Parachutes, Stilts, and Flaming Torches - Or How I Probably Should Not Have Survived Childhood

If my two boys had done half the stupid things I did while growing up, I would have killed them myself once I found out what they were doing...or at the very least the flavor of my sailor language would have been a great deal more colorful.

Seems we were allowed a greater freedom growing up in the 1950's and 60's to experiment with what parents today, and we as parents, would have had a heart attack just thinking about.  It could be that parents today have been so conditioned by the negativity self esteem police that the idea of allowing our kids the freedom to fail, or freedom to get hurt or to take risks just isn't a part of life any more.  If you ask me, this self esteem thing has ruined a lot of kids. Sometimes you lose a game...sometimes anther player just might actually be better than you are and gets more game time.  Participation trophies were not rewards...you were suppose to actually earn those things.

I remember growing up in the Mayberry-like sleepy little town of Wister, Oklahoma tucked away in the pine covered hills of the southeastern part of the state. Back then Wister thrived a bit more than it does today as it has had a long history of floods and storms and such. Man what a life that was...Slow paced living, friendly neighbors, roosters crowing every morning, no air-conditioning...just burlap water coolers ( remember those?), going barefoot all summer only wearing shoes on Sunday or when trying to cross a hot asphalt road.  Shooting fireworks in town without worrying about getting into trouble, the swimming hole on Caston Creek, shooting at turtles heads with our BB-guns on Caston Creek, riding our bikes all over the place and then into places you probably shouldn't have. Racing homemade sailboats and homemade ramshackle go-cart racing down the old hill that emptied into a water filled ditch, woffleball games in the vacant lot that turned into a football game that evolved into a wrestling match...then sitting on the porch afterwards enjoying a popsicle, fishing on Hammonds Pond, and just laying around watching the clouds drift by while eating a homegrown watermelon and homemade ice cream churned with a hand crank freezer.....whew, and that's just the first week of a full three months of summer vacation.

We had no video games, color television, cable TV, trips to the museum, planned cultural activities, or big elaborate birthday parties...nothing like those things to interfere with...well...growing up.  We never took a real vacation...no such ideas as going on a cruise, or trips to Disneyland, or driving cross country to see the Grand Canyon...we had that big water filled ditch at the bottom of hill to explore.    Neither did we ever have very much in the way of material things...but we never really thought about it.  We were having too much fun doing what kids ought to be doing...just having fun with our imaginations.

Sometimes it was that imagination thing that got us into trouble.  Take for instance the parachute.  One day when we lived in Hobbs, New Mexico, I asked my mom if she had an old sheet that I could have.

She said, "Yeah...I suppose...what are you going to use it for?"

"A parachute..." I said as a matter-of-fact.

"Oh...Okay."

Now, the operative word 'parachute' would have raised the red flag warning to most mom's that something no good was up.  But, to my mom's credit, she seemed to instinctively understand that learning by experience rather than by lecture was a far more effective training method for a nine year old boy.  She was right.  After tying four pieces of various lengths of rope to the four corners of the sheet and then attaching the loose ends around my chest with a bohemian style knot ( one that is all but impossible to untie ), I used a ladder to climb up to the roof of the house.  With the sheet parachute rolled into a tight bundle under my arm, I scooted along until I reached the highest altitude I could obtain, about twelve feet I'd guess...peeked over the edge, gulped, then jumped as high as I could and flung the rolled parachute into the air.

Oh my, how magical it was...as I floated across the yard drifting on a a clo..."THUD!"  The ground came up much more abruptly than I thought it should for someone floating on a parachute...well, maybe the chute never actually opened.  After I was able to stand up again...I pondered about what might have happened.  Hum...could it be I rolled it too tightly...maybe if I held it more loosely...

The second and subsequently last attempt jumping from the roof ended much the same as the first...a painful collision with the ground...but in the mind of a nine year old, I had successfully completed my first two skydiving jumps...although with a slight limp to show for it.  Subsequent jumps were relegated to a lower altitude by jumping off the four foot high brick wall that was the outside edge of our carport.  I successfully completed hundreds of parachute jumps from that lower altitude and before long considered myself an accomplished skydiver ready to give lessons to the other kids in the neighborhood...a few of whom actually took me up on the idea...until their moms found out they were missing several sheets from the hamper.

That brick wall tripled not only as the wing strut of my jump airplane, but a WWII battlefield wall where countless wars were won and lost, and the occasional tight rope walking circus act I tended to perform when the cute little girl from down the street was out and about. (She was always singing the newly hit song of the day "I Will Follow Him...Follow Him..Wherever He may go..." whenever we happened to be out at the same time much to my irritation).  Best I can remember though I never really was seriously injured climbing around and jumping from that wall...and only managed to accidentally fall off a few times..usually scraping numerous parts of my anatomy in the process as I skidded across and down the various levels of bricks.  That particular athletic maneuver, whether planned or not...usually generated astonished looks of concern, tossed out affectionately between the chortles and giggles and song chorus's from the cute little girl down the street.  I learned quickly the need to toughen up and show no pain in spite of the..well...pain.

