ESTABLISHED 2010 - Beyond The Campfire was created to encourage readers to explore the great outdoors and to observe it close up. Get out and take a hike, go fishing or canoeing, or simply stretch out on a blanket under a summer sky...and take your camera along. We'll talk about combining outdoor activities with photography. We'll look at everything from improving your understanding of the basics of photography to more advanced techniques including things likehow to see photographically and capturing the light. We'll explore the night sky, location shoots, using off camera speedlights along with nature and landscape. Grab your camera...strap on your hiking boots...and join me. I think you will enjoy the adventure.
The Adventure Photography Series has been an exciting and fun project...and I will continue to pursue adventure opportunities as the seasons progress. Coming this year, 2022, I will be starting another new series that may prove to be the most fun of all. Beyond the Campfire - Bushcraft.
I will be getting back to my roots where I'll be spending time outdoors, camping, canoeing, fishing, and creating fun bushcraft type projects. Things like building a camp chair using only a small axe and some chord. Making a portable rustic bow saw. Primitive camping with a canvas tarp leanpee. Starting a fire using flint and steel and char-cloth along with/or using a ferrocerium (ferro for short) stick and striker, and some good old fashion roughing it easy camp cooking...plus other bushcraft style projects.
We'll combine camping, canoeing, backpacking skills with photography and spend meaningful time outdoors capturing and experiencing nature at her best. That's what Beyond the Campfire was originally all about and starting this season we're heading back to the basics. So strap on your hiking boots and come along for the journey as we explore, photograph, and experience nature beyond the campfire.
Snow in Kentucky can be a hit and miss opportunity. Most winters the south central part of the state gets only a token or two of snow days. Sometimes, we get more, and sometimes we actually get what I call a mini blizzard. The first week of January saw one of those mini blizzards wrap itself around Shanty Hollow and I loved it. So for part of one day, then a few days later, for the entire day, I was able to get out and track through this beautiful and enchanting location ... in the snow. (Additional Shanty Hollow videos listed below)
Ancient Migration: Photographing Sandhill Cranes
Sandhill cranes are one of the most amazing migratory birds. The largest migration route takes across the central plains and into Nebraska where several hundred thousand of this fascinating birds congregate. A smaller, yet still impressive migration occurs a bit further east where 30,000 to 40,000 Sandhills make a stop over near Seymour, Indiana which is but a few hours drive from my home. I've managed to make it up there a few time across the past few years and have captured a lot of video and still photo's from those outings. This video is a compilation of those efforts. Please enjoy "Ancient Migration: Photographing Sandhill Cranes".
Daytime temperatures hovered around 70 degrees, unseasonable to say the least for the first of December, and the blanket of air that arched across the daytime sky was a piercing clear blue. But as the sun settled behind the western ridge, those temps began to drop and the blanket of blue became a crisp and clean ebony universe filled with more stars than I have ever seen, their unexpected brilliance and shimmering nature uplifted my spirits and as I gazed upward through the canopy of trees that arch over my campsite, I felt as though I was being drawn high to join them amongst their lofty domain.
This adventure photography series I've been pacing through the past few months has brought me into contact with some incredible moments. The idea behind the series is simply about "The Experience of Being There"... to encounter nature through the eyes and heart of a photographer's mind set. But, it is more than that. It's actually more about the experience than the photographs. The photographs only serve to document the moments and their impact falls well short of the emotional influence generated by placing yourself inside an uncommon outdoor situation.
That single night camping out under the stars became an iconic moment within the Adventure Photography realm. I backpacked once again into my favorite location within the backcountry of Mammoth Cave National Park...The Bluffs. My intent was to do less photography and more just camping and relaxing. But I knew the evening was soon to fall upon me and the forecast was for a dark, clear night. With that in mind, I set about finding locations around my campsite that would offer a good field of view through the trees for some time lapse sequence photography.
As the evening fell, a thin remnant of clouds began to glow above the distant ridge and shortly after, the sky rapidly grew dark and the stars began to wink into life. The first points of light were the planets Venus and Jupiter, two very bright lights to the southwest that hovered just above the ridge on the other side of the deep ravine below where I was camping. Shortly after Jupiter and Venus came into view, Saturn blinked to life almost perfectly evenly position between the two others. The three of them created a 45 degree arch across the darkening sky. Before long, thousands of other stars came into view, some brighter, some pin points, some with a fuzzy glow around them, some white, some bluish, some yellow in hue. Their seemingly random placement across the sky appeared to have a planned artistic symmetry applied to their placement with in the canvas of the night.
