Is it possible to have an obsession seeking a specific combination of atmospheric conditions during a narrow timeframe in the year, at a specific location, to make the ideal photograph there? Depending on who you ask, I may or may not be obsessed, but I certainly do have a specific image in mind at a specific spot at Jordan Lake that has eluded me for several years, and will probably continue to do so.
I’ve been going to Jordan Lake ever since 2012 when the switch was made from film to digital because it is nearby and offers something resembling “wilderness” in one of the fastest growing areas of suburban sprawl in the country. There always seems to be something new to discover, or different conditions to encounter at familiar locations, and have benefitted from so many of the visits there. I’ve come to know a few spots around this huge lake to go to for sunrise or sunset, and keep an eye out for weather conditions conducive for an interesting sky or the possibility of fog. The persistence over the years, from time to time, has resulted in being at the right place at just the right time, but those occasions have been few and far between. If you try often enough, I suppose the odds are more likely to swing in your favor at some point, rather than if you never drag yourself out of bed in the morning. But there has been one location where all the elements just never came together, at least when I was actually there. “When a tree falls in the forest…”
This is the inaugural free downloadable folio in what hopefully will be a continuing series. There will be no set schedule as to when new folios become available, so it’s best to subscribe (below) to receive an email when a new blog is posted containing the link for the latest free folio.
Just click on the photo below and you’ll be taken to a new window in your browser where, it may take a few seconds, the folio will be available for viewing and downloading. Downloading the file is accomplished by clicking the down-facing arrow at the top right of the screen. If you’re using Adobe Reader, pressing Command or Control-L will go to full screen with a black background. Press Escape to return to normal viewing.
Jordan Lake — vol.1
Today, please remember those who sacrificed so much for us to live with the freedoms we enjoy in this great country…
In early 2014, about 18 months after switching to digital, I did a few experiments with what I called blurred images, but have since learned they are properly identified as Intentional Camera Movement, or ICM. Even though I had done some previously with a basic digital point & shoot camera about five years earlier (below), there were plenty of limitations using that camera and wanted to experiment with the new DSLR having much more control over the shutter speed, aperture, etc. It was a method I would eventually use extensively later that year on a month-long trip photographing the golden leaves and white trunks of aspens in autumn.
Beginning soon, the first in a series of small portfolios, focused on a single theme, will become available for free download. The initial folio will be from the continuing project of photographing North Carolina’s Jordan Lake (including the image above), with additional folios of differing themes to follow from time to time without any particular schedule. In order to receive an email notification when a new folio becomes available, you’ll have to sign up by filling in your email and click the Subscribe button below. Once enrolled, you’ll receive an email notification when another folio is available for free downloading through this blog. It’s that simple. If you’re already signed up for blog notifications, you don’t need to enroll, you’re already included.
Almost five years ago on a trip out west to neighboring Grand Teton and Yellowstone National Parks, I ran into a photographer who happened to be a Nikon Ambassador. We had just failed miserably in attempting to photograph the first rays of sunlight on the Tetons from Schwabacher’s Landing (along with dozens of other photographers), because the peaks were completely blocked by low hanging clouds and there wasn’t much to see. We talked for a while, and the conversation eventually turned to photographing the wildlife in these two parks because he was about to lead a workshop that included photographing the wildlife there. And he said something interesting that has stuck with me since then about certain compositions in wildlife photography. He said, “The world doesn’t need another perfectly exposed and perfectly focused, full frame shot of the front face of a bison, or any other animal for that matter!” He said he now concentrates his efforts more on the wild animal within its habitat; a kind of environmental portrait.
Not too long ago, a short discussion in the blog was devoted to the idea of a Non-Abstract Abstract as a simple way to describe a particular type of image that has managed to find its way in front of the camera quite often over the years. In the past, I generally referred to them as “Natural Abstractions”, but have also seen them referred to as “Natural Extractions” or simply abstracts, and I’m sure there are many other monikers for this type image taken directly from a landscape. It’s difficult to provide a specific definition since a descriptor is better suited to convey an understanding of just what is meant by this term.
It seems that when one of our photographs is considered successful by our own definition and standards, if afforded the opportunity, we often attempt to relive that success by revisiting the same location to hopefully produce another successful image. But it is nearly impossible to be at the same location and have a duplicate set of circumstances (atmospheric conditions, lighting, season, etc), as when the original image was created. And even if the location is nearby, one that’s easily accessible on any given day, and conditions are pretty much identical, replicating that image might not be as easy as first thought because, you will be a different person on the day of the second encounter with the same photographic subject.
For those of us who are blessed with the sense of sight, we are able to look out into the world and see what surrounds us; it is truly a gift that we all too often take for granted. For the most part, sight is used simply as a mechanism to maneuver through our lives, getting from place to place, performing tasks, or simply indulge in the pleasure of reading. There are no limits since we can turn completely around 360º and perceive what lies in any direction. We notice and recognize the objects before us, not really giving much of our attention to them. But when we observe, we gather much more information from what we see, more of the details and differences, which then might internally register with us, such as how a particular person among many can be singled out as someone we actually know.
Inspiration is an important motivator in making any kind of art; it’s what gets the creative juices flowing regardless of its origin. It may originate from among our own ideas or thoughts, or from beyond, where something or someone has triggered an internal response which almost requires us to create. Whether your pursuit is painting, writing, sculpture, music or photography, to mention just a few, what drove you to take up the tools of your craft, and begin to form that inspiration toward its physical manifestation, is a uniquely powerful force; one that speaks directly to you, and possibly no one else. And once the message has been received, it can’t be denied and will gnaw at you like an unscratched itch, until it is finally acted upon and satisfied.
To be a better photographer, stand in front of better stuff.”
Jim Richardson – National Geographic photographer
Only five days into the new year and I was wondering if the string of good luck from the previous few months would continue. For successful landscape photography, good fortune plays a significant roll, and cannot be overstated. I’m not referring to the “seeing” of smaller subjects that would make fine photos, but rather the conditions encountered at a particular location while looking for a wider, more grand view of things. This past October, on a trip to North Carolina’s Outer Banks, conditions were excellent to make good photographs of the ocean almost every day. Plenty of clouds provided subjects in the sky on which the colors of the morning could be painted, which in turn reflected those colors onto the sheen left by the surf, and the ocean itself. With a blank, blue sky, the same scene would have been uninspiring, seriously lacking any drama, and may have caused the camera to remain inside the bag.