Visual Sounds of Summer

There are country sounds, feelings, and aromas that only summer can generate…farmers working their fields, hay being cut, and that warm breeze that makes the trees shake with life...and experiencing its warm embrace while sitting under a shade…I love sitting on the front porch listening to and feeling the spray from a summer rain shower…oh those summer rain showers that fill the air with their moisture laden aroma.  It’s a great time of year for photographers as well.

In Kentucky, the evening sky can be amazingly bold with subtle differentiations between layers where the lowering sun slowly filters through each and redefines their structure with pastel lights.  Mornings carry their unique flavor as well…often clear and fresh, yet with enough character to fill the landscape with golden light…throw in some fog and you have a great mix of mood and drama.

Capturing these images is as much a process of capturing what you feel as it is a technical application.  Understanding how the camera sees light…how it reacts to light…is key to generating those technically great character and mood images, but expressing the mood of the moment involves understanding yourself and how you react to light as well as understanding what generates an emotional response in someone else.  It’s more than pointing the camera at a scene and letting it make all the decisions...it’s understanding why the camera made the exposure decision it wanted to make, and visualizing how you actually want the image to look…then compensating to achieve that goal.

A mistake many beginning photographers make is, believing they have to capture a scene exactly the way it appears to them visually.  Sometimes that may be exactly what you need or want to do…but, the trick is understanding that you do not have to accept what the camera automatically gives you…which in many cases is not the way we saw the scene visually.  The camera, properly used, is capable of imparting drama and emotion even when photographing an area with subpar light…it is capable of making subtle-light bold…bold-light subtle…and great light amazing.

The visual scene is only part of the image generation process…what separates those great emotionally responsive images from ordinary snap shots is having the ability to look beyond the obvious and photograph from the heart…not the eye.

Summer can be a wonderful time to practice this as the light variations are so wide during the day that opportunities abound for those willing to get up early enough to capture them and willing enough to find those potential locations where the light will flood the senses with its magic….then looking beyond that…not simply accepting the average exposure values the camera gives you…but branching out and seeing the scene not from the eye, but from an emotional point of view…then ask yourself one varied but important question; why do I want to capture this scene…what is here that captures my imagination and why is it important to me at this moment…then photograph the elements that play on those emotions.  How to accomplish the technical aspects of it comes with practice…shooting the visual sounds of summer, or any season, with emotion...comes from the heart.

Turning 60....

A few days ago I had the pleasure of photographing four very delightful and very youthful models during a location shoot.  My self, along with several other photographers, spent the morning framing shot after shot and observing the energetic glow that flowed outwardly from our models...to say they were delightful, I mean that in the nicest possible way I can express, for they were absolutely delightful young ladies...and for a brief few moments, I seemed to regain a measure of my own long lost youthfulness...and felt young again.

The previous day I had turned 60...seems I'm beginning to understand that this age thing is creeping up on me more and more.  Although I've tried to remain active over the years, my tolerance for vigorous activity seems to have faded with time.  Oddly enough, I can still do a lot of the things that I could do twenty...even thirty years ago...just that my ability to recover from it takes longer...and that is where I sometimes tend to over do it.

In my mind I still see that 17 year old 4 minute and 40 second mile runner from high school days...that 20 something who performed search and rescue operations off the Oregon coast...that 27 year old that first fell in love with a wonderful young lady...who has been my soul mate for 31 years now, and who has been my strength ever since.  In my heart I'm still that proud new daddy who held for the first time his first born son...then again a few years later when number two came along...I relished watching them grow up.

When I see the old bicycle hanging in the garage, I remember being that 30 something eager rider who would regularly bike 40...50...even 60 miles....just for fun...and who canoed and hiked his way through wilderness adventures.  When I turned 40...the world did not end like I thought it might...but my positive attitude took a hit and I went through an early...some would say...mild-case, middle-age crisis and jumped into the Triathlon craze that swept the country...back then.

When the 50's arrived...seems the time thing reversed itself...I slowed down, but time sped up and that decade passed far more quickly than the others...yet, somehow I rolled through them relatively unscathed. During that decade, career issues and broken or malfunctioning body parts caused me to slow down and I saw a lot of physical changes...my hair turned white, my waist grew softer and larger, my once better than 20/20 vision got blurrier, my mind's ability to absorb details rebelled and refused to do so at the same pace, aches and pains infiltrated into parts of my body I didn't realize could have aches and pains.  Yet somehow...way back in the recesses of my mind...that young, vibrant, youthful person I once was lingered still and called to me at times.  I tended to ignore those calls most of the time...but occasionally mustered enough energy to swim a few more laps, take another hike, hit the gym circuit for another round...and then spend a few extra days recovering from it.

Well, now I am finally 60...and my mind today says that it's okay...but, when I reflect back across time at all those missed opportunities and too many wasted efforts, my heart says...well...maybe that should be left unsaid...it really wouldn't change anything.  Even so, for a brief few moments that Saturday morning, those four delightful young ladies spurred within me an ability to revisit once again...at least in my mind...what it was like to be young and strong and full of energy.  Yeah...they were delightful alright, in the best way a young person can demonstrate.

Before the morning ended, I told one of the girls as I struggled to rise from sitting on the ground , "Value your youth...for it will quickly fade before you realize its gone"...Yeah, I really enjoyed that morning of experiencing their energy and youthful exuberance...it certainly made turning 60 less of a disappointment...and you know it helped me to place a few things into their correct perspective...turning 60 ain't so bad...when it's all said and done...it's more like an earned accomplishment.