The tall trees surrounding me extended their reach upwards as though somehow knowing they added to the majestic nature of this incredible starry night. The first time lapse took close to 2 hours to complete, 200 15 second exposures taken at 20 second intervals. A quick look revealed that my campfire had provided an extra element to the scene by its flickering flames illuminating nearby tree trunks.
The next two sequences were shorter, 150 20 second exposures taken 25 seconds apart. It too revealed a remarkable song of light arching across the night sky with the canopy of trees providing a guiding arm to their movements.
By 10pm, the constellation Orion came into view rising above the ridgeline. It is perhaps my favorite of all the constellations as it is big, bold, and bright especially on a clean and clear night like this one. With the naked eye one can see the Orion Nebula glowing as the middle star of the hunters sword. My goodness, it was so bright and clean, the sight of it was an experience of profound dimensions.
I set up my camera pointing toward this collection of stars...same exposure values...and fired off the sequence. As the intervalometer triggered each image one by one, I crawled into my sleeping bag under a simple tarp strung between two trees.
Time was taken to make a journal entry as the thoughts were fresh on my mind...and I dozed off to the rhythmic clicking of the camera and the yelps and howls of a pack of coyotes.
It must have been because the camera stopped firing off that awakened me. I crawled back into the brisk night air and gazed upwards again. There are no words than can describe the sight. No moon was out, yet the stars were so bright, faint shadows were being cast by their light. The sky simply glowed with starlight, like a symphony, the musical tones of their performance was almost more than I could absorb. I no longer felt the coolness of the night air, warmed instead by a sight so indescribably beautiful, it all but brought a tear to my eyes.
I repositioned the camera, reset the intervalometer, and fired off another sequence. Reluctantly, I crawled back into my sleeping bag under the tarp. The warmth it provided calmed my emotions and I simply laid there listening to the clicking of the camera every 25 seconds and the occasional howl of coyotes was joined in chorus by several owls hooting through the night. I do believe they were also in awe of this special edition of the night sky.
I must have dozed off again briefly, but before long the camera stopped clicking as its sequence was complete. One more excursion into the night air...one more long view through the canopy of trees...one more long gaze at the most perfect night sky I've ever witnessed. The visions generated by that moment, haunted me throughout the evening as sleep became a rare event and only around 4AM did I finally doze off. When I awoke, daylight was upon me once again.
A much better story teller writer possibly could describe the feeling of the night in a way as to truly capture the essence of the moment. Although, I'm not so sure really anyone could fully describe the impact it had on me. I've spent may hours over the years photographing the night sky and from time to time encountered dark and brilliant nights. None compared to this one. It was truly an Unforgettable Night. One in which my spirit was lifted high into the realm of the stars, and I felt as though I soared amongst them.
About a 30 minute drive from my home thru small country towns, down winding country roads that flow through, around, and over the rolling hills of south central Kentucky, is Barren River Lake. It's a gem of a lake characterized by clear waters, rocky bluffs, thick woodlands, and scenery that can often be overlooked if care is not taken to avoid doing so. As a photographer, my eye is always searching for a special moment of light, and too often I too have been found guilty of overlooking this wonderful location.
Today I made a special attempt to remedy that verdict. I drove over to Brown's Ford with the idea of dropping my canoe into the water and working my way to the tail end of the lake, about 2 miles, where Barren River and Long Creek converge. The particular spot offers a wonderful peninsula that separates the two water systems.
Where Barren River and Long Creek Converge - Taken Summer 2021 from the Long Creek side - Barren River is on the other side. This is the end of a long peninsula. Winter water levels would be 20+ feet lower than what is shown here.
I wanted to work my way up Barren River as far as I could manage using a trolling motor to do most of the heavy work, to search for a campsite along the river bank for a potential canoe camping, photography outing sometime in the future.
Taken summer 2021
The previous summer I managed to do some fishing in that area with some photography tossed in. Along with catching a few nice bass, I captured a couple of very nice images, one of a deer swimming across a gap between two small islands with misty fog hovering in the background, and another of reflections cast across a hidden inlet.
Taken summer 2021
Barren River Lake is maintained through the year by allowing the lake level to rise in summer and to drawn it down during the winter. On this outing, it was approaching its lowest winter pool level, about 20 feet or so lower than the summer level, and what was a wide expanse of flat water the previous summer was now a narrow band of shallow water with exposed rock and sandy banks. There was also a good current flowing at the boat ramp. My attempt at working my way to the confluence of Barren River and Long Creek was thwarted as the water levels were just too low to allow for a comfortable use of a trolling motor and the current was too strong to paddle against for that distance.
