When it's Just Not Working...Turn Around

Grumbling, I picked myself up from a rather ungraceful fall after just encountering a loose rock strategically placed on the down slope side of the trail for some unsuspecting soul to step on. Then I continued on my way and limped to the bottom of the Shanty Hollow Falls ravine and stepped onto the gravel banks of the outlet creek.

It was a bright sunny day, not the best kind of day usually to photograph within a heavily wooded area. The bright sun poked its rays well into the ravine creating a great deal of bright hot spots and dark contrasty shadows. At first I simply surveyed my surroundings and grimaced at what was there and started to reluctantly take photographs at what at first seemed to be rather nice looking compositions. Upon closer examination I realized what I was capturing fell well short of what my eyes were seeing. After several more unsuccessful attempts, I stopped and simply stood motionless, just staring at what was in front of me trying to figure how to visually make sense of what was there. Nothing seemed to work photograpically, then, I remembered an old photographer's trick...when it's not working, turn around... And so I did.

To my amazement what I saw set my photographic juices to flowing as the mid-day sun applied a brilliance of light to the leaves whose incandescence filtered deeper into the ravine to cast a glow across the horseshoe shaped amphitheater. I have often said that a photographer sees with his heart, and my heart was moved when I saw how the ravine was alight with an almost unnatural luminosity. It was amazing light, like none I had ever witnessed before and I instantly understood how here in front of me the natural world was to reveal the best of what I had hoped for. Photographing it proved a challenge because of the heavy contrasts, but I knew the results were going to be exciting. I found this revelation to be fitting because I was there following up on an Ansel Adams Style project where I wanted to capture nature in the same kind of style Ansel Adams might have used.

He once wrote about how the light he encountered in the high Sierra's set him on the path to becoming a photographer. His life changing words were filled with inspiration and insight and revealed a deeper understanding of what his purpose was to become. The light I encountered on this day had a similar effect, maybe not so dramatic as what he became, but the powerful, revealed light within that ravine spoke to me using natural, visual words of insight.

Sometimes photographic moments do have simple solutions. We just need to remind ourselves about the simplicity of doing something like turning around and looking in the other direction. Whether shooting a sunset, a rain squall, or from inside a shaded ravine, looking the other direction often reveals something new and unique.

Too often I find myself locked into a single way of thinking about the results I expect from a photo shoot. In reality, it is only when I let go of preconceived notions does the real opportunity reveal itself. Turning around and looking the other way sounds so obvious, I am amazed at how often I fail to apply such a simple solution to the bigger problem. Light is, as always, what I want to capture, not objects, and by first looking for the light, the purpose of the objects suddenly come to life.

I used a polarizer filter to reduce the glare, and held a graduated neutral density filter to the front of the lens to help balance the brighter upper portion with the darker shadowed areas. After several shots, I knew I had captured a remarkable moment of light and could not wait to download the results. I turned around again and carefully made my way out of the ravine.

Chasing the Night - Capturing Star Fields

Photographing the night sky has become one of the fastest growing types of photography. Using even basic equipment and a little knowledge of the night sky once can capture some fascinating objects. In recent years I have spent more and more time chasing the night photographing subjects like the Milky Way center, and few planets like Saturn and Jupiter along with a few deep sky objects like Andromeda.

Perseus Double Cluster

Most of my images fall well short of what is possible when you combine quality photographic equipment with very dark and scenic night sky areas, but they are still fun to do and what makes it most enjoyable is because it is "now" real time.

One of the most intriguing things to do when photographing the night sky is to simply point your camera toward a dark area and see what you get. Most of the time it will simply be a scattered collection of stars spread across your field of view, but sometimes you discover some interesting sky objects.

Beehive Cluster

Star field photographs are just that, a photograph of a random series of stars. What makes them intriguing is the patterns they create. Stars of course are made up of a variety of types and colors with some being red, some bluish, some yellow, and some white. The colors do have a meaning with the various tones indicating how hot they are and in some cases how large they are.

When you find clusters of them, well now you have discovered a real deep sky object. Some of the more famous ones include The Beehive Cluster, and the Perseus Double Cluster, along with Pleiades or also called the Seven Sisters. These are beautiful clusters and reveal just how amazing is the night sky.