Keith

How vs Why

In recent years I've taught a few photography workshops and invariably the single most asked question is..How do I make my camera work?  As novice photographers, we all go through that phase of How.  It's an important aspect and basic to all good photography.  Unfortunately, many photographers never really climb out of that mode of asking How.  They are continually seeking how to take a certain kind of picture or how to use a particular camera feature.

The fundamentals of photography are actually quite straight forward...its all based on aperture control, shutter speed, ISO, and in the digital world...White Balance.  It's the combination(s) of these four elements that dictate the final exposure value.  Learning how to frame or compose an image is also based on basic elements and those fundamentals can be learned with some practice.

So why then do many want-a-be photographers never really seem to progress in the quality of their images?  Part of the answer I've already stated...they continually stay in the How phase of photography...but the most important element that prevents someone from advancing is that they fail to understand or grasp the concept of Why.  I could teach someone all the basics...send them to a favorite location where many great photographs have been taken and have them shoot a series of images...and their images will often look rather ordinary.  The reason for this is because most photographers approach their photography like this:

         How do I capture this scene?  How do I setup my camera?   I'll just let the camera decide what works best.

The result can be quite predictable...ordinary snapshot images.

I need to qualify a few things before I continue.  First of all, I still continue to learn new things about photography almost everyday and I am continually amazed at some of the amazing images others take...but when someone asks me...How did you take that image...the answer is not some much how...but Why.

You see, almost anyone can learn the fundamentals and know all the technical elements they need to know to make great photographs.  Where they fall short is that they fail to ask themselves why should I take one shot or another.

When I am asked a question like the one above, my answer usually focuses more on why I took the shot...the  light, the angles, the structure, the textures, the mood, the mystery....these are all why reasons to take photographs.  Most photographers stop short of asking themselves these kinds of questions...actually it's not so much asking a question as it is simply recognizing when all of the elements exist.

 A photograph you take is as much a part of you as the words you use to describe the image.  Always remember to look for those elements that answer the question why in your photography.  When you do that...then your photographs take on a whole new context and dimension.

When someone sees an image I've taken I always want them to visually understand why that moment was important to me...why did I take that shot...because it spoke to an emotional part of who I am.

Keith

She was beautiful that's for sure.  Great lines...wonderful build...graceful in movement.  I couldn't keep my eyes off her...absolutely stunning she was.  She came to life back in 1968...rolled out of the factory with her candy apple red coat and through the years was owned by several loving owners...they must have taken very good care of her for today she was as beautiful as she was on the showroom floor...Probably the most aesthetically pleasing vehicle ever designed...The Chevy Super Sport SS.

On this day, this wonderfully restored classic car was one of hundreds that cruised up and down the main drag in Bowling Green, Ky and eventually came to rest together with most of the others later that evening.  As I strolled around the parking lot affectionately admiring all the classic cars...I couldn't help but remember back to the days of my youth when Friday night was cruis'n night and many of the same kinds of vehicles that now graced this parking area rolled through the night...American Graffiti style.

Gasoline was maybe 34 cents a gallon back then, even less at the then new self service stations...you could cruise all night on $5.00 of it.  What a time it was...spur of the moment drag races...smoking tires...classic hot rod songs playing on the radio...best girl by your side sitting at the local drive-in watching a movie...well...there was a movie playing anyway...how much got watched is probably open for interpretation.

I loved those classic cars...that was a time when you could easily identify a vehicle at first glance...'55 Chevy...'67 Super Sport...GTO...Roadrunner (beep beep)...Shoot, today's cars all look alike where function dictates style...not so back then...style was everything...and man did they ever have lots of it.  Open the hood and all you'd see was a big ole engine with lots of space around it where you could for the most part easily get to all the parts for repairs.  Open the hood today and what you see is one big mess of hoses, cables, wires, and black boxes that who knows what they do.  Drop a tool inside the old classics engine compartment and it would fall all the way to the ground...do so with today's cars and it simply disappears never to be seen again.

Yeah those were the days alright...seeing these old cars again...so many of them...reaffirms the special nature of not only those vehicles, but what they meant to a generation...the two were certainly joined at the hip by time and circumstance, and even though time has separated us from those moments, the connection and love affair we had with those old cars will never fade.

You Had to be There...

CG44331 on BAR patrol - circa 1975
Umpqua River Lifeboat Station

Over the years as I’ve adventured, fished, canoed, and photographed in various places, I’ve run across some interesting characters and down-right funny experiences.  For most of those humorous situations…well they seemed a lot more humorous at the time than the retelling of the story could possibly portray…sort of one of those…you had to be there…moments.  Well…anyway…here’s one of the funnier ones.

Back in the mid-1970’s I woke up one day and decided I wanted to join the U.S. Coast Guard.  Sounded like a great idea as at the time I had not a clue as to what I really wanted to do with my life and with three years of college behind me and one year of college left before I would have to eventually face that fact for real, I deemed it a great adventure to do something exciting for a few years.  It turned out to be a great experience, but with a lot of mundane work occasionally broken by other situations such as capsizing, boat fires, heart attacks, storms, thick fog, trailer sailor foolish antics, and more routine mechanical break downs…it was those other situations that became rather interesting and added a bit of spice to one’s life as a member of a search and rescue team.  Even with all the mundane stuff that took up most of our time, there were moments of levity. 

