Archive for May, 2009

Chinny

Sunday, May 24th, 2009
Chinny

Chinny

Our dear Alaskan Malamute, Chinny, passed away unexpectedly this past Thursday, May 21, at just over 8 years old.   There are simply not enough words to describe the immeasurable impact she had on our lives, the love we have for her, and the kind spirit she has.  She left a wonderful impression on everyone she met.

I introduced her to all of you in this post a couple of years ago.   We have so many memories and experiences she shared with us – good times, but still hurtful to think about right now…so many planned experiences with her that we feel robbed of.   It is pure agony.  We miss her more than I could ever express in words.

Spring walks

Spring walks

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Primordial fire

Monday, May 18th, 2009
Pietersite abstract

Pietersite abstract

Pietersite fires

Pietersite fires

These macro abstracts of the rare stone Pietersite reminded me of the primordial fires that helped form this planet.  I can’t help but imagine that fire being frozen in time in these rocks.   Given it is found only two places in the world – Namibia, Africa – where this particular piece originated from, and from in China – you wonder if it is telling an ancient story.

The chatoyance of this rock can make it difficult to photograph.  Change the angle of light, and the colors and patterns shift before your eyes.   It is hard to capture its true reflectance and shimmering in a non-reflective presentation.   Believe it or not, I actually had to tone down the colors as captured by my camera.  The reds came through much too saturated, and I toned them down to keep them from overpowering the other intense colors.   I am fascinated, and perhaps a little haunted by this stone.

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Montana Agate

Sunday, May 17th, 2009
Montana Agate

Montana Agate

I have added a couple images of Montana agate to my rock abstracts gallery.   This agate is found near the Yellowstone river and believed to be from the Pleistocene age.  (1.8 Million to 10,000 years before present).

For me, dendrite inclusions really give character to certain stones, and the dancing dendrites in this particular sample are no exception.   I found the bird-like one a particularly strong graphical element, so I chose the compositions based upon that particular dendrite.  Lighting also plays an important role in portraying agates.   With cross-polarized flashes for front lighting, and some slight backlighting – I was able to give these abstracts more depth.   I think it also helps with the luminous quality to the images.  Both images made with a Nikon D700, ISO200, Nikon 200mm f4 macro lens with polarizer at f11, and two SB-R200 macro flashes, with polarizing film on each.

Montana Agate

Montana Agate

The rock is photographed wet with a light coating of vitamin E oil.   I sometimes have to use oil because water starts to evaporate in spots creating uneven surface reflectance.   Both have a fantasy world feel to them.   Interpretation is what is most exciting with abstract photography for me.  People formulate their own interpretations depending on their own experiences and moods – and it may change from day to day.

I am interested in your own interpretations of or reactions to these images – so please feel free to leave a comment describing it.

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Back to the grind…stone

Friday, May 15th, 2009
Firey abstract

Fire rock abstract

As much as spring energy is in the air,  I am going to divert myself and concentrate on digging into my stock pile of rocks over the next week or so.   I just love creating abstracts – discovering small patterns and relationships – symbolism of other worlds, other times.   The energy of spring fuels my motivation – and perhaps my immersion in these abstracts will provide new ideas towards spring.

This shot is of a rock called Jelly Bean Jasper. from some private dig site in Oregon.   I would have named it Fire Lava Jasper myself personally, but I guess I missed the boat on that one.

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No longer just a toy

Sunday, May 10th, 2009
Magnolia

Magnolia

Point & shoot cameras have always been a bit of a double-edged sword with me.   I love them for their convenience and portability, but always felt at a disadvantage in using them for “serious” photography.   I realize that this is a bit of a predujicial judgement on my part, because certainly great images can be made with a variety of tools.  However, it is not without some justification.  The small sensors used in these cameras are quite limiting when compared to the quality you obtain from a DSLR.  And -  make a photograph without a tripod?!  Blasphemous.  In some cases though, these times are changing.

A few notable landscape photographers have reviewed the Canon G10, that have placed this camera in the “hmmmm” area of my mind.   Guy Tal’s review and Michael Reichmann’s review both left me with the impression that this camera is capable of some very fine results.  Michael was really brave and dared to compare the camera’s results with his medium format back.   It makes for some very interesting reading.   Both of these guys have provided some fine examples, so there is no need for me to repeat comparisons, etc, etc.   I suggest reading both reviews if you are looking for a more portable camera for those casual walks in the woods.

Something that really stood out to me is in Guy’s review where he mentioned …

“What surprised me more was that I found myself paying attention to things I wouldn’t normally photograph, namely trash dumped by local idiots who use the place for target practice.  I generally try to avoid these reminders of the uglier side of humanity, and having to set up a tripod and larger camera to photograph them would likely ruin my mood and the magic of the place. Yet having a hand-holdable little camera at my grasp almost compelled me to aim it at just about anything in sight.” – Guy Tal, Jan 2009

These words rang true for me in my own experiences.   Not only was I satisfied with the technical quality of the images, but I found some different compositions I don’t think I would have made if I was just hiking around with my normal set of gear and tripod.   That in itself is a bit to reflect upon.   Why wouldn’t I have seen the same things?

I suppose there is a lot to be said for keeping things simple.   It is difficult to quantify the stress impact of hauling gear around and fumbling with controls has on our creative instincts.   But it is there to some extent.    I certainly don’t see the Canon G10 as a replacement for my DSLRs – but it has become a notable compliment to them.