I will not get into all the techniques involved, just wanted to write a simple post and share some of the more fascinating images I've managed to capture. More information can be found within this blog by doing a search using Night Sky as a key word.

The Ansel Adams Project

Light becomes its most surreal when a photograph is viewed in black and white. It is as though whatever it falls upon becomes wrapped within a veil of luminosity that is at once unique and familiar, yet it carries within it a vibrancy that transcends the distraction color imparts on an image.

Keith Bridgman Photography

Ansel Adams, probably the best known American Photographer of landscapes, captured the color of the American west almost exclusively in black and white. His influence travels far beyond his mastery of photographic technique and impacted the age of conservation awareness like no other person. His images stirred the imagination into action and transformed a nation who at the time of his greatest works was struggling to climb out of a great depression. His genius was second to none, his eye for detail defined modern photography, his visual influence changed a nations understanding of who it was.

I have long enjoyed black and white photography ranging all the way back to my youthful earliest days of using a very old Kodak No. 1 Brownie camera my grandparents once owned, and developing those negatives and small prints inside a closet darkroom. It was magical to watch the image transform within the chemical trays. They were nothing more than simple snap shots of my day, things like our pet dog, or the car in the driveway, or a pool of rainwater reflecting light across its surface. The foundation of my photography was laid during those days and in spite of the modern technology available today, those simple images serve to remind me of my photographic roots.

Keith Bridgman Photography 

I first learned about Ansel Adams when I was a college student, although I had seen several of his images previous to that time. His story fascinated me even then at how he transformed from taking snapshots using the same kind of Kodak No.1 Brownie camera I had also used, into one of, if not the foremost authority on landscape photography. I would sit in the library and peruse though a book containing some of his images and was mesmerized by their clarity and stark beauty never once believing or even thinking that one day I would attempt to capture images in his style.

The Ansel Adams project is simply my attempt to rekindle some creative energy by going back to the basics of photography. I could never imply that I would ever match the power and impact of his images, but to shoot in his style forces one to backtrack creatively and to see the world in a different perspective by looking at the world based on the contrast and light created by shades of gray. 

Shades of gray, it sounds so simple, yet in reality capturing the world through the eyes of black and white is more difficult than it seems, for you not only must recognize the intrinsic photographic value of a landscape, you must also look beyond the visible clutter color imparts on a scene and see it as a series of contrasts and shades. Then, for this project at least, I must visualize not only the potential, but the technique Ansel himself might have used to compose his images.

Keith Bridgman Photography

For thirty days, I will add to my collection of black and white images and explore photographically the world close to home shooting nothing except landscapes and other points of interest using the Ansel Adams style. It is perhaps is one of the most unique and challenging projects I've ever attempted, yet one where my excitement level of the potential that may develop is as high as the Sierra Mountains where Ansel created some of his most enduring images.

The S-Curve: Composition's Secret Weapon

Nature in all of its forms offers the photographer an unending array of photographic events. Capturing nature effectively can often prove to be an elusive endeavor, but we keep trying, keep pursuing the art of photography until at last we discover that one magical moment. Composition plays a vital role in being able to capture magical moments and effectively using composition to portray your vision can be influenced by some basic understandings like using one of natures secret weapons; The S-Curve.

Taken using a disposable 35mm film Camera

The S-curve in a scenic landscape serves to move the eye, to lock it into what is important. It leads the viewer toward what you the photographer wants them to see. When anchored between blocking compositional elements such as a darkened treeline or a distant ridge or even a shadowed hillside, the S-curve then becomes the most important part of the image. Those blocking elements serve to keep the eye from wandering off the page so the story line then becomes more condensed and is no longer simply a portion of what you are seeing, it becomes the main focus of why you are even looking.

S-curves can be bold and dominant, or more subtle and suggestive. Regardless, they serve to take your eye into the image. They can provide a platform upon which the remainder of the composition resides.  It is important to include them with other strong elements that compliment the reason the S-curve is there. Other building blocks serve to frame the image to isolate the importance of the curve. You the photographer must then position yourself in the most advantageous location to take advantage of the natural flow of the curve.

Light can also influence the nature of the S-curve. Used effectively, you can actually create a curve that may or may not be all that noticeable. Blended with blocking shadows and framing elements, then allowing the light to glow across the image toward the viewer is an effective way to render how S-curves tell the story.