One of the newer 47 footers
 that replaced the old 44's

Most of my four year CG career spanned a timeframe of about two and half years serving at the Umpqua River Lifeboat Station at Winchester Bay, Oregon (sort of like a firehouse setup)…with the remainder of the next year and half spent on what is call an Ant Team, or Aides to Navigation Team, and a River Buoy Tender…in Oklahoma of all places.  I must admit…my time at Umpqua River was quite an adventure as we averaged something over 400 SAR’s…(search and rescues)…a year back then, most of them were routine and most occurred between May 31 and September 1…on one occasion we set a record at the time of something like 27 SAR’s in one day.  We operated two of those fabulous 44 foot motor lifeboats…CG44303 and CG44331 along with a couple other smaller rigs.

During the winter months, any SAR’s we had tended to be a bit more non-routine simply because the weather was nastier, but most of the time the boats were tied up inside our boathouse and we were constantly working on them.  Being that I was part of the deck crew, we spent most of the working day outside exposed to the cold and wind…even inside the boathouse.  Now the engineering crews…Snipes we called them…got to spend most of their day sitting inside a nice warm engine room pretending to actually be working on something.  We knew better as they had this habit of goofing off more than working…and took advantage of the warm environment.

Well…one particularly cold day, several of the snipes huddled in the warm engine room and as always we were freezing topside.  One additional snipe made his way past us, down into the forward compartment, then into the engine room and it was the last straw…one of the deck guys had had about enough of it and blurted out…”By gosh…(or something a bit more colorful to that effect) I’ve had enough of their slacker ways…I’m going to do something about it…follow me and just watch.”

Well, 3 or 4 of us followed him down into the forward compartment and watched him open the hatch to the engine room.  Sure enough about 5 or 6 snipes were huddled in there doing nothing.  The engine room of a 44 is rather small and can at best hold 5 or 6 people…

Web photo - Typical 44 / Chopper action

 He said..”Wait here”. …and stepped inside closing the hatch behind him.  We had no clue what he was up to.  Over the next few minutes we could hear everyone 
inside laughing and having a good ole time after which our deck friend opened the hatch, step out, then closed it and dogged down the handle leaning on it so it would be virtually impossible to open.

He said…”They’ll be wanting out of there in just a few seconds…just watch.”

Sure enough, within a few seconds we begin to hear all kinds of cursing and various sailor language explicative’s being verbally thrown around inside and several of them tried to open the hatch…which our friend would not allow to happen as he leaned heavily on the dogging handle.  They started pounding on the window and the verbal abuse increased in intensity.

We were laughing…but still didn’t know why…until our friend let us in on the deal….Seems he had released a rather long but silent fart of a highly toxic nature inside the engine room and then slipped out before anyone noticed.  Within the confines of that cramped, warm engine room the air became barely breathable…we laughed so hard that tears were streaming down our faces…it was one of the best payback moments of all time…oh…yeah…he finally  did let them out, but not until they had absorbed most of the obnoxious fumes into their lungs...anyway...you had to be there.

First Light

The rocky outcropping that stood sentinel-like overlooking the prairie arroyo by now was a familiar location and with each return visit, I sometimes just sit and allow the prairie moment to engulf my world.  Over time it has become the first location I normally hike into when I visit the Tallgrass Prairie.  Surrounding it late in spring are various prairie flowers and grasses that sway in the ever present wind.  It's the wind that seems to remind us of those special moments standing on the prairie.  With its fragrant aroma it stimulates that sense of connection to a place.  With its gentle caress one begins to feel less like a visitor and more like a part of the complexity that is the prairie.  Just before dawn, the prairie begins to come alive with the songs of birds, the wisp of the wind, the warmth and fragrance of the air, but it is first light that one remembers the most.

First Light on the prairie...few events are more magical as the big ebony star filled sky begins to glow first with a subtle hue and then gradually grows bolder.  It is that transitional moment when the world changes from darkness to light, when what was obscure gray begins to take on color...when the color takes shape and form...shape and form become life.  My favorite moments on the prairie have all coincided with first light...each time something new generated an amazing event and with each passing moment, the light changes and blends with the colors of the new day.

Too often I allow myself to neurotically rush around checking camera settings...composition...angles and position to reflect long enough on simply being there...to allow the moment to simply fill the void that seems to always take up way too much space inside my emotional reservoir.  Even so, one cannot help but become overwhelmed by the moment.  A simple photograph of first light on the prairie is more than a picture...it captures a unique moment in time not just visually, but emotionally.  It is an opportunity for reflection...a stimulus for return...a memory that becomes part of your soul.

A Look Back...The Class of 1970 - Okmulgee, Ok

With graduation ceremonies having ended around the country...I've included in this post something I wrote several years ago...with a few modifications...to reflect back on my own graduating class and who we were.  Although the building has changed some since those days, it still stands today with future generations walking the halls hoping someday to find their place in this world...I wish all the graduates God Speed...and good luck.

*************************************************************************

I often reflect on those early days of 1965 when I first entered 8^th grade in the Okmulgee, Oklahoma school system and climbed those wide steps, through the arched doors of that massive, red, brick building, a newcomer.  Life changed forever at that moment as the friends and experiences that were to follow still influence my today.  When I left those halls for the final time some five years later, I was no longer a newcomer, but someone with a history and a connection to a wonderful and sometimes tumultuous experience that was lived through a unique rendezvous of place and time.

I return to the yearbooks occasionally and thumb through the pages looking at all those youthful faces from 1965 through my senior year of 1970 and beyond, well, you can’t help but wonder where they are, the juniors, seniors, sophomores we came to know.  It never ceases to amaze me how people come into our lives for what at the time seemed like a long term event, but in reality touched us for only moments…then, the moment is gone.  Even so, who they were and how their lives connected with our own, remains with us for decades.  Thank goodness for Facebook as it has allowed for reconnections I thought long ago lost.

