With all the snow that we’ve been having here in New England you would think that I would have had time to finish working on my images from Japan wouldn’t you? A reasonable expectation but I’m swamped here at the moment. More about what’s going on in a few weeks.
I’ve mentioned here before that I generally take a lot of frames when I’m out shooting, particularly when I’m photographing water. With flowing water each frame will be different and potentially offer something unique. Also worth exploring is a range of shutter speeds – I generally try to keep some sense of motion in the water rather than blur the water completely with a very long exposure.
I’m still working on the image above – I’m happy with this version but will now live with this for a while to learn what I like and what I like to change.
We’ve been having an odd winter here in New England – lots of snow over a very short period of time. We’ve had about 80 inches (or ~ 2 m) of snow in the last 20 days with more coming down as I write this. During the last storm I made the misguided decision to head out to photograph in the nearby woods. Misguided because the visibility was poor and the snow plows were not managing to keep up with the snow which made driving interesting. Once at the woods the snow was quite deep even on the normally well trodden paths which made for slow going.
Increasingly I will explore ideas with my iPhone before pursuing them further with my DSLR. A couple of the images from my iPhone are above, I was at least thigh deep in the snow in this part of the woods. As I maneuvered my tripod around in the deep snow I heard a funny creaking noise. At first I thought that was the wind blowing the trees, but there wasn’t any wind. Then I thought it must be someone else out and about, but I could see anyone. Very weird. I picked my tripod up out of the snow to get it into a better position and and two of the tree legs came up, the third stayed in the snow. It had come detached where it joined the metal frame. That was pretty much the end of my photography for the day.
I’m not sure if you can tell from the images above but the carbon fiber leg where it joined the frame had delaminated and was soft. It was also crinkled which explained why the tripod leg did not fully close – there was always just a tiny fraction of leg extended. The metal also looks like it is badly corroded. While I may send this old tripod back to Gitzo I’m not holding my breath that they would be able to help me out.
I do have a new tripod that I’ve been using as a travel tripod – a Really Right Stuff 24L. I may now supplement this with the 34L, a beefier version of the 24L. The 24L to me seems a bit weedy, the lower sections of the legs are particularly thin and make me wonder how solid the tripod can really be. I guess time will tell.
I’ve been feeling overwhelmingly stuck and uninspired over the last few months, perhaps longer if I’m being honest with myself. That’s not to say that I haven’t had my moments but it’s been and continues to be hard going.
The usual advice that you get in these circumstances is to keep going. Work yourself out of the funk, make a lot of work and see where that leads you. My advice to myself was to play more.
After a bit of digging I realized that I was working within a particular sent of constraints that had provided a useful framework at one point but now were stifling. I needed to step back and break the rules that I’d established for myself.
Playing the camera on my iPhone has been enormously helpful in breaking one of my rules – always shoot on a tripod – it also forced me into using a single lens which made me move around and change my point of view to get the shot that I was interested in.
I also pushed beyond the boundaries that I am comfortable with in processing these images, often adding a lot of contrast, a texture, a tilt shift look, really piling stuff on until it was in a realm that was totally alien to me. I think that Brian Eno would do similar things in music production push beyond the limits but then retreat to a useful and usable position.
I’ve been enjoying playing and continue to do so. Here’s a question for you:
What ‘rules’ either acknowledged or not do you follow? How could you systematically break them.
I’d love to hear what restraints you impose on yourself.
I’m traveling again this week which is unfortunate on a number of levels. I’ve been pursuing a winter tress project over the last couple of years and have been looking forward to extending that project this winter. Unfortunately we’ve had very little snow so far this winter. It looks like that is about to change in spectacular fashion when Juno passes through the area later today and tomorrow.
It certainly feels like Winter is upon us here in the New England. Even though we didn’t get thoroughly dumped on by the recent Nor’Easter as some parts of the region did there was still enough snow to get out and play a little.