Instead I turned what was an ambitious outing into a simpler outing and took my time paddling around the boat ramp area working down to a long curving bluff to enjoy a short moment on the water. As I began to float that way, a Bald Eagle emerged from the tree line to my right and flew across the gap separating the long bluff from the bluff nearest to Browns Ford. He glided with a graceful soar, barely working his wings, the white of his head and tail standing out boldly against the gray background. Then, he pulled his massive wings back in a slow motion arch, almost stopping in mid air to land on a high limb overlooking the channel.
I had no camera this time except for my cell phone and it was still packed away, so I just drifted toward my Eagle friend and came to within about 20 yards of him before he launched himself into the air. I followed his white head and tail as he flew along the long, curving bluff, to finally drift out of sight some distance away. Not a single photo I made of this magnificent bird, but the memory of the moment will last me forever.
For the next hour or so, I simply paddled around, briefly talking to an elderly fellow fishing off the bank, and I managed with my phone to snap a photo or two of the scenic point anchoring the long bluff. I'm guessing the trees with the white trunks are Sycamore trees, and the tree with the reddish leaves are beech trees with their fall season remnant allotment of dried but not yet dropped leaves.
As I made my way back to the boat ramp against the current, a couple hundred gulls circled around, squawking as they do, to eventually land on the other side of a sandy mound.
I beached the canoe and made my way over to where they were and managed to take a few photo's using my phone along with a short video clip. They are graceful fliers after all.
The day afield came to an end shortly after my gull encounter. I loaded all my gear back into and on top of my Jeep, always a sad moment. As it turned out, the outing fell well short of what I was wanting to do, but in the end, seeing the Bald Eagle and watching the gulls was reward enough. Just being out and feeling the canoe under me again, well...it was a simple outing, but one well worth the effort.
The beauty of the fall season in Kentucky is breathtaking
and hiking into the backcountry of Mammoth Cave National Park during this time
of year can transport one into a visual canopy of color.
Capturing the feeling of this world requires more than
simply physically walking down a trail with your camera in hand. It requires you
to fully immerse yourself into and becoming a part of the surroundings.There is a kind of bonding one develops with nature when you
allow yourself to let go of the everyday stresses of life and then receive the
soothing comfort discovered here. It helps you to step outside the distractions
of life, to be elevated above all the things that weigh us down emotionally, so
you begin to see the hidden compositions drifting across the landscape.
I wish I could get that feeling every time I go out, but it
is almost impossible to do so. There is an Art to it, the kind of art that is
difficult to define. It is the Art of Being There where you allow yourself to
become a part of the surroundings, where you feel the subtle sounds of the
woodlands,
hear the splash of light filtering through the trees, see the wind brush
across your face, then inhale the aroma of the flotsam of the forest floor.
When that happens, your camera becomes more than a tool…it
becomes an extension of your emotions. The art of being there is what this
Adventure Photography series is all about.
Yet it is more, for there will never be enough words to fully describe how it works because it is different for everyone. It's a feeling really, the kind that radiates deep from within yourself. It's more than simply recognizing that it can happen, it's experiencing it and living it all at once.
The Art of Being There as a photographer elevates those moments to a level well above what is ordinary...you are uplifted emotionally and everything becomes synchronized so much so, it all simply falls into place.
Over the years I've done a favorable amount of backpacking, enough anyway to feel accomplished at the endeavor. I've done far more canoe camping but both are excellent outdoor activities and they share some common elements that tend to blend their requirements into similar techniques. I recently made a return visit to spend time backpacking into the backcountry of Mammoth Cave National Park. While it is but a few miles up the road from where I live, the location has remained a somewhat neglected outdoor resource for me. Even so, there is an abundance of above ground outdoor opportunity awaiting anyone desiring a near wilderness adventure.
This year I jumpstarted my Beyond the Campfire Adventure Photography video series with the intent to motivate myself into getting out to photograph and explore the great outdoors more while I still have the ability to do so. As I climb toward the big 70 in age, my physical ability to purposely stress myself beyond what is ordinary has started to diminish to some degree.
Although I've stayed in pretty good shape for someone my age (lost 35 lbs, strength training at the gym, jumping rope, punching a heavy bag...and so on), my old body sometimes pushes back reminding me to slow down and take it easy for a little while. I've learned to listen to it in spite of the fact that my hearts desire tells me I'm still 25 years old.