I wondered as this skinny, insecure 8^th grader…oh so long ago…at how mature and grown up the juniors and seniors looked, and the young ladies in the high school section …I had almost forgotten…they all looked like...well…young ladies…beautiful, sophisticated, energetic.  They still do…those images…even today.  I’ll run across a name or a face and a flash of memory echoes across the decades-old forgotten valleys of hidden memories…the football hero…the big fight in the bleachers at the basketball game… a moment in the hallway or the teacher who spoke encouraging words toward greater things…the cute girl with the magnetic smile and intoxicating eyes I wanted desperately to ask out, but was too shy to do so…all the “What if or How come” regrets or the “Oh Yeah, that was fun” highs…things I haven’t thought about in years suddenly rise to the forefront.   It is the emotions of those days that stay with us…the emotions that created the memories, and those memories became, for better or worse...us…for better or worse they were the best times and the worst times…for all the same reasons.

That’s who we were…then, 1970.  We were the Bulldogs…state champions in football and basketball…and not too shabby in Baseball and Track either.  We were the generation of “One” the loneliest number, “Hey Jude” and “Temptation Eyes”, “Butch Cassidy and Sundance”.  We were the generation who in the course of our lives witnessed a President lose his life and a civil rights leader die for his cause.  We were the ones that bridged the gap of segregation, who blended cultures into common goals.  We saw men stand on the moon and heroes of another sort stand their ground in the ghettos of the south, and we watched brave young men go off to war…many to never return.  We saw a young politician refuse to ask “Why” and instead asked “Why not”…only to fall victim to fanatical ignorance.  We were a generation that questioned many things and sought solutions to that matter of ‘why not’.  We laughed…we cried…we cheered…we prayed.  We were all these things.  We nurtured friendships from once segregated classes...respect of ideas and cultures.  We were patriotic and defiant, reverent and vain, humble and arrogant, and liberal and conservative.  We were the sons of the fathers of the Second World War and the daughters of the loves they left behind.  

We were a unique generation defined by complex days with an ambiguous future, yet when our turn at bat came, we stepped up to the plate of life, and swung away to eventually take our place on the pedestal of America’s finest…to become the most productive and innovative generation in history. 

Sometimes we choose to forget about the trials and tribulations of our youth.  Even so, it’s good to ponder on such things, not to shrink into some distant past and ignore the future, but simply to remember those days and reflect on the events that helped to mold us into who we are today.

Having one amazing son now working through college and one exceptional son who is now facing consequences of ill-advised choices…I see many similarities of this current generation to the one from which we came.  They are energetic and searching, much like we were. They live in a world full of uncertainty clouded with conflicting ideals and world views, seeking difficult answers to difficult questions, yet…somehow I believe they will find their way…like we did.  They will step through their open Windows of Opportunity and take their place amongst America’s finest, because...well, they had a pretty good group of mentors to teach them about such things and when all is said and done, we have, so far, compiled a pretty good lifetime batting average.

We are the Class of 1970.

Keith R. Bridgman

1970 – Graduate of Okmulgee High

Memorial Day

Here's to all our veterans...fallen and living...for their valued service to our country...on this Memorial Day...

Thank You....

Creating Images with Impact

It’s one of my favorite images…one that captures the essence of a Kentucky Morning.  It’s an image that projects boldness, story, drama, and power…yet its structure is subtle and possesses a simplicity about it that defines its true nature.  It was taken at an ordinary location during the early part of a transitional season, yet from this ordinary situation evolved an image that is unique with a flavor of Kentucky that permeates its composition.  It is an image with Impact.

The story of this image has roots going back over five years.  How I happened to capture this shot culminates from a series of events that ultimately lead to that moment.  What it is not is a random chance event, where I just happened to be there at the right time by accident.  It involved research, preparation, timing, and technical understanding.  It was in fact one of those events where circumstances blended perfectly with preparation.

That is the key to capturing images with impact.  I found this location one summer afternoon as I was driving around looking for potential locations to photograph.  I happened down a progressively narrowing back road that eventually came to a T.  Here is where random chance did play a part.  Do I turn left or right?  I turned right, and the road eventually wound its way into a valley, then, climbed to the top of a rise to end at a gate.  From that vantage point I could see across and into this river bottom farm country.  At that particular time of year and that time of day, the scene possessed a rather ordinary character about it…rather flat in light, with little or no drama.  But, as I stood there and surveyed the valley, I began to realize the photographic potential of what was there.

The Barren River cut along the ridge that curved around the backside of the valley.  This alone was a good indicator of the potential for fog on a cool morning.  Fall was still a few months away…by then the sunrise would migrate further south and after making some simple visual calculations, I realized that by late September, the sun would rise from behind the ridge to the east and would potentially fill this valley with early morning light.  Late September also would bring cooler morning air and light winds…the water in the river would still be warm…a perfect generator of fog.  I set my internal calendar to return late September and see what would happen.

A couple months later I found myself leaving early one Saturday anticipating what might present itself along that river valley.  As I stood outside in the cool air before leaving, there was a light fog that drifted across the pasture across the road…good omen I figured.  When I arrived at the top of that rise and looked across the valley below, just enough ambient light provided enough illumination that I could see a light fog drifting low across the corn stubble and pasture.  After a short time the sun began to glow on the horizon and eventually progressed to where it was just shy of breaking above the ridge.  The valley below was still mostly in dark, but when the sun broke above the ridge a single beam of morning sunlight caught the top of a spit of trees that extended into the pasture.  The early fall colors began to glow and the fog that hovered around the base of the trees softened in the light.  I waited…at just the right moment the trees exploded into color…and I fired off the shot.  It became one of the most iconic Kentucky Morning images I’ve ever taken.