It takes an experienced eye to see past the chaotic distractions and to focus in on what is important. Visualization is key here, where using your knowledge of how the camera captures light, you are able to generate the desired emotional balance that so effectively stops a viewer and keeps their eyes on the story you wanted to express.

Over time the process become instinctive and you feel the situation as much as you see it. You begin to look beyond the obvious and drill into the sublime to see the finished product before you ever take the shot.

When this begins to happen, you pass beyond accepting the ordinary to dwell within a realm where creating the extraordinary becomes a part of why you are a photographer. Using natures secret weapon, the S-curve, just makes life as a photographer a little bit softer.

Evaluating Your Own Photo's - Passing the "Eye Test"

I am probably my own worst critic when it comes to evaluating the photographs I've taken and that is probably a good thing for the most part. I am constantly looking deeper into an image to identify what works and what does not work. By doing so, I feel like I've gained a great deal of discernment about what makes a great photograph. Along the way I've also learned just how wide of a gap exists between what I think vs what other people think. Although I do value evaluations from others, I don't always agree with them simply because they were not there working under the conditions at the time and they simply do not know what your intent was in creating the photo. Those things do affect the image. So, critically evaluating your own photos becomes even more important and doing so helps you recognize what works for you, and that after all is what is most important.

Taking time to critically evaluate your own photos will often reveal inadequacies in your technique especially the lighting, but it also includes composition issues. Evaluating your photo's can take any number of paths, however what I find most useful is to ask myself two questions.

1. What works with this photo.
2. What doesn't work.

Then I begin to drill into the image breaking it into components and separately evaluating the merits of the different segments. By using this simple approach you will be able to focus in on what is important. The answers to these two questions will certainly vary with each image, but, one answer I always avoid is to simply say, "I just like this picture." An answer like that does nothing to improve your critical eye. Even so, every image must pass the "Eye Test" first even before you begin to drill down into the merits of the image. If it doesn't pass that preliminary eye test, well...maybe you should move on to another image.

Let's take a closer look at the photo above and try to answer these questions, just to give you an idea of how it might be done. Of course everyone is different, but the idea here is to develop and improve your own critical evaluation tools.

What works with this photo?  

First of all, let's look at the "Eye Test". Their expressions work very well here. Mother and Daughter show a genuine connection to each other through their embrace and by doing so they are projecting a positive connection to those who might view the image. They both have nice genuine smiles and do not appear to be overly "posed". The background is plain and does not interfere with the overall composition, and there appears to not be any overly glaring elements that stand out. To me, it passes the eye test. 

From a technical point of view...The lighting is pretty good (Two speedlights were used). They are well lit with no extra glare coming off the mothers glasses. The whites show detail as do the darks and midtones...and there is a good range of whites, midtones, and darks scattered across the composition. The back lighting is soft and not overwhelming but just enough to provide some highlights across their hair which helps to separate them from the background. The focus is on them with the background just out of focus. Compositionally, they are spaced slightly to one side within the frame and they appear as a natural fit within the frame as well.

What doesn't work?

The Eye Test...I would prefer the mothers hand which is spread out and lying across the top of one of the large rocks, would not be so widely spaced. It should be more curved inward and lying naturally on the rock instead of looking like it is supporting her arm. There is also a bit of a "Hot Spot" in the upper left which could distract the eye away from the main subjects. However it is somewhat balanced by the whiteness of their tops and the softer middle values of the rocks especially on the lower right.

From a technical point of view...Overall it is good, not much I see technically from this image that distracts from the image except their faces are a little soft and the eyes are not quite as sharp as they should be. This is possibly caused by the Gaussian Blur that was added to the image and then removed across the faces. The GB is what created that softer background look...a nice addition but can create a too soft look if not carefully applied. 

So...you get an idea of the thought process I go through when I evaluate an image. All of the Positives tend to be strong elements but always can be improved, while all of the negatives are easily corrected. It is a matter of applying what you learn from an exercise like this to your shooting in the field next time. It is something you must make a conscious effort to do at first and eventually you will begin to instinctively see these things before they happen. This technique can be applied to any kind of photograph, so give it a try sometime.