My backpacking gear consists of mostly 25 years and older equipment...all venerable and functional...but, a bit on the heavy side. Today's modern, lightweight equipment was just a pipe dream back when I first started backpacking. Back then my budget allowed for only rudimentary and often heavy gear collected from the likes of the local Army Surplus Store, garage sales, and the local discount sporting goods store...a good portion of it was homemade make-do gear.
Similar to Mine
I use a 40-plus year old Coleman Peak One packer stove...probably one of the most dependable and useful pieces of gear I have. In all those years, it has never failed once. By today's standards, it is quite heavy, but it also includes the ability to fine tune the blue flame from a simmer to a fly me to the moon flaming torch. It will boil a pot of water in nothing flat, and a single tank of fuel will last for several days.
My old sleeping bag, also a Coleman Peak One, is also about 25 years old. It is filled with somewhere around 4 lbs of Quallofil fiber...where each strand when viewed thru a microscope contain 4 separate chambers...which gives it a temperature rating down to Zero degrees Fahrenheit. It's a bit bulky but has kept me warm on some very cold nights out in the boonies. A homemade flannel liner adds about 10 degrees to the temperature rating.
The newest piece of equipment I have is my self-inflating sleeping pad I purchased on a clearance sale about 15 years ago. One of the best investments I ever made.
I use 2 packer tents. One is somewhat larger and heavier than the other. On this trip I chose to use the bigger one because I wanted a little more elbow room for my camera gear. Made by Camp Trails it is a two man tent that actually fits one person and comes with a nice full cover rainfly which came in handy that night as a gentle rain fell pretty much all night.
The backpack I haul all of this gear around in is, again, about 25 years old. It is a JanSport Internal Frame large capacity pack. It has several outside pockets and various other straps and rings and things to attach whatever suits your style. It has been quite durable in spite of some abuse over the years.
Those are my main pieces of equipment along which I include various other assorted odds and ends to make up the 10 Essentials of Backpacking.
On this particular trip I included 2 cameras, 2 tripods, extra batteries, 2 extra lenses, and a fanny pack just for the camera stuff, because I wanted to shoot a lot of B-roll video footage and have enough flexibility to photograph the scenery as I saw fit. I normally would not have carried all of that extra weight, but in the long run I used all of it and the results were pretty good even if I say so myself.
The hike into the Bluffs area is pretty flat with some up and down dips and climbs until the last side trail that leads you to The Bluffs campground. There is about a 1/4 mile very steep drop down to the campsite and, consequently a 1/4 mile long very steep climb out. The climb out is much more difficult than the drop down especially when carrying a full pack.
Along the trail I encountered several muddy places but was easily able to skirt around them. You are pretty much walking through a cathedral canopy of trees, and during the fall, the colors are amazing. I made this trek the first couple days of November and although there were good splashes of color, the peak of the fall season had not arrived...(a week later it was in full swing).
A newer version
There is a source of water near the campsite. A spring flows over the edge of the first bluff you encounter with enough flow to create a small pool of water at its base. It good clean water and it's enough to easily fill several water bottles but the water must be treated before drinking. T o do so, I use a pumper style PUR Hiker water purification system (now called Katadyn) that will filter out pretty much everything that could make you sick. I've never gotten even the slightest grumbling in the tummy after drinking the filtered water...and the taste is fresh and clean.
It was another one of those really good additions to my gear collection.
Photographing the trip involved a series of B-roll video clips where I set up a camera on a tripod then film myself walking a little ways down range...walking back to retrieve the camera...then continue on. I wanted to video sections that provided not only scenic value, but also captured a representation of what the trail was like. Doing this obviously took more time, but it was well worth the extra effort.
Photographing the area was at times a challenge because it was difficult to see through all the clutter and focus in on a good subject. Even so, there were numerous photo ops available with the bluffs and within the surrounding canopy of the woodlands. The lighting was tough as most of the first day it was bright and sunny with a cobalt blue sky. Pretty to hike in and look at, but difficult to photograph because of the harsh contrasts such conditions produce. That became the real photo challenge...how to capture the scenic value without capturing the harsh contrasts?
I was able to build a fire and spent a while after sundown sitting around the warmth of its flames. It was the first time all day I felt like I could relax.
There is something magical about a campfire. I've built hundreds over the years and no two of them were the same, but each of them told a similar story. It's a story about why we need to sometimes put life on hold and travel into the wilderness to experience what it has to offer the soul. Sometimes Life gets in the way of Living.