The capture was a result of exploration, visualization, planning, and being prepared technically.  When I arrived that morning I did not have to waste time trying to figure out how to set the camera.  I did fire off a few test shots prior to the actual image photograph being taken to verify my settings.  The trick here was to not allow the relative darkness over influence the exposure and so the metering setup I used was Spot metering and I metered off the glow in the trees which at the time was a middle tone value…and allowed the rest of the image exposure fall where it may.  


Once I had the metering locked in, I repositioned the composition by placing the main subject slightly offset where it intersected a rule of thirds transition point.  This not only created a more pleasing composition, it also allowed a layer of banding near a fence row to angle across the lower part of the image helping to balance the image compositionally and across the color spectrum.  A tweak or two of post processing to bring out more of the contrast and the image reflected more of what I felt and experience.  This image is all about mood and contrasting energy.  There is the boldness in the sunlit trees contrasting with the subtle nature of the light layer of fog all set against the still dark background with just enough detail showing to give the image a sense of depth.

Creating an image with impact involves blending composition with light…and using light to generate mood…using mood to influence purpose…using purpose to dictate timing…using timing to generate drama…and using drama to tell the story.  Although I could not predict exactly what conditions were going to exist…by using a bit of intuition and common sense, I was able to place myself into a situation where if the conditions were right, I’d be there and ready to take advantage of it.  It’s less about technical skill, and more about knowing what to look for…applying visualization techniques to see beyond the ordinary and recognize the potential of a given location.  It’s understanding that photography is all about quality light and how light influences the photographic decisions you must make to take advantage of it. 

Capturing images with impact requires situations that generate an emotional response.  It's not always about sunsets or sunrises...more often than not its more about how the light from those two situations affects the surrounding landscape.  Although I do photograph sunsets and sunrises...more often than not during those times I'm looking over my shoulder away from the main source of light to see how it is affecting the things around me.  That soft subtle light can often be more powerful that the bold rich light of the setting or rising sun.

Images with impact...look for those bold yet subtle contrasts of light...warm vs cool...soft vs hard...bright vs dark...Look for transitions where the light is changing...and the soft after-light that drifts across a landscape and casts a glow that generates mood and energy where shape and form blends with drama and story.

Keith 

Shoot the Stars...

Composite of three horizontal images
stacked vertically

A few months ago I ran across some amazing photographs of the Milky Way…For those of you who live in the city it is that hazy span of cloudy light that stretches across the center of the sky on a clear, moonless, dark night.  Technically it is the edge on view we see looking toward the center of the galaxy from our earthly vantage point located way out on the edge of this massive spiral of stars and interstellar gases known as our home...the Milky Way galaxy.

It is one aspect of photography until recently I had not tried so I read up as much as I could about how to do it and contrary to popular belief it’s not all that difficult to do.  Here’s what you need:

A clear moonless night as far away from the ambient city lights as possible.

A Digital SLR with a wide angle lens…18mm or wider.

A Tripod.

A cable release. 

A willingness to get up very early or stay up very late.  

A little practice.

Checking my calendar and the moon phases I discovered that two days leading up to the weekend following my discovery of this technique was going to be a moonless event and the best time to view the Milky Way was around 4:00 am in our time zone.  So, I scheduled a couple of vacation days and prepared for an early rise.  I’ve been on Shanty Hollow Lake before daylight a number of times and figured that would be as isolated of a location as I could find close by.  The hills surrounding the lake would block much of the ambient light from the city that might filter over that way and the sky above the lake would be quite dark.

Milky Way

The alarm was set for 2:15am…hard to get up, but the canoe was already loaded and all I had to do was head out.  I arrived around 3:15…off loaded and worked my way to the upper end of the lake.  By the time I had pulled out and was setup on top of the dam, it was nearing 4:00am…right on cue.  There was a faint glow from the east that barely outlined the ridge line and the sky was as dark as it could possibly be under the circumstances with thousands of stars spread across the sky. Right on cue…the Milky Way haze hovered almost directly overhead in the darkest part of the sky.

Constellation Scorpius...near the bottom, just above the tree line.

My first attempts were experiments.  Set the camera on the tripod, set the exposure to Manual / Bulb, ISO to 1600…opened the aperture to the maximum…f/3.5 in this case…and zoomed back to 18mm manually focusing on infinity.  I reached into the camera bag looking for my cable release and realized I had left it in the Jeep.  Rats!...no time to retrieve it so I had to carefully use the on camera shutter release and make sure the camera was locked down as tightly as it could be.

I tilted the camera toward the darkest part of the sky and opened the shutter release…and counted…28, 29…30.  First results were encouraging but not quite what I wanted.  Continued with more experiments…eventually settling in on a 50 second count that seemed to generate an acceptable image.  At that point it was a matter of pointing and shooting.

Constellation Ursa Major...(Big Dipper)

One image was the result of three separate images.  First shot was down low with the horizon near the top of the frame…second shot overlapped the first one vertically by about 20%...third overlapping shot included part of the Milky Way that was nearly overhead.  When the three shots were stitched together, they made one nice composite of the morning sky.

