Posts Tagged ‘situation’

Ansel Adams – The Making of 40 Photographs: Tenaya Creek, Dogwood, Rain

December 31st, 2012

As I continue reading Ansel Adam’s fascinating book, ”Examples The Making of 40 Photographs” I continue to come across insights that I wish to share with you.

Ansel Adams - Tenaya Creek, Spring Rain, 1948-600

“Tenaya Creek Dogwood Rain” was taken one overcast spring day in 1948 as Adams was out looking for dogwoods to photograph.  He notice something along Tenaya Creek up by Mirror Lake and went exploring.  It was starting to rain and he almost returned to his car and the warmth of his accommodation when this scene caught his eye.  He went back to his car to retrieve his photographic gear including his 8X10 view camera.

I’m really taken by this photograph.  The light is perfect.  The white dogwood bracts glow against the green foliage.  It has a feeling of both intimacy and grandeur.  I would love to have a print.  It would be so easy to get lost in it.

The comments that Adams made that caught my attention (besides this beautiful photograph) deal with the inspiration the artist feels when interacting with a subject.  They are perfect and I must share them with you.

“The photographer learns to seek the essential qualities of his environment, no matter where he may be.  By this I mean he should be tuned to respond to every situation.  It is not enough to like or dislike; he must make an effort to understand what he is experiencing….  My life is full of memories of experiences that are of greater importance than recollections of mere things that have happened.  Unless I had reacted to the mood of this place with some intensity of feeling, I would have found it a difficult and shallow undertaking to attempt a photograph.”

In my own experience “intensity of feeling” comes with practice, experience, patience, slowing down, quieting the brain, opening up, understanding, respect, harmony, and reverence.  There is a very technical, analytical side to photography that can easily drown out the creative, inspirational side.  It is necessary to balance the two to create successful images.  Technical excellence without soul is sterile and empty.  Great photographs begin with inspiration, awe and wonder which is then captured and communicated through an abundance of technical skill.  We don’t find inspiration every time we go out but as our eye becomes more and more aware we find inspiration in more and more places.


We invite you to join the conversation.  Where do you find inspiration?  How has that changed over time?  We’d be interested in hearing your experiences.

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Oh, by the way, I couldn’t resist.  I purchased the photograph from the Ansel Adams Gallery.  It will arrive in a few days.  I’m so excited.

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Is HDR a Four Letter Word?

November 17th, 2012

HDR.  Many people respond to those three letters in shock and disgust.  For them, HDR is synonymous with over the top processed images.  It embodies all that they think is wrong with digital photography and the implied MANIPULATION that goes with it.  It is a shocking insult on reality.

I’ve heard of photography contests that strictly forbid HDR and insist that all the photographs that are submitted be a single exposure.  I’ve judged photography competitions in which the other judges viewed an HDR image that was just slightly over the top and felt it should be placed in the Manipulated category.

But the letters HDR stand for High Dynamic Range.  Nothing sinister about that.  It’s a situation frequently encountered when out photographing.  That’s when the dynamic range of the scene, the difference between the darkest and brightest spots in the scene, is greater than the dynamic range our camera’s sensor is capable of capturing.  When we encounter this situation we’re going to get clipping where the highlights or shadows or both lack detail, are blank.  This is not a desirable situation.  If there’s anything that’s shocking here it’s that the camera, that supposedly great recorder of reality, does not, cannot see what our eyes see.  So what can be done about that?

Well, if you’re shooting color film the answer is simple. Nothing.  Move on.  You’ll never be able to capture high dynamic range images on color film (without clipping) no matter how beautiful they are.  If you are shooting black and white you can do what Ansel Adams did – water bath development.  He exposed for the shadows and adjusted his development process and chemicals to get a proper development of his highlights.  Sounds to me like he’s doing what we digital photographers do with HDR – adjusting the process to capture the full dynamic range (Read “How Ansel Adams did HDR”)

If you’re a digital photographer you can use the HDR technique – capture two or more images with bracketed exposures that span the dynamic range and then blend them together using software like PhotoMatix Pro.  So where’s the problem?  I mean, doesn’t that sound like a good thing, taking photographs we weren’t able to do at all with color film or with great difficulty with black and white?

But somehow HDR has become a four letter word in some circles.  It’s become synonymous with that word that is so offensive to some – MANIPULATION.  HDR images are manipulated images.  Never mind that HDR can be used to create photographs that are a lot more like what our eyes see than what our cameras are even remotely capable of capturing. 

Many of these same people that think that HDR is a four letter word are also prone to look down their noses and ask, “Did you PHOTOSHOP that picture.”  Yes, with Photoshop we can easily drop in moons that weren’t there.  And our photographs are cheap because of that.  But it was OK in the days of film when the masters that we so admire did it.  What’s the difference?  Is it that it was hard when you did it with film and therefore to be admired but it’s easy with Photoshop?  Don’t know.  Could be.

And with HDR a similar thing might be happening.  With the software tools that are available you don’t have to settle for recreating what our eyes saw, you can take your images over the top, give them that grunge look.  Or that painterly look.  It’s up to you and your vision.

Now, for the record (not that it’s important) I choose not to go for the grunge or painterly look in PhotoMatix Pro.  I prefer to control the dynamic range, remove highlight clipping and return an image to Lightroom that I can continue to work on.  And when it comes to moons in my  photographs I prefer to be there when the full moon comes up behind my  favorite bristlecone pine.  It’s a lot more fun that way.

But I have no argument with those that drop moons or cloudy skies or whatnot in their photographs.  And I have no argument with those that choose to express themselves with grunge HDR images.  I readily confess that some of them are extremely effective with the grunge look.  That’s just not my style, not my personality. 

The only thing I think we all owe our viewers is to be honest about it.  When people come into my booth at an art festival and ask if I manipulate or Photoshop my photographs I  answer, “Of course.”  I often go on to say, “Let me put it this way.  I approach photography from the mindset of a painter.  I want to have all the creative freedom a painter would have.’”  And more than once, they have responded, “Oh, I get it.  You’re an artist.” 

Smile

Love it when that happens.


What do you think of HDR?  What do you think of manipulation in Photoshop?  Leave a comment.  We’d love to hear your opinion. 

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How Ansel Adams Did HDR

August 13th, 2012

High dynamic range (or HDR) is a condition frequently encountered by landscape photographers where the digital camera’s sensor cannot handle the dynamic range of the scene.  In other words, the scene has very bright highlights with areas of deep shadow.  The resulting image will have clipped highlights (highlights that are pure white with no detail), clipped shadows (shadows that are pure black with no detail or at best, muddy) or both.

In digital photography we have several options including HDR, the techniques whereby we take multiple shots at varying exposures.  The most underexposed image will capture the highlights and the most overexposed image will capture the shadows.  Then we blend them all together with software like PhotoMatix Pro.  The result is an image with bright highlights that still have detail and dark, crisp shadows, also with detail.

But what do film photographers do when they face this same situation?  After all, film may not be able to capture the dynamic range of the scene any better than digital can.  And with film there is not the option of taking multiple shots at different exposures and blending the negatives together.

Continue reading “How Ansel Adams Did HDR” »

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