I was pleased to find out recently that the image above ‘After the Storm’ was selected to be included in the on-line annex portion of the Black and White: 2014 exhibition at the Black Box Gallery in Portland. The show opens Friday Sept 5, but images are up on the web now.
This is one of those images that almost never was. There are times when I ‘see’ images that I have to make even though they don’t fit follow the ‘rules’ of photography. In fact, depending on how quick or slow I am there is an internal battle that happens prior to taking the photograph that argues whether this image is interesting and why and whether I should even bother. If I’m fast enough I just take the shot and move on. If I’m too slow, fiddling around with a tripod, getting the right lens etc. there’s time for the doubts to start to take hold. With time, I’ve learned to listen to the doubts, acknowledge them and then take the shot anyway.
I’m still futzing with making black and white photographs. The winter trees above taken during a rare (at least for this winter) snow flurry is my latest effort at black and white. A little easier to visualize this time since the subject is ostensibly black and white. Comments as always appreciated.
I’m not exactly comfortable with the try it and see approach, although that will surely work, and so I have been looking around for tools and resources that could help educate and train my eye. The book ‘Seeing in Black and White‘ by Alan Gilchrist seems like it would give a solid theoretical understanding and was recommended by Vincent Versace in his recent interview with Ibarionex Perello on The Candid Frame. I’m also looking forward to seeing Vincent Versace’s book on black and white conversion techniques, ‘From Oz to Kansas: Almost Every Black and White Technique Known to Man‘, which should appear in the next couple of months.
The tool that I’ve found that looks intriguing is the Tiffen #1 B&W Viewing filter, essentially a Kodak Wratten 90 monochromatic viewing Filter but in a more user friendly holder. Apparently it is able to remove the color and gives a monochromatic view more like that which would be captured by black and white film. Sounds intriguing and I can’t wait to give it a go. Read more about the filter in an excellent article by George DeWolfe here.
My first experience of Cig Harvey‘s photography was the image above which ran as a cover for Maine Magazine. It made me pick up the magazine, which I absolutely love, but also gave me an reason to dig deeper into Cig Harvey’s work.
Cig Harvey was born and raised in Devon in the South of England and now divides her time between Boston and the coast of Maine. Her personal work seems to me to tell the stories of what’s going on in her life and includes a number of self-portraits, many of which show case her collection of vintage dresses.
To hear Cig speaking about her work, process and inspiration check out this video .
‘Not every printer is a great photographer, every great photographer is a great printer’
I came across the quote attributed to Ansel Adams a couple of weeks ago and couldn’t help but wonder whether this is really true today. There have been seismic changes in photography and technology in the last 10 or so years – the shift to digital, decent cameras in most mobile phones, great tablet devices and on and on – that makes me wonder what was true when Ansel Adams made his comment is still true today.
How many people feel the need to print? Sure not people who are stock photographers. They deliver their content to the stock agencies digitally and it is further distributed digitally. Wedding photographers? Again another example of a group that are focused on high quality with high productivity, that would most likely today have some if not all content delivered digitally with the remaining photographs and associated wedding books printed by specialty print services. Editorial photographers, similar story – digital delivery to their editors.
Does this mean that these photographers are not ‘great’? Of course not. The successful photographers in these fields have exacting standards that when coupled with creativity and a capacity for hard work has been the foundation for their success.
So is Ansel’s comment still relevant today? I think so but we should modify it slightly – ‘Every great fine art photographer is a great printer’.
It’s never been easier to print your own photographs. Prices of really good ink jet prints have dropped precipitously and are well within the range of most serious amateurs. There are a huge range of ‘substrates’, papers and other specialty surfaces, available for printing. The standard printer drivers and paper profiles give good results without needing tweaking. Finally there are a tremendous range of resources available to help you along the way – George DeWolfe’s Book ‘George DeWolfe’s Digital Photography Fine Print Workshop‘ is one that I would particularly recommend. It’s quite possible then for us all to make good prints and with a commitment to the craft even some great ones.