Problems I ran into included post processing issues with the ISO noise.  My camera is not as well suited for this kind of shooting as other higher end cameras are…even so, with a bit of cleaning up using some noise software the results were at least acceptable…better actually than I expected.

Another aspect of stellar photography involves photographing the moon.  Contrary to popular belief, the best time to photograph the moon is not during a full moon. A full moon simply washes all textures out of the craters and mountains.  The best time I believe is during one of the first quarter, half, or last quarter of the moon phases.  It’s during those times that shadows run deep across the moon’s surface and provides for great details.

To photograph the moon, you will need a Tripod, Digital SLR with a large lens…something in the 400 to 500 mm range, but in a pinch a 300mm lens will work…a cable release.  What I’ve done is zoom out a far as the lens will allow…500mm in this case…set the camera’s exposure metering to ISO 200 at f/8.0 and select “Spot Metering” as the metering method then meter off the brightest part of the moon…and lock in the exposure…reposition the moon in the frame to suit your desired composition and fire away.  The moon is quite bright and will generate a fast shutter speed…in this particular case it was 1/250 of second…but can vary depending on the ISO setting you use and aperture selected.  I used f/8.0 because that particular lens tends to be a bit sharper across those middle range aperture settings.  Desired results may require exposure tinkering to bring out the best of the given situation.

The image may also require a bit of cropping…about 40%...to bring the image to a size where it looks a bit more impressive…great fun to do…and actually quite easy.

So there you have it…shooting the stars and moon is fascinating way to explore photography…much more so than I expected…and the results can be quite stunning…give it a try.

Keith

Three Legs are Better than Two

Not too long ago I found myself attempting to photograph an area in low light without a tripod…The results were predictable and indeed the shots turned out rather mediocre at best.  Most of them were blurred to a degree even with the anti shake turned on…it was a combination of too little light, too long of a focal length, too slow of a shutter speed, and too shaky of a hand hold…a lethal combination for clear pictures.

Most of my serious photography is always shot from a tripod using a cable shutter release even in good light.  There are times I shoot by hand, but usually only when using a tripod may not be practical and only when there is adequate light.  I’ve muffed a lot of great photo opportunities because of hand held shaking. 

Most lenses today come with anti shake stabilization technology and in the Sony Alpha series of cameras internal anti shake within the camera is used.  This technology does improve on the hand shake blurring problem.  Even so, that technology can only help so much and that is why investing in a solid tripod is so important.

Because we as photographers chase around searching for that quality light situation, we often find ourselves photographing in low light which offers the best mood generating opportunities.  The very nature of low light requires relatively slow shutter speeds and there in is the problem.  A tripod allows for solid placement of the camera and a steady platform. 

Although I’m not trying to promote any particular brand or style, the one thing to look for in a tripod is sturdiness.  Avoid those light weight point and shoot models.  Although they tend to work okay for light weight video equipment, they will not perform very well with a full size camera and lens combo and are just not strong enough or sturdy enough.  Ask yourself…Will it hold up well in wind and with a heavy lens attached?  A person can easily drop several hundred dollars on a tripod and even more with a high tech ballhead camera mount. Although carbon fiber may be the latest and greatest in strength and light weight functionality, my budget doesn’t allow for such high dollar luxuries.  Instead I’ve opted for something a bit more affordable and purchased a surprisingly sturdy tripod for around $90.00.  It does not have one of those fancy ball mounts on top.  Instead it has a simple tilt mount…a bit more cumbersome, but functional.  When I shoot with my 50 to 500 lens, the tilt mount doesn’t even come into play as the lens allows for rotation while locked down on the mount. 

With few exceptions this tripod has done everything I’ve asked of it.  It’s light enough so I can tote it with camera attached over my shoulder and indeed I have done so on hikes across the Prairie or over hill and dale on various other hikes and canoe trips.  It has quick release collapsible legs that allows for easy and quick setup on any level of terrain, and I can quickly and easily rotate or tilt the camera in any direction I need.  I’ve also used it as a third leg when crossing streams or slippery terrain.  It will extend out to over six feet in height or collapse down to about two feet.  I’d prefer it would collapse down lower, but I’ve been able to get most of the low angle shots I’ve needed with it.

I’d recommend using a cable shutter release or remote release if your camera allows for one.  Even sturdy tripods can be affected by the action of pressing the shutter release button.  In a pinch you can use the camera’s self timer…but this can be a bit slow and cumbersome to do all the time especially when timing is important.  Also, in most cases you will want to turn off the camera or lens stabilization mechanism when using a tripod as it can often become confused thinking that if it’s turned on, its suppose to actually do something and end up having the opposite effect.  Although I’ve shot with the stabilization in both the on and off mode when using a tripod, I’ve personally not seen much difference in the results.  The only time I will purposely turn it on when using a tripod is on windy day.  That long lens and sunshade tend to catch the wind and can produce wind generated vibrations…enough anyway to warrant using the stabilization function.

Over the years I’ve grown more accustomed to using a tripod and have experienced firsthand the positive benefits they provide.  It’s as much a part of my equipment list as the camera and lenses…and the third leg that it provides certainly makes for a steadier platform from which to shoot or to cross a stream.

Keith

The Making of: Shanty Hollow...Across Boundaries of Light

I arrived well before daylight and slowly paddled my canoe across the widest part of the lake in almost total darkness.  The air was warm...the sky clear.  The only light available was from the glow of stars spread across the ebony sky and from a faint glow that hovered over the crest of the hills that formed the eastern boundary of the lake.  One loses all sense of motion paddling in the dark and eventually I drifted to a stop near the upper end.  As I sat quietly on the perfectly calm lake, the glow from the sky began to resonate.

