JON PAUL GALLERY

Lily Pads & Fall Reflection Panorama

I composed this image on Lily Lake, at the south end of the Lake Tahoe Basin. I love this area for it’s signature Sierra beauty, along with the peace and quiet that can be experience here. Early this fall morning the wind stood still, enabling me to enjoy the crystal clear reflections and mist rising from the water. The old cabins and row boat added to the ambiance of this Walden like scene. I chose to create this image before the sun rose high enough to illuminate the far cliffs, keeping the moodiness of the scene. I didn’t want the electric pop of direct light here. I was mesmerized by the tranquility, and the shaded light enabled me to hold the richness I wanted in the colors. Finally, I chose the panoramic format to accentuate the mist on the far side of the lake, and give an expansive view of the most detail filled portion of the scene I was observing. This image is now available as a  limited edition directly through Jon Paul Gallery.
(Note: This is one of the locations available to my private field seminar participants! Contact me through Jon Paul Gallery for information on my seminar offerings.)

Photo Tip:
I love shooting in low ambient light pre-sunrise, after sunset, or in overcast conditions. Colors are very rich, and otherwise impossible exposures are tamed by the even light. However, these conditions produce a blue cast that our film or digital sensors record. Occasionally, this can be a cool effect, but most often it just looks unnatural. This can be solved in several ways: we can use a warming filter over our lens, we can set the white balance in our digital camera before shooting, we can correct the color temperature in our Raw converter or, within PhotoShop, we can open a curves adjustment layer and use the grey dropper. Shaded light is fantastic for scenes that can become too contrasty in direct light. Just be aware of the color cast and know how to correct it if you would like to. Happy shooting!

Equipment used:
Canham 5×7 Metal Field Camera, Canham 6×17cm panoramic roll film back, Rodenstock 150mm APO Sironar-s lens, Fuji RDPIII Provia 100 transparency film, Gitzo 1325 carbon tripod, Really Right Stuff BH-55 ball head.

Madison River Sunset Panorama, Yellowstone N.P.

After photographing my last sunrise in Grand Teton National Park this Fall, I quickly closed up my camper and headed for Yellowstone. I only had enough time to visit the Madison area for sunset before I started my journey home to Lake Tahoe. Fortunately, a storm rolled in and made my 1/2 day a real treat. After a torrential downpour, the sky began to clear and the last light of day created some peaceful magic.

The expansive nature of Yellowstone has me intrigued. In this scene, the meandering Madison River, complete with a glorious sunset reflection, is set off against the simplicity of Yellowstone’s grassland. The two geysers in the background remind me how unique this environment is. The storm clouds above, complete with sunset light, add a mood and power to the scene.  This new image is a reminder of the tranquility I find through the power of natural experiences. I hope this image enables you to, “Bring the Fine Art of Nature Home”. I am motivated to return this coming Spring. Let me know if you might like to join me.

This image is now available for purchase through the Jon Paul Gallery !

Photo Tip: When the weather gets really bad, be patient and stay out there! Quite often, the most dramatic light exists on the edges of storms. Especially when dealing with an expansive landscape, clouds and reflection can open up the image and add depth and perspective. So, when everyone else runs for cover, put on the Gore-Tex, cover your camera with a plastic bag and wait for the magic.

Equipment: Canham 5×7 metal field camera, Canham 6×17 cm panoramic roll film back, Rodenstock 150mm Sironar-S lens, Gitzo 1325 carbon tripod, Really Right Stuff BH-55 ball head, Fuji Provia 100 transparency film.

Beaver Pond, Spring Reflections

 Many of you will remember my facebook posts from the scouting I did of this lovely beaver pond here in South Lake Tahoe. Along with a reasonable iphone image I shared, I posted a sweet portrait of my professional assistant, Toby (6), capturing his own rendition of the beaver pond and its inhabitants with a little digital camera. He always gets a great response, and ads huge joy to my excursions. Well, I returned the following morning to capture this beautiful moment.

 I was drawn to this scene for its sheer tranquility. Seemingly every shade of green in the spectrum (very welcome after a never ending winter!), along with the beaver hut, all reflecting in the still waters of the calm morning. I loved the composition and the feeling, but I still had one very important decision to make; in which light should I expose my film? I was hoping to capture the scene with everything in shade and a glowing reflection of the mountains and trees above the background lit with warm morning light. Well, the light didn’t enter the scene evenly, so that wasn’t an option. Fortunately, I arrived early enough to be set up and created this exposure with ambient light softly illuminating the scene before me. After everything was lit by the sun, I felt the image lost its soft relaxing quality. Overall, this image conveys the mood I was after. From the green color, to the stillness of the leaves, the depth of its layers and the mirrored reflection, the natural perfection of the moment takes me to a place of serenity. This wasn’t exactly what I had pre-visualized, but stayed open to what Mother Nature had to offer, and let my feelings influence the final image. I love it!

Photo Tip: Light is the name of the game in photography. I prefer to use only one exposure, so I pay special attention to each phase of morning and evening light as they relate to my subject. This is important for proper exposure, but also for setting the mood of the image and how it conveys my feelings of the natural experience. For sunrise images like this one I like to arrive well before sunrise in order to experience the transition from night into a new day, and to give myself the opportunity to compose images with each phase of changing morning light. While there are many possibilities as the light changes, I like to be conscious of my feelings as the light transitions. My goal is always to share that moment in time, in that place, that makes me feel a special way. If done well, that moment in time can become eternal, and make the lives of its viewers that little bit better each time they view the image.

Details: KB Kanhan 5×7 metal field camera, 2 1/4 x 6 3/4 panoramic back, Gitzo 1325 carbon tripod, Really Right Stuff BH-55 Ball Head, Rodenstock 150mm APO Sironar S lens, Fuji RDPIII Provia transparency film, no filters.

Dwarf Lupine and Pine Forest

This image is my first release shot with my 8×10 field camera. I had discovered this location while on a mountain bike ride. I kept  pedaling, but  took note of the location and decided to return the next evening. As I set up my 8×10 field camera, I decided to keep the camera just below eye level, giving the feeling that you can walk right into the picture. I also wanted to show the expansive degree to which the Lupine had blanketed the forest floor. I was also taken by the vibrant light green of the new needles on the young pines, especially the way they stood out against the dark bark of the larger trees. I waited until the moment the sun sank behind the mountains to the left of the frame to expose the film. This gave a nice even and rich light to the scene without the harsh contrast of direct light in the forest. As with most of my large format work, after standing back and feeling “invited” into the composition, the fine detail brings an intimate mood to the scene. Welcome to my home in the forest!

Photo Tip: As I mentioned above, I consciously chose the camera height for this photo. Many people I teach overlook the importance of camera height as a part of composing an image. Most people either set the tripod (if using one as you should) at eye level for the sake of comfort and ease, or get down extremely low with a wide angle lens for a dramatic view. Each image requires specific consideration relative to camera height. Choose your camera height carefully when composing and you will create unique images with the strongest angle and composition possible.

Details: Canham 8×10 Metal Field Camera, Rodenstock 240mm APO Sironar-S lens, Fuji Provia 100 8×10 Transparency Film, Gitzo 1325 carbon Tripod, Really Right Stuff BH-55 Ball Head.

This image is now available for purchase through the Jon Paul Gallery in several limited edition sizes. www.jonpaulgallery.com

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