A campfire helps us to step away from the stresses of life, to experience the calling that resides within our hearts. Backpacking, in spite of the physical demands, pushes the Mute button on Life, so we can begin living a little.
Sort of bringing the Blog back to life but with a newer approach. Will be posting a new video series over the next few months. Adventure Photography. This series will carry the theme "It's about the experience of being there". First on the menu includes the Introduction Video, followed by Parts 1 and 2 of the Shanty Hollow Series: Photographing Shanty Hollow Woodlands and "First Light" Canoeing and Photographing Shanty Hollow.
I would venture to guess that most photographers are most content when they are simply having fun with their camera. Maybe on vacation, or possibly just on a simple walkabout, capturing the world around us provides not only an easy creative outlet, but it also captures special moments within our lives. That is the way it should be, just have fun with it, then use the photographs to revisit those special life adventures.
Sometimes though as a photographer, I need to find a more meaningful outlet, to allow creative instincts an opportunity to explore more thoroughly the photographic possibilities waiting for discovery. That is when I begin to look more closely at how I can best use this tool called a camera to capture the world around me in ways that is less an exact reproduction of what I see, and more of a creation of what I feel. Doing so helps to generate a greater creative depth to the images I want to capture.
How to do this is open to interpretation because everyone contributes their personal insights into what they want to accomplish. Even so there are some common ways to apply creative depth to your photography.
One of the best ways is to learn how to use off camera flash. There are literally hundreds of videos and articles out there explaining the X's and O's of the technique, so I will not go into that discussion here. Instead let's explore some of the reasons why this type of photography can add creative depth to you photographs. First of all, any photographer worth his or her salt knows that light is the most important element in a photograph.
Quality light can turn an ordinary object or situation into a work of art. Natural light of course is the most commonly used, however when you begin to use off camera flash you start to explore the realm of controlling the light. With off camera flash you can control the intensity, the angle or direction, the color, and timing of the moment. You can throw in a little fill light, or contribute the maximum amount of light required for a shoot. It can be used with people, places, or objects, and it can be combined with the natural ambient light, it can even be made to look like natural light. In short, you become the master of the lighting moment. This allows you to visualize how you want the image to appear, the shadows, the reflections, the back light, the boldness or subtleness of the light becomes yours to control.
Another way to add creative depth is to take your camera off AUTO or Program Mode and learn how to manipulate exposure. Use the +/- exposure compensation tool on your camera to add or remove light from your composition. This allows you to darken or lighten natural light and to apply a specific tonality to a specific area of your composition. Contrary to popular belief, you do not have to capture the world exactly the way you see it. You have the ability to interject your desire onto your photograph.
A third way is to use post production software to enhance your photographs. This is not cheating, this is simply allowing you to project your vision into your photograph to create from what might be an ordinary image, an image with power and eye catching ability. Ansel Adams, probably the most famous American photographer of all time, applied this same concept to his photographs except he did not use a computer (they didn't exist then), he did it in the darkroom using various kinds of print papers and print exposure techniques. There are countless how to videos and articles available on Photoshop and Light Room, so there really is no excuse for not learning how to do this. Even very basic, routine applications can improve almost any photograph and allow you to create your vision.
Although I attempt to capture in camera the image I visualize as closely as I can, almost all of my images undergo some post processing adjustments, however small, however slight they may actually be. One thing I have also learned over the years is to not be afraid to break the rules. Breaking the photographic rules will sometimes lead to an amazing revelation about photography and the results can be spectacular.
Adding a measure of creative depth to your photographs is a personal adventure almost anyone can learn how to do. It is more a matter of desiring to discover the limits of your own creative instincts and have a willingness to try something new. Much of it comes from within and all you are doing is applying your inner visions to the tools you have available.
One of the most difficult kinds of photographs to capture is a photo taken within a deep woods, especially when the prevailing background color is green. In most cases you end up with an image with a harsh green tint cast across the entire frame. This is just the nature of light and requires a bit of creative white balance tweaking to prevent. Even so, a photo with that one prevailing color tint can in its own right become an interesting image. Most of the time though, I tend to photograph the deep woods with the intent of converting the image into a black and white.
Deep woods settings do tend to lend themselves well to black and white, however, depending on the kind of light that is filtering through the green canopy, this too can be tricky. Often you will encounter a wide range of contrasts ranging from very dark shadowed areas to very bright sunlit areas. This range more often than not becomes the problem as the camera simply cannot deal with that wide of a range of contrast. You will lose a great deal of detail in either the light or dark areas with one or the other being blown out.