Light fog drifted on currents of air mixing with other pockets of mist...growing thicker at times...almost opaque in places...collecting into a pillow shaped cloud that lifted from the surface to hover a few yards above the water.  Over the next few minutes this cloud shifted in color from light gray to pale brown to golden red and orange...finally reaching a crescendo that lit up the surface with its glow.  For the first time I began to hear the silent melody that is Shanty Hollow Lake...for the first time I understood that this often forgotten southern Kentucky lake  has a story to tell.  I knew I wanted to capture it not just visually...but as a saga shared through images combined with a musical dialog.  It was then the theme of Across Boundaries of Light was born.

Over the next nine months or so, I paddled among the coves and hiked the rugged bluffs searching for those elusive images that defined the concept of Boundaries of Light that told the visual story of this remarkable landscape.  Hills and boulders, calm waters and reflections, waterfalls and flowing creeks...all became subjects of the camera and lens...yet only the best light would do...and there in was the challenge...how to capture this unique landscape and stay within the Across Boundaries of Light theme.  Doing so challenged my senses, photographic eye, and patience.  Over time the collection of images grew, reaching and surpassing 1000...then 2000...and more.

As I began to build the video program one thing dictated the process...the music had to match the images.  Finding that music proved to an elusive endeavor.  It took three attempts sorting through three different soundtracks...countless hours of experimenting to find the right combination.  Putting it all together took more time than the field work.  What I did not want to do was to build what I call a simple elevator music slideshow.  This story deserved more...I wanted it to stand apart as a program that not only captured the visual beauty of this location, but one that told its story in such a way as to inspire those who see it to pursue nature photography with a passion of their own.

It was necessary to develop visual presentation techniques that took advantage of the photographic qualities.  Movement...panning left or right...zooming in or out...slowing it down when appropriate...speeding up when required...using the right blend of transitions timed with the music.  No convention was overlooked...many common rules of presentations were ignored to fit the story with the dialog of music.

Also embedded were 7 video clips to give the presentation a realistic sense of time and place.  Capturing those video clips proved a challenge in their own right.  Dozens of 30, 45, 60+ second clips were filmed...of the 7 used, all were clipped to fit the program accordingly.  The overall goal was to create a visual / musical story that defined the essence of Shanty Hollow Lake as defined by light.

It became one of the most challenging projects I've ever attempted.  It evolved into one of the most amazing experiences I've ever had.  In the end I realized that this project will never really have an end.  It will be on going for many years...and I will eventually improve on and add to this program as it continues to evolve.  As I prepare to show this program for the first time, I can only realize one thing...I learned a great deal by doing this...most importantly, I learned once again, just how much work...and just how much fun photography can be.

Keith

Return to the Prairie

It stormed most of the night...typical Oklahoma storm in late April with boomers and rain...then more rain and more boomers.  By the time I arrived at the Tallgrass Prairie the next morning most of the stormy weather had moved on, but enough of it lingered in the area to provide an occasional flash of lightning and some light rain.  The overcast skies hung low and I knew the sunrise was going to be a non-event this morning...one of those that just slowly transitioned from very dark to dark gray without any real noticeable event indicating when the sun actually rose above the horizon.

I stopped at the wide spot where I on previous trips I had hiked a ways into the prairie...debated for a while whether to risk it.  To the north the storm clouds were still quite dark and the occasional bolt of lightning still ripped the air...seemed to take a full minutes for the rumble of thunder to reach where I was.  The rain was sporadic by this time...so I grabbed my gear and made the short hike to the rocky outcropping that overlooked the shallow canyon that cut into a deeper part of the landscape.  Not much drama in the sky nor across the land because of the nature of the light...but I set up camera and tripod and made at least a token attempt to capture the moment.

As I rushed around lining up one shot after another...it dawned on me that I was doing exactly the opposite of what I really wanted to do...just sit for while and enjoy the prairie morning.  So I turned off the camera and found a soft rock to sit on and did just that.  For the next few minutes I let the sounds of the prairie come to me...the fresh rain flavored breeze rushed across the terrain and swirled around me...the morning air was filled with the songs of prairie birds...and a light mist fell from the sky.  The storm clouds that swept across this landscape through the night were by now beginning to soften and smooth and the morning became a little brighter.  Even so, the calmness of that moment lasted but a short time as another flash of lightning cut the air and the corresponding boom it generated rumbled and reverberated across the rolling sea of grass signalling that it was time for a hasty retreat back to the Jeep.

My return to the prairie after two years was short lived.  That last bolt of lightning ushered in another round of rain and even darker clouds making photography difficult at best.  By mid-morning I found myself heading back knowing that more than likely, it would be another two maybe three years before I would be able to once again sit on that rocky outcropping and watch for another prairie morning come to life.  Even so, those few moments of once again feeling the life of the prairie greet a new morning seemed to lift my spirits as I was feeling rather low having experienced the loss of loved one earlier that week.

Even the darkness of an Oklahoma storm cannot dampen the refreshing nature of experiencing first light on the prairie...in many ways, it actually adds to the unique flavor of the experience.  As many times as I have sat on that rocky point and watched the prairie come to life...all of them have been unique and I remember each of them as separate moments of discovery on this amazing landscape.

Keith

Taking a Break

Hey there...I've reached a point where I need to take a break from all the writing and spend more time doing other things...so for the next month or six weeks or so I'm going to do some fishing, picture taking, a few hikes, and even work in the yard some, plus concentrate on my bill paying job more as it has been elevated into the can't keep my head above water phase.

