Posts Tagged ‘subject’

Ansel Adams – The Making of 40 Photographs: Nevada Falls

May 10th, 2013

There’s so much to learn from studying Ansel Adams’ photographs, especially when you read what he has to say about them in “Examples – The Making of 40 Photographs”.  Each narrative seems to have its own distinct lesson.  The narrative associated with Nevada Falls is a study in working a composition.

nevada_falls

 

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A Conversation about Fine Art

April 13th, 2013

What’s on your mind?

I’ve been thinking about ‘fine art.’

You’ve got to be kidding. I mean there are PhDs that study this sort of thing, masters of the arts that won’t touch the topic. What makes you think you can think about ‘fine art?’

I don’t know. I just wonder about it. I’m trying to be an artist and I wonder what it all means, if I’m truly an artist or if I’m getting any closer.

Ok, you’re a photographer, aren’t you? So you must be thinking about fine art photography. You must be nuts! Nobody agrees on what fine art photography is.

Yea, fine art photography, that’s it. What do you think? Do you have any ideas of what it really is? I mean I’ve heard people say that if you want your photography to be art all you have to do is to call it art and it is so. ‘My photographs are fine art.’ Lord knows you hear that enough. But that seems a bit too simplistic, a bit too easy. It seems like it should be more than that.  I mean, can you snap a picture, run down to Costco to get a large print and call it art?

 

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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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To see more of my photographs click here.

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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The Making of a Photograph – Clearing Storm, West Temple 2012

December 3rd, 2012

As I drive across the Mojave Desert late one Thursday night not long ago, heading north on I-15, I have a sense of harmony, of unity with the night, the highway, my car.  The pavement ahead eases into the beam of my headlights, grows brighter as it draws closer and then slips back into darkness as it slides underneath.  Nights like this are a joy.  I’m in a groove, a state of calm serenity and anticipation.  Tomorrow I’ll be returning to Zion National Park, something I always look forward to.  I didn’t notice the faint flashes of light.

Powerful thunderstorms were roiling over eastern California and southern Nevada that night, The dark clouds glowed with flickers of light and precious water dropped on the parched desert.  it was a huge storm and I was chasing it.  Approaching the state line the casino lights of Prim were reflected, bright and shimmering, on what is normally a dry lake bed.  A half hour later as Las Vegas finally came into view, the glitz and glamor of the gaudy hotels was dwarfed by the grandeur of bolts of lightning streaking for miles across the turbulent sky.

The following morning workers were cleaning up after the storm but it hadn’t fully passed.  Storm clouds still blanketed the sky for the remainder of the journey to Zion.  A detour to Kolob Terrace to check the aspens was, I suppose, inevitable.  The falling snow up in the high country was a surprise.  And a delight.  Sunrise the next morning was looking promising.

The best location in Zion that gets the full sunrise treatment is West Temple.  I’ve photographed it many times but never got anything that I was excited about.  The most popular location to shoot from is the ‘patio’ behind the museum but on this morning I chose a less visited one – the 2nd switchback on Tunnel Road.  The expectation of clearing storm clouds, the choice of shooting locations – everything worked out just right.

west_temple_clearing_storm_121013

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Ansel Adams – The Making of 40 Photographs: El Capitan, Winter Sunrise

September 3rd, 2012

I’ve heard it said that many photographers believe there are no more photographs in Yosemite, that all the great ones have been taken.  And it’s true that the prime locations have been photographed again and again, sometimes with 50 or even 100 photographers all vying for their three square feet of ground in which to set up their tripods. 

It would appear the assumption is that if a particular location is photographed too many times, becomes too popular, it becomes a cliché.  I’ve succumbed to that point of view in the past.  There seems to be the faintest whiff of, “I’m too good to photograph something so common.  I’m able to find what no one else has never seen.”  I know; I kind of felt that way.

El Capitan, Winter Sunrise
Ansel Adams

Ansel Adams had something to say about that in connection with this photograph.

