Ansel Adams

Ansel Adams brought beauty and inspiration to thousands of people. Read his story and how he became such a beloved photographer.

“I tried to keep both arts alive [concert pianist and landscape photographer], but the camera won.  I found that while the camera does not express the soul, perhaps a photograph can!”  ~ Ansel Adams

The Early Years

On February 20, 1902, Ansel Easton Adams was the only child born to Charles Hitchcock Adams and Olive Bray Adams in San Francisco, CA.  His ancestors immigrated from Ireland in the early 1700s and his grandfather was a wealthy timber baron, a business which his father eventually inherited.  It is ironic that Adams detested the timber industry later in life.

Ansel Adams at his Piano

At the age of 4 the San Francisco Earthquake of 1906 hit.  The Adams family house made it through the initial quake unscathed, but Adams’ father thought it best if they sit out the aftershocks outside.  A particularly large aftershock caught Adams by surprise, knocking him down.  He landed face down against a brick wall and broke his nose.  A physician suggested that it would be best to wait until Adams matured to set the broken nose.  Later in life, Adams said, “apparently I never matured, as I have yet to see a surgeon about it.”

Adams was a problem child.  He was sickly, sometimes spending as much as a month in bed.  His Aunt Mary gave him books to occupy his time.  One was the Heart of the Sierras which apparently planted an interest in these magnificent mountains in his young mind.

When he started school, he was so rebellious that he got expelled from one school after another.  Finally, when Adams was 12, his father faced the inevitable and withdrew him from school for a year.  A private tutor was hired so that Adams could continue his education.  During his time, he was exposed to the works of the great artists.  This lasted for one year before he returned to Mrs. Kate M. Wilkins Private School where he graduated from the 8th grade on June 8, 1917.

During this time Adams started playing the piano.  At first, he was self-taught but when he was 12, he started receiving lessons.  The discipline of daily practice apparently helped him to gain some control over his disruptive behavior.  Adams commented about that time.  “The change from a hyperactive Sloppy Joe was not overnight, but was sufficiently abrupt to make some startled people ask, ‘What happened?’ I still recall that the Bach Inventions taxed my concentration, especially when a sunny breeze carrying the sound of the ocean stole through the open window.” As he progressed, his passion for the piano continued to grow so that he planned on becoming a world-class concert pianist. 

However, the tide started to change imperceptibly.  In 1916 he persuaded his “Uncle Frank” to take him to Yosemite, a destination that he was inspired to see from the books his aunt had given him while he laid ill in bed.  And at the same time his father gave him is first camera, an Eastman Kodak Brownie box camera.  It was on that trip that he took his first photographs of Yosemite.  He later commented, “The splendor of Yosemite burst upon us, and it was glorious.  There was light everywhere.  A new era began for me.”  That was the first of an annual pilgrimage to Yosemite that would continue throughout his life.  But he still planned on being a concert pianist.

Continue reading “Ansel Adams”

(364)

Making a Photograph – Taking Flight

Follow all the decisions and resulting adjustments that went into the making of an expressive landscape photograph using Lightroom Classic.

A Desert Scene

clip_image002

This image was taken in 20 Mule Team Canyon in Death Valley National Park. I was particularly excited about this when I saw it in the field. I was fascinated by the meandering dry stream bead that worked its way across the scene. The ever-present salt in Death Valley stood out white against the soft warm colors of the badlands behind it.

But there were several additional things that excited me. The badlands behind the stream bed also fascinated me and made the experience even richer. It is a concentration of diagonal lines, textures and forms. And the light, while the sun is fairly high in the morning sky, still crosses the badlands at an angle that accentuates its shadows. I intentionally clip_image005overexposed the image 2/3 of a stop to be sure to capture shadow detail and that’s why it looks washed out.

The histogram shows no particular challenges. There is no highlight or shadow clipping. You can see from the thin tail that moves towards the right edge, which was caused by the white salt, doesn’t quite touch it. If I had increased the exposure even a third of a stop more, there would have had highlight clipping on the salt.

Continue reading “Making a Photograph – Taking Flight”

(124)

Gestalt

Incorporating gestalt into your landscape photographs.

From time to time the term ‘Gestalt’ has come up in articles and classes on composition.  I never quite grasped the concept.  I thought Gestalt is an approach some psychologists use in their counseling. And to make matters even more confusing, the origin of the term didn’t help.  It comes from the German word that means ‘shape.’  It just wasn’t sinking in.  Until recently….

 

The concept started to make sense as I was preparing the Mastering Landscape Photography class for the Joshua Tree National Park Desert Institute here in California.  In this course I take a deep dive into light and composition.  I’ve been studying the ‘rules’ of composition for many years now and the authors tend to make broad generalizations on the effect they have on the viewers.  More recently I studied the impact colors have, not from the perspective of visual arts but rather from the studies performed by researchers in psychology.  Through their studies, the researchers found that the colors they studied, generally prime colors, can have either a positive or negative effect on their subjects. And the effect depended on many factors but based on these factors they were consistent.  That got me thinking. 