See ya sometime maybe end of April...middle of May...have a great Spring!

Keith

It's Out There

Somewhere out there it hides ready for discovery, waiting for the right moment.  I see it every day in my mind…a vision filled with wonder and awe, where light dances across amazing moments and where time stands silent for a single breath.  I know it’s there…unseen…challenging my senses to seek it out…taunting each day as it whispers its call, ‘Not today…not yet.’

Never before has it been captured…where it lies not yet discovered.  Yet, I know it is there, and someday I will find it….just me and the moment…with camera in hand…everything will fall into place…and that which I seek will reveal itself and I know that I belong in that moment…alone with favored light, together with a moment of the heart like no other, when all the missed opportunities are again revealed in one breathless age of light that will exist in a magnificent revelation…just for my eyes…then be gone forever.

It’s out there…that one photograph like no other…that one moment in time just for me.  When…I do not know…but one thing stands for certain…I will keep searching…perfecting technique…tuning my eye…listening for its silent melody that, when it finally sings its revealing song, ‘Now…I am here’…I, will be there.

Keith

The Runestone Mystery

The smooth water-worn surface of the small flat rock was faintly etched with some kind of design…too far worn to fully visualize, but enough there to indicate that those lines could easily be thought of as not natural and must have been manmade.  The rock was maybe seven or eight inches across on the long side and five or six on the short side.  The strange etchings stirred the imaginative mind of a 10 - 11 year old boy who saw the outline of a Spanish conquistador holding a long lance as he sat high riding a horse.  

I’m not sure who actually found the rock, I believe my grandfather found it along one of the many creeks that run through the hills of southeastern Oklahoma, and the 50 plus years since that time has blurred my memory enough to where I can barely visualize the image…but to the best of my recollection, that is the way I remember it.  The moment my grandfather pulled the rock out of the filing cabinet and handed it to me, my world was changed.  It became one of those moments where science and history became one in my young, still exploring mind.  It stimulated an interest in both of those subjects that has yet to subside, and I even today find such things interesting and thought provoking. 

I’m not sure what happened to that old rock.  Some years later, a devastating flood engulfed that small community of Wister Oklahoma, not once but twice within a few years, as a result along with age, my grandparents retired from the business they had owned and operated for many years.  It must have been lost and I vaguely remember my grandmother saying that she gave it to the curator of a local historical society/museum…I hope that is what happened to it and it may yet today be sitting inside a collection drawer someplace.

It was at that time I first learned about a place called “The Heavner Runestone”.  Heavner is a small community maybe 20 miles to the south and east of Wister and is surrounded by large rolling hills…mountains the locals call them…Poteau Mountain being one of the more dominant.  On the flanks of Poteau Mountain deep within a horseshoe shaped ravine a large monolithic stone stands 12 feet wide, 10 feet high, and 16 inches thick.  Across the face of this tombstone like structure are carved 8 runic style inscriptions each deeply carved into the extremely hard surface of the stone yet heavily weathered through untold ages of time.


 Gloria Farley (http://www.midwesternepigraphic.org/heavener01.html ) of Heavner spent many years researching this oddity and was instrumental in getting the Runestone protected as a park. Throiugh her research and others, the writings suggest they were made by Viking explorers. The Runestone has been known to exist for about 200 years first being identified back in the early 1800’s by local indigenous Indians.

They have been identified as an ancient Nordic script that are designed as a cryptic multi-meaning message and interpreted as a date in one sense:  November 11, 1012, A.D

  

…and also as a land claim:  Glome's Valley

Another more recent explanation comes from a Dr. Lee W. Woodard (http://heavener-runestone.com) who researched the expeditions of Rene Robert Cavelier de La Salle who made a couple of excursions into the area back in 1686 -1687.  La Salle , along with several others in his party, was eventually murdered in 1687 by a mutinous crew.  Current historical reference places that event in Eastern Texas, but Dr. Woodard’s research indicates that it more than likely actually took place near where the Runestone is located in southeastern Oklahoma.  He believes, and makes a very strong case for, that the Runestone was actually carved by a talented French linguist named Jimmy Hiens of La Salles ill fated 1687 expedition and points out many compelling facts to support that theory. 


I've also heard of another interpretation that indicates the runes are a marker for a burial site, possibly Viking in nature.  Indeed there is evidence of collapsed underground chambers near the runestone...to my knowledge no one has ever tried to excavate or research if anything was there.

Poteau Mountain

Regardless of where it came from, its historical significance is of a high value.  Today a protective building surrounds the Runestone, but when I first saw the stone it was surrounded by a simple chain-link fence and you could see it as it appeared in its natural surroundings.  I was captivated by it and imagined seeing someone standing there for what must have been hours carving those inscriptions by hand into the diamond hard surface of this gigantic stone standing like a monolith at the base of a ravine.  When I discovered that other such stones had also been discovered in the area…all quite smaller...my imagination went through the roof believing that someday I could find such a marker.  I never did.

Who carved them?  Why were they carved?  What true ancient message is it trying to say to us today?  Those are questions that time alone will answer…maybe never.  Even so, fifty years after first discovering this fascinating relic of ancient history, I am as captivated by its story as I was as a young boy.  It’s one of those growing up moments that became pivotal in shaping the thoughts and dreams of one so young.  Even so, I suppose there are things we will never understand completely...maybe its just as well, because an imagination is far more  valuable and certainly more enjoyable to have.

Keith