Most times I will shoot with a circular polarized attached to my lens. This helps to reduce the glare and allows for a certain amount of control over the lighting. I will also usually expose for the brightest areas and let everything else simply fall where it wants to within the exposure. I do this by shooting on Aperture Priority and then using the +/- exposure compensation to bring the brightly lit areas into an exposure range where detail becomes apparent. Then during post processing I will bump the mid-tones and dark areas up a bit to bring the image exposure more inline across the full spectrum of what was captured.
HDR is of course another option, where you take a series of images using different exposure values and allowing the software to blend them into a finished, more evenly exposed image. As this blog is mostly for novice and less experienced photographers, I'll leave the HDR discussion on the table for another time, but I will say HDR, although it has its place, is better suited for certain kinds of lighting situations like inside a Cathedral. The idea with a photograph in my opinion is to make it look natural and HDR, unless it is expertly crafted, can often make the image appear a bit "Over Cooked".
Many times, photographers at all levels will make the assumption that whenever they are photographing something, they must capture the scene as though it is an exact replication of what was seen. Yes, sometimes this actually does work, however, creative photography allows for you the photographer to capture less about what you see visually, and more about what you felt while you were there. This is open to interpretation by each photographer, but photographing the deep woods is a perfect opportunity to explore this concept.
What you want to accomplish is to create an image that imparts that sense of place and wonder. The Deep woods is often filled with both, but you have to not only look for it, you must feel for it as well. Sometimes it is just a momentary glimpse, the way a tree hangs out over a creek, they way a large boulder fills the frame, or how the trees themselves line up...or any other number of ways.
Photographing the deep woods can be one of the most inspiring and challenging of photographic opportunities. Just keep open the idea of capturing what you feel and look for those compositions that reveal the essence of the woods you encounter.
When I started one of the most interesting photographic projects I've ever tried, The Ansel Adams Style Project, I wasn't sure where it would lead, but discovered along the way just how important a project like this can become. I never believed I would ever attain the prowess of the name sake of this adventure, but this project proved itself not only fun and rewarding, but instructional and revealing. What the venture taught me will be carried forward in my seemingly never ending quest to capture that one perfect image and hopefully provided a measure of inspiration to continue pursuing this fascinating form of photography known as Black and White.
I've always been a huge fan of black and white photography having had my early development as a photographer heavily influenced by its nuances. More often than not though most of the time in more recent years I simply would take color images and realize later how they would actually look better as a black and white, then convert them. The Ansel Adams style project forced me to look at the world through a black and white filter to do what Ansel learned during his development as a photographer, to visualize the outcome before ever snapping the shutter.
Visualization. A process of knowing the results before they occur. It is probably the most difficult aspect of photography for most people to fully grasp. Even experienced and technically competent photographers often struggle with its significance. Yet, it is one aspect I have attempted to refine over the years, not always successfully, but in a manner where I begin to experience the excitement of creating what I see in my minds eye.
Along with Visualization, I've always tried to live within the creative confinement of the art form, looking for light in all of its forms. Doing so sometimes causes one to drift toward being, dare I say, a bit depressed, because, well I do not always find the inspiration to create what resides within all artists. Searching for such things can become a bit futile when attempt after attempt falls short of expectations...and then...all of sudden, it falls into place. One such moment occurred during this project when I hiked into Shanty Hollow and discovered to my delight one of the most dramatic moments of light I've ever encountered. These are the events that make it all worth the effort, when stage, moment, and light converge to present the delicate flavors of nature in a magnificent encounter.
Worth all the effort? Actually, the effort came naturally, what was revealed was just how important it is to try something new every once in a while, to jump start creative instincts, to reopen the imagination,and to even relive and re-experience what the great masters might have accomplished.
What I outwardly gained from this project I can only share in a feeble attempt at writing about it. What was truly gained resides inward in a deeper context of revelation and accomplishment. Rarely am I moved by the photographs I take, yet somehow when I view the haunting image taken within Shanty Hollow, I understand more fully why I started the project in the first place.
The Ansel Adams project started as a "let's see what turns up" kind of adventure. It finished as one of the most inspirational and exciting projects I've ever attempted. Even though I've set it aside as an exclusive project for now, it's really not over, for I will continue to explore this fascinating form of photography. Who knows, maybe that one great photograph I've been chasing will be generated from this ancient form of photography captured in a most unlikely place.
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.
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.
