Gitzo 1325 carbon tripod, Really Right Stuff BH-55 ball head, Singh-Ray 2-stop split ND filter.
Carson River Fall Detail Panorama
One of my favorite times to create images is during a gentle rain. While most people are hiding inside, I am out searching for images that have been rain soaked and saturated. This saturation, along with overcast skies (softly filtered light) enables us to capture rich colors without the harsh contrast of a directly lit subject. Most often, it is a good idea to exclude the dreary sky from these images and just focus on the details. The vantage I chose, in the middle of the river, brought me closer into my subject, giving a greater feeling of being “within the scene” (a quality my collectors comment on often). I used the moving water as a dynamic lead in line, drawing the eye into the composition, and adding a feeling of motion to an otherwise static scene. I also like the way the white water adds a contrast to the darker tones in the image. I chose to exclude a majority of the sky, as it would have made the scene feel gloomy. However, due to the lack of brightness in the dark grey of the clouds, I was able to keep a bit of sky visible between the trees and retain the full (non-chopped) composition. I also used a warming polarizer to remove a majority of the glare on the wet rocks and foliage. This enabled me to see the rich colors in the scene, as well as extending the required exposure time to accentuate the moving water. In the end, the scene makes me feel good when I view it. Along with all the technical aspects of my work, I always fall back to the emotions I feel (or don’t feel) in a finished composition. That is usually what transforms an image from simply a two dimensional picture into a three dimensional work of art!
Equipment Details: KB Canham 5×7 Metal Field Camera, Caltar II-N (Rodenstock) 90mm lens, Singh-Ray LB Warning Polarizer, Really Right Stuff BH-55 Ball Head, Gitzo 1325 Carbon Fiber Tripod, Fuji Quickload Film Holder, Fuji Velvia 50 4×5 inch Transparency Film, BTZS Dark Cloth, LowePro Super Trekker AW Backpack.
Please Note: I have left a lot of time open in the next several months for private field seminars. I have been receiving many inquiries from aspiring photographers out there and have made the time available. I am looking out at some fresh snow this morning…perfect winter conditions. Call ASAP to schedule your time with me.
