Archive for April, 2007

Looking at Trillium in different ways

Sunday, April 29th, 2007

FL8469.jpgHoward Grill had written previously about some challenges he was facing in trying to come up with new ways to photograph trillium that is in bloom this time of year. I had commented on one of his original posts that I often face the same creative block with certain subjects. At the time I was speaking specifically of wide angle views of trillium, which I don’t have that many of because it is rare I find a situation that works for me. This season I tried to challenge myself to look at this flower in ways I have not in the past. While not wide angle shots, I think I did come up with some shots that are more unique than anything I have done before with this wildflower.

FL8468.jpgI have already missed Blootroot and Hepatica this year due to being sick at the peak time. It doesn’t take long to miss something during springtime. So I wanted to get out and take advantage of the next group of spring blooms. It also gave me a chance to play a little bit with a reversed Nikon 50 mm f1.4 on the end of my 105 f2.8 macro lens for some extreme closeups. The shot of the stamen here is with that combination. The others are just my 105 alone.

So I hope you enjoy these three different looks at a fairly common wildflower and my continued pursuit of looking at the graphical nature of plants.Â. Ã‚.  Should you experience the same creative blocks – try to break old habits and look at your subject at different angles, from behind, from below.Â.  Try to highlight features of the flower that interest you the most, just necessarily just the entire plant.

FL8470.jpg

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Alternate pursuits and talents

Saturday, April 28th, 2007

During my flu ‘break’ last week I came across a nice interview with Anthony Hopkins on daytime television. Normally I think they should just save the airwaves with most things found on daytime television, but that is another matter. Anyway, I had learned that Anthony Hopkins is also an avid painter. You can see some of his work here.Â.  He of course sells them, offers for charity benefits, and not for out of this world prices either.Â.  Perhaps this is old news and I am just behind the times because I don’t pay attention to a lot of celebrity news, but I thought it was neat to come across this alternative pursuit of an already famous person. I thought some of it was quite good, and he is already of course a talented actor.

In the past, I also learned that Andy Summers, of the rock group, The Police, and independent musician, is also an avid photographer. I think it is quite interesting to learn of these other artistic talents of artists that are more known for something completely different. Do you think their claim to fame helps or hinders their alternate pursuits? Certainly it must help for publicity purposes if their ‘hidden’ work has some commercial aspect to it. I remember seeing an interview with Andy where he talked about sometimes the two conflicted with each other in trying to ‘channel creativity.’ He would often need to put away photography to concentrate on his music.

Are there other well known artists that you know of with similar cases? I think I know a lot of photographers that dabble also in music in some way or another. What about perhaps someone who is known for a non-creative pusuit, but does something creative ‘on the side?’ All of this has me thinking about creative pursuits – can they play well together? Can one feed the other? Are there certain types of activities that could come in direct conflict with each other – where you wouldn’t find the same person doing both things? Like say perhaps a famous athlete that is also an artist? Just some interesting things to think about. If you have discovered someone’s ‘hidden’ talent, please share.

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Hepatica from the archives

Monday, April 23rd, 2007

I have been out of commission the past few days with a bad case of the flu, and unfortunately more concerned about coughing up a lung than getting out in the great spring weather we have started to have here.

I just snagged a 1978 Nikon 50 mm 1.4 lens off of Ebay that I plan on reversing and doing some extreme closeup work with. Michael Brown finally mentioned it enough that I bid on one. He seems to know a thing or two about macro work. ;-) It is amazing how many of these things are for sale there, and all still fetching some good prices, even at nearly 30 years old! I don’t think I got the best deal, but I was tired of waiting through the cut-throat auctions that happen on these things.Â.  Some wiseguy bumped the auction price up by 30% in the last 10 seconds.Â.  So I have an itch to play with that a little.

FL3721.jpgHepatica are one of the great starts to spring in Michigan for a nature photographer, so I scanned this one from the archives – was shot back in May 2000 (on film of course, Fuji Velvia). Much of the dreamy appearance is from a multiple exposure – an effect I still like doing in-camera today. Far from being an extreme closeup, but a reminder that spring is definitely here at last.

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Most expensive photographs, and today?

Monday, April 23rd, 2007

Just sharing an interesting link to a list over on Wikipedia. I don’t suppose I will ever understand why these images fetch the prices they do. I can understand some of them hold fairly significant historical reference, like one of the first color photographs. Ansel Adam’s Moonrise is on the list, and never struck me as one of his better images. But that isn’t what it is all about right?

Of course there is more tied to the price of these photographs than their asthetic appeal. And it has me thinking what types of images made today might make this pretigious list in 50 years or so. Of course, one of the prerequisites is you might have to die first. OK, we don’t want to explore that one further. At the top of the list, the photographer is still living. But what about the next great milestones in photographic history? Given we are in the dawn of the digital age, would the first digital image be one worth such noteriety? And how would one buy such a thing in 50 years? Just throw that flash card with the original up on the auction block?