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Trichromat interpretations

Tuesday, May 5th, 2009
Interpretations

Interpretations

While processing a recent image, I discovered an interesting behavior in adjusting white balance.   Of course, the normal procedure is to get white balance adjusted so the image looks “normal” to our trichromat vision.  Trichromat meaning that our eyes respond to three types of color receptors.  

I have always thought that the arrogance of defining “normal” and perception is an interesting theme to play against since we know that not every living creature on this planet sees objects the same way.   There are even variations within our own species.  Since we humans have these fancy recording devices, and it is unlikely any non-human will be visiting this website anytime soon, I suppose it is only natural to try appeal to the majority.    :-) However, there is also some biology involved in that appeal and what is generally considered aesthetically pleasing.   Our own evolution has a lot to do with how and why we perceive colors the way we do, which Franz Lanting touched on in the recent issue of Outdoor Photographer.

Lightroom White Balance

Lightroom White Balance

Lightroom’s Develop module contains a small eye dropper that gives you a tool to select a neutral area (supposedly grey) to correct the white balance of an image – not unlike many other processing tools.  Well, I didn’t really have any grey color in this particular shot, but saw when hovering over the yellow of the flower, that the image in the navigator preview window took on a complimentary color cast of purple.   Hover over the green, and similarly the complimentary color of red is cast over the image.  Since yellow trout lilies are the primary subject, it seems the naturally asthetically appealing choice is to have purple there to play off it.   So not only does the white balance dropper help us correct to neutral, but it also can be a complimentary color cast tool as well.

I think this particular approach to processing an image is not unlike using different light balanced film.  Perhaps some of you may have used Tungsten balanced film in a daylight scene?   For certain images and subjects, it can have a pleasing effect.   More importantly, it provides us a visual suggestion to seeing something in a different way.   The suggestion of the complimentary color in relation to the primary subject is an added bonus.

I believe it is important for us to be able to step out of our own shoes once in awhile and explore different interpretations.   Maybe it will appeal to us, maybe not.  Trying is the most important part.  It teaches us more about ourselves, perhaps a little bit about our evolutionary history, and certainly how the world is not always revolving around our own definitions of how things are.   If any pentochromats happen to see this image, I would appeciate you dropping me a line to let me know how it works for you.   Of course, you trichromats are welcome also.

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Being in sync

Sunday, May 3rd, 2009

My last post wrote a little bit about how I find it difficult to photograph larger landscapes in the woods near my home.   It is a complex environment that is hard to get in sync with.   By “being in sync” I mean you are in a place where ideas and creativity seem to flow from one minute to the next.  I also referred to it as being “in the zone.”   It is hard to cover much physical area because from one step to the next you see another photograph waiting to happen.   Subject seem to appear everywhere.  I have noticed that some places do this for me, and others not so much.

Feature rich environments

Feature rich environments

I have begun to question whether it is the place being a feature rich environment that suits itself to so many different photographs, or is it my state of mind and mood at the time that allows me to take it in?   I have been in places where I just seem to wander aimlessly, trying to conjure up an image.   The light may be just right, I am feeling OK, but nothing flows.    I may spend hours upon hours and either come home completely empty handed, or end up deleting everything I did shoot.

On the opposite end, I may arrive somewhere to photograph something specific, and end up making little progress on the intended subject because I end up seeing so many other images.   For example, I went to a spot about an hour north of where I live known for red trillium.   I visit it every year despite having many, many red trillium pictures.   Yet every year I seem to return with a different view, different approach.  It is worth going back because the flowers emerge in different spots, different clusters that allow for a lot of different compositions.   They grow over such a large area, it is hard to cover it all.   On top of that, you are usually working with a light-imposed time constraint.   It is like a photographic currency – good light, wind, weather conditions, subjects, time, creativity – spend them wisely.   As the light becomes more harsh, it is more difficult to work scenics or large groups of flowers.   Same for wind and the other variables – each ultimately limiting the opportunities.

Maple and Pine

Maple and Pine

Although I started the morning photographing red trillium, as I worked the area, I seemed to find other subjects that fought for my attention.  The entire area is a pretty rich environment – from dense hardwood areas to towering pine forest.   A very steep hillside plunges downward towards the Black River.   So I got lost in capturing that aspect with framing between two trees – a composition that I have become fond of.   Soon after that, I found a wet maple leaf that was stuck to a piece of red pine bark.  Soon after that I found another thing…

I think the red trilliums were whispering about feeling neglected.  “Hey bub, exactly what did you come here for?  To photograph that leaf? Is that what you are going to spend your currency on?”  I think I may have even said it once or twice to myself.   However, when you recognize that you are finding subjects and becoming in sync with the place you are in – you don’t want to disrupt the flow.   I knew the trilliums were there – but I didn’t know about the leaf and bark, or the view between the trees.   I believe those surprise finds keep your motivation and energy up.  It helps fuel your creative momentum.

Red Trillium & Spring Beauty

Red Trillium & Spring Beauty

I did eventually return to the trillium.  By then, the light was intermittently harsh and the wind picked up quite a bit.   I had spent my photographic currency on other subjects.   I still felt the momentum however, and was willing to wait it out for the clouds to roll in, the wind to die down – and I still paid homage to what I came for.   It was like showing up to a casino for blackjack – diverting yourself to a poker table, winning big, and then return to blackjack with a bigger pot to draw from.   Being in sync may have added photographic currency to my wallet.

I ended up coming home with not only red trillium images unique to what I already had, but many more that serve as reminders of being further connected to this place.   It felt good to be in sync – and I think I am a little richer for it.

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