Continue reading “Gestalt”

(194)

2019 Big Sur Photography Workshop

Explore the Big Sur coast with your camera. Broaden your photographic skills with award winning photographer, Ralph Nordstrom.

After a two-year absence from Big Sur due to the landslides of 2017, it’s past time to return. The Big Sur Photography Workshop is on for next month, November 11-14, 2019 and there’s an opening with your name on it.

Big Sur holds some of the most stunning coastline in the entire United States. The mile-high Santa Lucia mountains plummet into the Pacific Ocean, creating a scenery seen nowhere else.

Big Sur Coast

Big Sur is also the home to redwood groves and waterfalls, found in the streams that cascade down the face of the mountains. One particularly famous waterfall spills onto the beach in McWay cove.

big_sur_130806__SM37343_4_5-Edit

Much more awaits along this 100 mile stretch of coast that will challenge and reward you photographically.  Would you like to join me and experience this beautiful coast for yourself? More information can be found on this link – Big Sur Photography Workshop. Or email me at Ralph@RalphNordstromPhotography.com.

See you in Big Sur!

(59)

“What Was He Thinking?”

Capturing the essence of Burney Falls. Turning what the camera saw into what the photographer saw.

Burney Falls

“What was he thinking? What kind of picture is that? It’s not very good.”

I had heard about Burney Falls at MacArthur-Burney Falls Memorial State Park for some time. It sounded intriguing. Located in Shasta County in Northern California I wanted to see what Teddy Roosevelt called “the Eighth Wonder of the World.” Continue reading ““What Was He Thinking?””

(415)

Photographing the Redwoods

Photographing the coastal redwoods of Northern California is both rewarding and challenging. Explore some of the conditions you will face and how best to capture them.

Walking among the redwoods is an inspirational experience. But wait, if we’re talking about the redwoods in California, the trees I am thinking about could be 600 miles from the trees that are conjured up in your mind’s eye. That’s because there are two species of redwoods in California – the massive giants found in Sequoia and Kings Canyon National Parks on the western slope of the Sierra Nevada Mountains and the tall ones that hug 450 miles of the fog-shrouded California coast, culminating in the Redwoods National and State Parks of Northern California. While both species are spectacular, each is unique in its own way and photographing them presents dramatically different challenges and opportunities. In this post, I will be taking you through the Coastal Redwoods of Northern California.

The Redwoods National Park was established in 1968. California had already created three state parks, beginning in the 1920s, that encompassed some of the remaining redwood old growth groves – Jedediah Smith, Del Norte Coast and Prairie Creek.  The two park systems were joined in 1994 to create the Redwoods National and State Parks.  Now 139,000 acres of the Northern California coast are under the joint management and protection of the National Park Service and the California Department of Parks and Recreation.

Being along the Northern California coast, temperatures are moderate throughout the year and moisture is plentiful, not only from winter storms but also from life-giving fogs that roll in year-round from the Pacific Ocean.

Fog is an ever-present possibility in the groves and presents unique challenges and opportunities. The light in the groves is soft and delicate and contrasts and, tp some extent, masks the strength and power of the trees. This light is perfect for capturing this more delicate mood of the redwoods. Slightly overexposed images best capture the lite airiness of the fog.  Compositions with strong foregrounds enhance the feeling of depth created by the fog.

Castles in the fog
‘Castles’ in the fog

Continue reading “Photographing the Redwoods”

(275)

Polarizing Filters and Blue Skies

Polarizing filters are fantastic but they have their limitations that can get you into trouble if you’re not aware of them.

What comes to mind when you think of a polarizing filter? It’s probably how it can darken blue skies. This is just one of the many things this versatile polarizer can do. Many photographers swear by them and some go so far as to keep them on their lenses all the time. But as far as darkening blue skies are concerned, polarizers can create more problems than they solve if you’re not careful.

But before getting into all that, just exactly what does a polarizing filter do? How does it darken blue skies?

It all starts with the fact that light is a wave. We speak of the color of light in terms of the frequency of the wave, just as we speak of the pitch of a sound in terms of its frequency. Red light has a lower frequency and blue light, a higher frequency. It’s as if light vibrates – up and down. And most light vibrates in all directions. But some forms of light vibrate in a single direction. This is called polarized light. For example, glaring light bouncing off the highway can be polarized in a horizontal direction. That’s why Polaroid sunglasses work. They block horizontally polarized light while allowing light polarized in the other directions to pass.