I am curious as to what others think about this list, and if you want to take a guess at some future predictions just for fun.Â. Ã‚.  I can make an “Edition of One” version of any image on this site available for a meager bid of $500,000.Â.  :-)

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Alien Ice

Tuesday, April 17th, 2007

IC8460.jpgI shot this ice image along with my other ice patterns back last month. This one sat in my ‘to-do’ que for awhile. I go back to these over time and determine how I want to handle some images that just don’t thrill me out of the camera. I have images sitting since last year that I am still contemplating. There were subtle hints of some of the natural oils/bacterial films I was playing with before mixed in with some rather interesting ice patterns.  I sensed potential for it to be something, but just wasn’t sure what it would be.

So I sat down to work on this one, did some layer blends here and there, some masking and selective color adjustments. I began reinterpreting the image. I was really just having some fun playing. Then it started to develop into something quite interesting, uniquely bizarre, and I began thinking I was designing props for the movie series “Alien.” So here is my Alien Ice – perhaps this is what ice looked like when it was on Mars.

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Visual balance and the meadowlark

Sunday, April 15th, 2007

Eastern Meadowlark Copyright Mark Graf grafphoto.comI admit that I try not to over-analyze or think too much when in the field trying to come up with different compositions. Most of the time, I am playing around with what just looks and feels right to me. Sometimes this has to be very quick for a fleeting moment. But often I do wonder the why behind that perhaps instinctive or developed response. Do some photographers look for balance in their images subconsciously which contributes to that overall ‘feels right’ response? Or is it more of a systematic planning effort? I do believe that trying to understand the why leads to more consistency in what I am trying to achieve.

I think a lot of different things can affect balance of an image – the key elements being colors, graphical objects, sharpness and areas of contrast. After all, these are what tend to lead our eye around an image – that create that visual interest to explore it. Balancing these elements within the frame can lead to a more harmonious composition. An unbalanced image tends to lead to tension. Generally I try to judge balance of a composition by using a ‘teeter-totter’ test, or the more technical – fulcrum test.

Eastern Meadowlark Copyright Mark Graf grafphoto.comSo in my mind I try to picture the image physically balanced on a point at the bottom center. Do the elements of the image (color, contrast, sharpness, objects) tend to make it tip one way or the other? When I am in the field, are there changes in my camera position or aperture that can allow me to acheive some type of balance with my subject? Should I try to add or eliminate elements in the frame?Â.  I put a couple of examples in this post to illustrate what I am thinking here.

I was out photographing Eastern Meadowlarks yesterday (a beautiful bird by the way!) and was thinking about this concept of balance. For the first shot here, I tried to use the features of the evergreen to create balance with the position of the bird. In the second, I used camera position and selective focus to balance areas of sharpness. It is a common trap to fall into the ‘bird on a stick’ type of image. We can all fall into it with the excitement of just being close enough to photograph something. This type of image can be particularly off-balance by the ‘rule-driven’ desire to want the subject off center but not having much to counterweight it on the other side. Such situations might mandate how close you want to put the subject to the center of the frame. If there is nothing else around, then perhaps a dead center composition might just work.

I wish I could say I thought all of my own images were perfectly balanced. They are certainly not. It is something that I try to be increasingly conscious of these days, sometimes it may just happen naturally. Does a balanced image make a better image? For the most part, I think it just feels right.

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When do you have enough?

Wednesday, April 11th, 2007

In continuing my ‘choose your battles wisely‘ commentary, I have another loon image to share. Although I am not quite sure what ‘the moral’ of this story is. I have gone back to photograph this loon now a total of 3 times. Two of the three resulted in some keeper images, the other time was spent just looking for it for a couple of hours and not finding it.bi8452.jpg It isn’t the first time I have repeatedly gone back to photograph a particular cooperative or rare subject – because I am always hoping for better light, better surroundings, better behaviour, just better images. But I do think about ‘to what end?’ After all, how many images do I really need (or want) of this particular loon – or the Barred Owl, or warblers this coming season, etc, etc?

How much time does it take to really explore a subject’s potential and possibilities? This time around I had much better light and some pretty cool reflections going on in the water. Particularly with wildlife, all of this can be very time consuming. Most of the time spent is simply waiting for the animal to come closer to you, or to do something unique. Sometimes it is just time spent looking for it. I have a hard time defining when enough is enough. Sometimes the animal defines that for you and just moves on – that makes it pretty easy. But when a subject is in a pretty reliable spot (now for 19 some days total spottings) – it is hard to pass up taking advantage of an opportunity. I suppose we all define for ourselves where to draw the line and when enough is enough. I think I am always wondering if something could have been just a little better. From my last session with this loon, I wish it was a little closer to me, with the cool reflections, and perhaps a fish in its mouth . then maybe I will have had enough.

