I still have a number of bucket list items I hope to someday fulfill. I would love to spend a week during the fall at the Boundary Water Canoe Area, or hike into the Grand Canyon, or visit some of the amazing national parks I've not been able to get to yet. All are noble quests for anyone much less a photographer, but with travel costs what they are now days, well desiring to do those things and being able to afford doing them don't always coincide. Instead, I've started looking closer to home for opportunities.
What I've discovered is just how easy it is to overlook the photographic potential of nearby locations. I've also started to understand how important it is to first recognize the potential of a given location by evaluating what it has to offer. The hard part is conveying the visual context of the moment. Visual Context? Well, let me explain it this way. If I were to tell you I found an object and left it at that, you might think, 'Okay...so.' But, if I were to tell you I found it while walking on a volcanic sands beach and stepped on it barefoot, or while hiking in the mountains during a snow storm, well, now you have some visual context around the item that portrays it in a deeper meaning. In order to increase the impact of a photograph, it must have some visual context applied to it.
So how do you accomplish this? Much of the process is simply instinctive reactions combined with an element of common sense and observation. For example. Snap shots of a local lake are fine if all you desire is to make a simple record of an outing. They are the kind of photos you see all the time, nothing new or unusual about them. Capturing aesthetically pleasing photographs requires you to take your photographic efforts a good deal further down the road. For example, the photo on the left above is actually a pretty nice photo and it does have some context applied to it. You can deduce it was taken early at a lake and there was some driftwood along the edge. But, how did the photographer get there?
Recognizing the potential of local photo ops takes some intuitive thinking to create context. Consider time of year and weather. What are the prevailing conditions during any given season? What is the potential for stormy weather, fog, wind, beautiful sunsets or sunrises, clear skies, clear and clean night skies, do you place the horizon high or low or across the middle in the composition, or maybe something entirely unexpected like a random encounter with wildlife. The idea then is to do some research and / or rely on past experience to set up a potential opportunity to discover what just might transpire photographically at a given location and then to apply an element of context to the moment by including subtle visual clues that show the viewer why this moment was important. Doing so interjects some of yourself into the photo.
Another part of the process, and the whole purpose of the exercise, is to be willing to be on location when the best light is available. Most of the time early or late in the day offers the best light potential, but it does not always require that. During the fall or winter, often overcast skies will create soft light that will cause the fall colors or the stark blend of winter contrasts, to resonate against the background. Middle of the day harsh lighting can be used to your advantage provided you find the best location to take advantage of it. Photograph the shadows, shoot the details of translucent light, isolate a single object against a dark background. The photo of the gull above shows the graceful flight of these amazing birds. The lines across the bottom half helps to provide some context as they are waves created by a passing boat.
It is those kinds of opportunities we too often overlook. Personally, I will shoot any time of day regardless of the lighting conditions. I just simply adjust my approach and look for the subjects that fit the conditions. Context is not always easy to apply, but there can be subtle visual clues. The star shaped flowers on the image to the right is surrounded by the context of dense foliage and soft shadowy light which generates the feeling of walking into a heavily wooded area. Context.
Recently, using my canoe to get there, I spent a few days camping on an isolated gravel beach at one of the local lakes. During the middle of the day, what surrounded me was rather ordinary snapshot type of opportunities. But, I began to look past what I was seeing in the middle part of the day, to recognize the potential of what might occur around dusk and then again before daylight. I call that approach "Visualizing beyond the ordinary". Things like fog, or subtle movement across the calm surface of a body of water, reflections, blurred movement, among many other elements help to provide context to the potential of a successful photo.
Camping on location gave me the advantage of being there when the light was at its best and as I suspected, this ordinary looking place offered up some rather nice photo ops when the light shifted into its best dressed moments. I simply allowed the moment to reveal itself contextually.
Recognizing the potential of a given location requires you to stop and think, then visualize beyond the ordinary, to see what could be, as opposed to what is, at a given moment. Context is difficult to convey. Sometimes you get it right, and sometimes you don't, but that is part of the learning process. When you get it right, the rewards often far out weigh the amount of effort it took to place yourself there.
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