The same is true of a blue sky, or at least some of it. Depending on where the sun is, blue sky light is polarized to a greater or lesser extent. If you stand facing the sun and look through your polarizer, you will notice that it has no effect – the sky is not darkened. But if you continue to look through the polarizer and slowly turn away from the sun you will notice the sky gets darker and darker until the sun is directly over your shoulder. Continuing your turn, the sky will get lighter and lighter until the sun is directly behind you.

…as far as darkening blue skies are concerned, polarizers can create more problems than they solve if you’re not careful.

You can tell in which direction the effect is the greatest with this simple trick.

Continue reading “Polarizing Filters and Blue Skies”

(1861)

The Call of the Redwoods

Photographing the coastal redwoods of Northern California should be on everyone’s bucket list.

Rhododendron spring 130529

It’s often said that California has everything.  And it’s true.  From the southern border with Mexico to the northern border with Oregon, the state goes from parched desert to lush mountain slopes. 

California also has the oldest living trees in the bristlecone pines of the White Mountains, the most massive trees in the Giant Sequoias of Sequoia and Kings Canyon National Parks, and the tallest trees in the Coastal Redwoods along the California coast.

Can you imagine what it is like to experience these trees?  Just think of it.  The oldest bristlecones were seedlings when the pharos of Egypt were laying massive stone upon stone in Giza.  And both the giant sequoias and coastal redwoods were seedlings when Christ was born in Bethlehem.

The coastal redwoods are the monarchs of these mountains, especially the unlogged old-growth groves….

Continue reading “The Call of the Redwoods”

(169)

The Qualities of a Powerful Landscape Photograph

When working on a photograph and wondering where to start, it’s helpful to know what is possible.

I think we all understand that serious landscape photography does not document nature but interprets it.  A well-made landscape photograph captures the photographer’s response to what was experienced and is able to convey this response to the viewer.

The Professional Photographers Association has 12 criteria by which they judge their competitions.  Granted, the PPA membership consists of very few fine art landscape photographers but still, the criteria of a great photograph are pretty much the same.

Here are the twelve criteria (the order is my own):

1.    Impact

2.    Composition

3.    Center of Interest

4.    Lighting

5.    Color Balance

6.    Technical Excellence

7.    Story Telling

8.    Creativity

9.    Style

10.  Presentation

11.  Subject Matter

12.  Technique

I mention these because there’s a lot that goes in to making a great photograph and these criteria provide a framework in knowing what to look for.  But rather that exploring these criteria in words, let’s look at a few photographs.  And let’s do it by looking at two examples of the same image – what it looked like when it came out of the camera and what it became when transformed in the digital darkroom.

Image 1

The first image is a scene in the mountains of Southern California.  I was wondering by myself along a remote trail.  The sun was sinking lower and lower in the sky and I was thrilled climbing the trails and walking among the trees and rocks.  I came upon this scene and it just felt right.  I had to capture it.

San jacinto 180720 SM37804

The mid-afternoon light is actually quite nice.  It’s not spectacular but it’s very pleasant and doesn’t pose any exposure challenges. The shadows make for interesting patterns on the forest floor.  And I tried for a composition that captured the energy and harmony I was feeling while at the same time portraying the stately strength of the trees.  And the center of interest is the rocks that form a sort of path that leads up to the trees on the right.  The trail leads out of the frame on the right, inviting the viewer to explore what lies beyond.

It’s a very nice picture but now it’s time to make it even nicer.  An effective way to add impact is to increase the contrast.  (This will be a recurring theme.) The shadows can be darkened along with the midtones.  Care is taken, however, to not lose detail in the shadows.  You also have to be careful with the clouds.  They have more detail that the RAW image doesn’t show, detail that can be coaxed out.

Continue reading “The Qualities of a Powerful Landscape Photograph”

(193)

Finding the Soul of a Photograph

Finding the soul of a photograph is a journey that can take many paths.

I often get asked if I manipulate my photographs.  My answer is always, “Yes, of course!”  But no one has ever asked, “Why?”  And I have an answer for that too.  “Because my camera doesn’t know what I’m feeling.”

For me, making a photograph is making art. I want to do more than capture where I’ve been and what I’ve seen.  I want to share with you what I feel when I’m out there.  And that is often more intense than what my eyes see.

I was in Long Valley last summer preparing for a photography class I was teaching for the Mount San Jacinto Natural History Association.  It was midday and I was walking around wearing my amber tinted Polaroid sun glasses.  Why do I mention my sun glasses?  Because I was getting very excited about what I was seeing.  And for those of you that know about midday light, it is anything but exciting.  But the amber tint of the glasses and the effect of the polarization on the sky and foliage got me excited.  Added to that was how good it felt to be back in these mountains after an absence of 15 years.

I want to share what I feel…. And that is often more intense than what my eyes see.

So, I asked myself if it was OK to make photographs that reflected my mental state when it contradicted the physical reality of what my eyes saw. 

Continue reading “Finding the Soul of a Photograph”

(198)