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Red-throated loon

Thursday, April 5th, 2007

bi8444.jpgI spent a couple of hours today with this bird, first time I have ever seen this species – a red-throated loon. So where is the red-throat you say? Well, this bird is in its winter plumage, so no red throat this time of year. It it pretty rare to see a bird like this around here. Its breeding range is up in the northern parts of Canada and into the Arctic. However, my National Geo field guide indicates they are known to migrate through the Eastern Great Lakes. So lucky for me and the other birders that have been reporting its sighting. I had the bird to myself, most likely because of the 30 mph gusting winds, 31 deg F and occasional blizzard conditions today. Great spring weather.

Though the loon was often quite far away, a few times it would go on its diving missions. So I just sat myself down on the shoreline and watched. What amazed me was the amount of territory the loon covered underwater. It started probably 75-100 feet out or so, and popped up fairly close to the shore where I could get some closer shots. One time it popped up with a fish and the nearby seagulls immediately dive bombed the loon trying to snatch its catch, causing it to dive again. A few more shots of this red-throated loon are in my gallery.

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I wanted it small in the frame!

Tuesday, April 3rd, 2007

Puffin in fogYou have heard it before – fill the frame with your subject. The theory behind that suggestion is to maximize impact, reduce distractions. But I personally think filling the frame with your main subject all of the time can lead to stale imagery. Quite often I want to portray a subject in its environment because I think it tells more about where an animal lives versus a close up shot. Both can be effective.

It hits on one of my pet peeves in photo critique/judging where the feedback you might get is – “I wish the bird was larger in the frame.” Does anyone consider that perhaps it was purposefully shot that way, even if one had the capability to get closer? It isn’t some rationale for not having enough focal length. And even if you don’t have the ability to get a closer shot, I think it is much harder to make a shot work with a subject in surrounding habitat. You may have a lot of distractions to content with.

Goldeneye in ice flowBright sticks and multiple high contrast areas are usually the enemies in these types of shots. You still want the viewers eye to be drawn to your subject, but also allowed to wander in the frame exploring the habitat. Harsh lighting conditions or overly bright backgrounds can get in the way quite easily. So we have to be weary of this in the field. Sometimes all it takes is a little patience for the subject to move into a different area of the habitat that has a much more complimentary setting.

Song SparrowSo the next time you face this criticism – stand proud – say ‘Back off Bozo – some things were just meant to be!!’

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Most annoying photo critique comments

Sunday, April 1st, 2007

Ahhh, the turbulent waters of opinion on photo critiques.. and I suppose I am going to copycat some existing blog entries by Greg Lato, who refers to an entry on the top 10 annoyances by Jim Goldstein. Many of Jim’s top 10 are some of my pet peeves as well. But these ‘pitfalls’ aren’t unique to internet forums, you will find them existing in camera club competitions, art galleries, and even gatherings among other photographers where discussion of this image or that one comes up. The internet has just given a lot more people the opportunity to stick their 2 cents in. Brooks Jensen’s essay “Some comments on Print Commentaries” appears in the latest Lenswork magazine where he gives his insightful take on the matter.

I have a lot of mixed feelings about the subject of critique and judging. You will find a lot of ‘ada boys and hero worship in internet forums to downright slash-and-burn fests. Some images will loose ‘2 points automatically’ if not sharp, exposed to someone’s liking or some other technical flaw. On the other end, you have some that spend some quality time in analyzing an image, like Craig over at the Radiant Vista. Interesting enough, a thread was created over there because some felt that Craig was setting the standard of critique quite high! I do like his style of commentary. Ted Byrne has a thought provoking post on that thread. The amount of discussion about this can be absolutely dizzying – from those that don’t feel ‘qualified’ to critique an image, to the one word hit and run bandits, to reducing the worth of an image to a camera club score number.

Brooks says in his essay after hearing comments about his work from three well known fine art photographers.. “I had learned a valuable lesson: Show your work to a hundred different people and you will get a hundred different opinions, none of them correct and all of them valid.” And he ultimately concludes that the best commentary about a photograph should come in a manner like a docent at a museum – and to “Say what the photograph means to you and what it communicates to you” rather than expressing one’s personal likes or dislikes. “A docent talks about the work as it is, not as it could be or should be.”

I suppose a lot of this is why I have given up posting images in various forums for critiques. I still enjoy looking through them from time to time just to look at some of the great work posted there. By analyzing what does or doesn’t appeal to me in other images, I have perhaps learned more about progressing my own work versus any particular comment I have ever received. Ultimately, I think it helps to take it all with a grain of salt, and be light hearted about it. Don’t let a score, portfolio review, or a particular comment dictate your own feelings toward your work. Take little bits of the negatives and details of the positives, consider them – use them or perhaps throw them all away! :) You can always ask someone else.

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