Archive for August, 2009

Alaska bound

Tuesday, August 25th, 2009

Well, I am now less than 2 weeks away from heading off on my first trip to Alaska.   I surprise myself I haven’t mentioned it before here, but I have been so swamped with so many other things.  I will be photographing for a few days just outside Denali National Park, and then down to Katmai National Park to photograph coastal brown bears.     Both are places I have always wanted to go to, and yet I will also miss so many more places in Alaska that I wish I had time to visit.  For the bear portion, I will be living on a boat for 6 days, which enables access to some of the more remote areas of the Katmai coastline.

Equipment packing is going to be interesting.  I am just starting to gather things together to make sure I fall within the 75 lb weight limit I need to be at.   It seems I have been making purchases of items I “think” I will need over the past few weeks.  It is amazing how the expenses can start to add up with things you think you will need here and there.   Weather I understand can be highly variable, wide ranges of temperatures possible, rain likely, and waders are a must for stream crossings and wet landings.   It seems like 75 lbs should be doable, but when I start subtracting camera gear, laptop/hard drives and rain gear – it doesn’t leave a lot left for clothing or other extras.

But aside from the equipment aspect, what about the mental part?  Do I know what I want as far as imagery?  What are my goals?   Is it possible to pre-visualize any compositions to look for, despite not being familiar with the region?  Perhaps this is an equally important packing list to formulate.   Of course so much will depend on conditions and reacting to them, but it doesn’t hurt to dream a bit.  I have certainly seen a lot of pictures of Alaska, a lot of the bears at Katmai, and I hear you can see Russia from up there.  :-)  But what do I want to portray of my first experience here?

Bear Image of the Year

Bear Image of the Year

Sometimes I will make small sketches and keep them with me just as reminders in case the scenery and conditions look accommodating.   Here is such a sketch.  It is not defined by any images I have seen before, but something that I thought would make for a cool shot should the opportunity arise.  (If someone has seen such an image – please don’t burst my bubble.  :-) ) It could be entirely wishful thinking for a moment that could never happen.    I think you can easily surmise why I am a photographer and not a sketch artist.   Fortunately these do not weigh anything.

So posts will be scarce over the next 3 weeks or so.   Hopefully some stories to tell, images to share, and matching sketches with what really happened when I return.

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Robotic art

Saturday, August 15th, 2009
Pond Dreams

Pond Dreams

A robot certainly cannot create art, or can it?  One definition of art is a interaction of experience of the artist, what they have learned and felt in relation to their artwork, and the experience of the viewer and all of their background that molds their interpretation.  Of course, robots don’t feel , they don’t dream, they don’t have imaginations – so one would think that creation of art is an impossibility for a machine.   At the most – its output is only a function of its programmers.

However, the viewer typically does not have access to the thoughts, feelings, and experiences of the artist.   They bring their own to the viewing situation and make their own interpretation.   We rely on some common principles in human interpretation to create scenes that are generally accepted as provoking pleasing thoughts, stress or tension, depending on the goal of the artist.  It isn’t hard to imagine that if the final piece of artwork is in front of someone, the experiences and feelings of the artist are truly invisible – and the piece still be interpreted as “art.”  There is the assumption that the creator felt something when making it, even if it is not understood.

Painted Rock

Painted Rock

Most photographers are aware of the some of the guidelines of composition, perhaps even some Gestalt theory, what color temperatures make “good light,” and known complimentary colors.   All of these are learned over time, and certainly could be translated into some sort of programming, just as it is in storing it in our own minds.   We then bring these into our own experiences and produce a photograph of the subject matter in front of us.

So I have thought – what if I had stored in my head studies of all of the paintings of Monet and Picasso, countless books on composition, every word Ansel Adams ever wrote, and instantaneous access to the images being churned out every day as posted on the internet?   With all of the advances in artificial intelligence, that is not too far fetched for some super-computer.  Maybe I wouldn’t produce something original, perhaps it is very formulaic.   I could certainly produce something that could very well be interpreted at minimum as art and appeal to the general masses.  After all, most viewers don’t carry all of this around with them, they carry around what they feel and how it relates to what they see.      Some GPS guided, sight-enabled, wirelessly connected robot might be able to do the same thing.   Perhaps it could do it better because it is not subject to all of the frailties of being human, being tired, impatient, or moody.

This situation all seems very sterile doesn’t it?   What if the viewer never knew a machine created what was in front of them?  (Which I think would be a fascinating experiment!)   I would be willing to bet that their interpretation would change if they knew – perhaps even discrediting it as being “art.”  Knowing both ends of this type of situation – it just does not seem right, does it?   If you are lacking the human experience of the artist, what’s the point?

And with that I propose that if all we do is simply follow the guidelines, follow what is done, repeat what was done before no matter how great – that we are perhaps no different than a machine producing the same thing.   Sooner or later we need to break free, keep all of the lessons learned and mimicry in the back of our heads for guidance and follow our instincts and passions.    If we don’t – well then we had better watch our backs.   Something with a big corporate logo on its forehead will soon be ready to take our place.

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Cryptic Teardrop Crabs

Thursday, August 6th, 2009
Cryptic Teardrop Crab

Cryptic Teardrop Crab

Continuing my look back through some of my underwater work, and scanning new images – I came across these images of Cryptic Teardrop Crabs.   These little crabs are about the size of your fingernail, and generally only come out at night.   Both of these photographs are from a night dive in Bonaire, a southern Caribbean island.   These crabs collect bits of sponge and place them all around their bodies to act as camouflage.   They cover themselves so much that it can be hard to distinguish exactly what they are until you see one crawling over something.

Cryptic Teardrop crab

Cryptic Teardrop crab

I suppose that works much better when they are on similar colored backgrounds – because I think these images here reveal they are anything BUT blending in.  :-)   Perhaps being nighttime gives them a little more reassurance that their predators are sleeping and they get a little more gutsy on these isolating backgrounds.

Macro photography underwater can be quite overwhelming because there are so many little subjects to be found.   Both photographed using a Nikon F100 35mm camera in an Aquatica housing, Fuji Velvia 50 film.

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Sea Lions at play

Saturday, August 1st, 2009
Sea Lions at play

Sea Lions at play

I recently reprocessed this photograph that was originally shot back in 2001 on a trip to the Galapagos Islands.   There isn’t much dramatic change from the original version, just a bit more contrast and pop I wanted to add.   However, aside from the technical processing tweaks, this photograph remains symbolic of one of my most memorable experiences with wildlife.

There is a sea lion colony off Santiago Island in the Galapagos that congregates around a place called “Cousins Rock.”   The name is appropriate, because this “island” looks like a rock sticking out of the ocean, although a rather large one.  Waves and surf crashed against and battered its surface, making it look like a particularly unfriendly place to visit.   But the sea lions like it, and I am sure it offers some protection against predators.

Tug-of-War

Tug-of-War

As we took the inflatable craft from the main boat to this rock, our dive guide handed us a rope.   At first we thought it was because of heavy currents in the area.  But he explained..”No, this is for tug-of-war.”  The sea lions apparently get a lot of amusement not only swimming around clumsy divers, but having their way with you in a game of tug-of-war as well.   As you can imagine, it was great fun.

Working on this image again reminds me of so many things – the playful nature of these wonderful animals, the crashing surf of the environment, and the effortlessness of their movement underwater.    It is one of those experiences that you remember for a lifetime.

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