“A viewer once asked me about the values: ‘Don’t you think the trees are rather dark?’  Black and white photography gives us opportunity for value interpretation and control.  In this instance, were the trees lighter in value, the glow of the light on the cliff would, for me, be far less expressive.  Exposing for higher forest values  would have weakened the separation of the far brighter cliff and cloud values.  However, other photographers might well make quite different images.  I would not like anyone to think I believe this image to be the only one possible, but it fulfills my visualization at the time of exposure.  In an overpowering area such as Yosemite Valley it is difficult for anyone not to make photographs that appear derivative of past work.  The subjects are definite and recognizable, and the viewpoints are limited.  It is therefore all the more imperative to strive for individual and strong visualization.”

Adams’ comment gets to the heart, mind and soul of the artist.  There are two key concepts in his statement that, for me, define art.  The first is ‘interpretation. ’Black and white photography gives us opportunity for value Interpretation and control.”  I take from this that our photographs are interpretations of the subject.  After all, art is interpretation.  And, as artists, it is through interpretation that we share with our viewers our vision of the world.  We don’t document reality; we interpret or possibly even create reality.

The other concept that catches my attention is ‘individual … visualization.’  Adams speaks of his ‘visualization’ all the time.  And the reason we enjoy his photographs so much is because of his strong visualizations.  When he tripped the shutter he knew what effect he wanted to create with the image.  He knew what he wanted to convey in terms of what he was feeling and he knew how to do it, especially when he developed and refined the Zone System.

And it was his interpretations and visualizations that took a location that had been photographed time after time by many other photographers and turned it into something uniquely and identifiably his.

So stand on the bridge in Zion or line up to photograph Delicate Arch in Arches or join the throng at tunnel view in Yosemite.  You can make your photograph unique through your own strong vision and interpretation.


This is a continuing series based on my reading of Ansel Adams’ wonderful book, “Examples – The Making of 40 Photographs.”  It is exciting to read of his attitudes towards making photographs, the decisions he made and the techniques he employed and apply them to the issues that confront us today as digital landscape photographers.  I think those of us who ‘Photoshop’ our images for the sake of achieving our visualization can feel a comradeship with the master.  The question, “Did you manipulate that photograph?” will never go away as long as our medium is the camera.  Adams was also confronted with the same question.  For those of use that believe that the purpose of making a landscape photograph is to share with our audience our response to and our connection with the subject, the work is not done when we press the shutter, it’s just beginning.  And we can delight in photographing the cliché locations, time and time again, because we are creating our own individual statement, not creating ‘derivatives’ of others’ works.


If you enjoy these posts please feel free to share them on Facebook or Twitter, or email them to your friends.  And we would really enjoy hearing from you.  Join the conversation –  leave a comment.

Join me on an upcoming workshop.  Click here for more details.

To see more of my photographs click here.

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Ansel Adams – The Making of 40 Photographs: Rock and Surf

August 18th, 2012

I was fortunate to be in Big Sur last week photographing that magnificent coast with the members of our workshop.  Ansel Adams made some beautiful photographs here as did, of course, Edward Weston.  An increasingly common technique used by photographers is to employ a neutral density filter to get very long exposures that turn the ocean into a sea of ethereal mist.  Many of these photographs are incredibly beautiful.  Personally, I connect with the power and energy of the ocean, something these beautiful photographs do not capture.

Adams’ technique was to stop the motion in of the surf as in this photograph titled “Rock and Surf.”  Freezing the water was essential to the effectiveness of the composition.

rock and surf

Rock and Surf (1951)
Ansel Adams

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Inspiring Quotes – William H. Johnson

September 23rd, 2008

When I start out for a day, I usually have something in mind, but I don’t fixate on it.  Finding subject matter is the process of narrowing down the possibilities.  I’m always open to whatever nature provides me.  I can be driving in the middle of nowhere and see something that attracts my eye, something that makes it special, and I have to listen – even if it’s not on my list.

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Thoughts on Evaluating a Photograph

August 21st, 2008

When it comes to evaluating our own photographs we’re probably the worst ones to do so.  That’s not surprising because we’re so emotionally tied up in every aspect – the subject, the feelings we had when we got the shot, the work we’ve done on it in the digital darkroom.

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