One of the more infamous mis-adventures I managed to survive was walking on homemade stilts in my grandparents yard during those summer months in Wister.  From my Uncle Polk's barn, we found some 2x4's and with a little sawing and hammering with bent nails we managed to roughly construct two pairs of stilts that allowed us to stand about a foot taller than our normal nine year old runt height.  The world looks a lot different from up that high and although it took a few dozen falls, several scent knees, and assorted bruises, we eventually learned how to stay upright for extended periods of time.

Much like the chewing gum of the day, just walking around the yard on those stilts quickly lost its flavor so we began thinking of more creative ways to injure ourselves.  First came the stilt races across the yard.  That lasted all of about four races until after we spent more time extracting assorted rocks, sticks, colors of dirt and grass from our mouths and knee caps than racing...we deemed it not as fun than first thought.  Also, frequently colliding our faces with the ground prevented us from ever having a clear winner on any of those races.  So we turned to a safer activity; climbing  stairs...the wide concrete kind that attached the yard to my grandmothers porch...or my grandmothers porch to the ground depending on which direction you were climbing from.  Those stairs extended about five feet high and ten or twelve feet wide and I guess they had...oh...I'd don't know maybe a hundred steps...(Seven or eight really).

It was summer of course and running around barefoot was a natural thing to do...walking on stilts barefoot was not.  On my first attempt I made it about half way up the stairs when, in spite of my summer toughen feet, the bottoms of my feet began to hurt as the pressure of the foothold began to cut into the scrawny and boney flesh.  I couldn't move up or down, so I just twisted and fell...my left big toe catching an edge of a step and jamming it downward to where it almost touched my heal.  My left shin then scraped across the lower edges of the concrete steps and my hands ground off several layers of skin as I skidded across the bottom two or three steps...where I eventually rolled to a stop somewhere between the stairs and the main road down the hill about forty yards away.

My grandfather, bless his soul, seemed to enjoy the situation more than the circumstances would dictate as he would twist and rub the bruised and blackened appendage that used to be my big toe...presumably with the mistaken idea that it would make it feel better.  He'd bust out laughing every time I'd howl in protest.  I never did figure out what he was laughing at...my howling, the pathetically bruised appearance of my toe, the assorted cuts and bruises, or the manner in which I managed to obtain those injuries.  My grandmother on the other hand, quietly had Uncle Polk dismantle the stilts and return the lumber to the barn, stowing it in a location high enough to where we couldn't get to it.

In spite of similar and numerous other such misadventures, somehow I managed to survive until my early teen years...the outcome of which was as much in doubt as the previous thirteen years had been.  My friend Rocky and I, on some crazy whim, decided we were going to become scientists.  Downtown Okmulgee, Oklahoma, where we lived at the time, had a medical lab high in one of the taller buildings.  A real nice lady ran the place and she would allow us to purchase various flasks and beakers, glass tubing and assorted other lab like paraphernalia at the bargain price of whatever money we happened to have in our pockets at the time...which was never more than not very much.  We built an elaborate laboratory in his basement complete with a gas Bunsen burner and a smaller one in my dad's garage complete with not much but leftover stuff.

One summer day, we were experimenting in our garage lab boiling various colored flavors of water to see what would happen...hoping no doubt to maybe discover a cure to some obscure disease or something...when we got the bright idea of trying to distill some gasoline.  ( Please don't try this!)  Oh, we were really smart about what we were doing so we thought...the process called for using a small amount of water inside a larger beaker where we placed a smaller flask containing the gasoline, connected to the distillation tubes where our experiment would ultimately end.  The idea was to use the boiling water to heat the gasoline...presumably safer than heating the gasoline directly.  The heat source was a large alcohol burner.

After watching for a few minutes nothing seemed to be happening...so we figured we didn't have enough gasoline in the distilling flask...so I removed the cork that connected our experiment to the distillation tubes and commenced to pour in a few more ounces of gasoline from another flask.  Well...one thing we didn't know about at the time, but learned about rather quickly, was that gasoline vapors are heavier than air...so the fumes managed to filter down to the alcohol burner and in a very short period of time....CAH-WOOF!...three spectacular flaming torches erupted.  Unfortunately, two of the flaming torches were my hands...seems I had spilled some of the flammable liquid on them and the third torch was Rocky's legs.  Maybe a millionth could be possibly a few hundred thousandths of a second (I lost count somewhere in there) after the first Ca-Poof, I tossed the flaming flask across the garage and a good amount of the contents spilled across Rocky's legs during that controlled panic of a moment.  The concrete floor burst into a small lake of fire when the burning flask, after flying across the garage, busted into several hundred flaming pieces upon completion of its flight.

Not one to wither in the face of adversity and wanting to take full advantage of the learning potential of the moment, I waved my burning hands around in the air for a few seconds to see if I could fan the flames into larger flames...it worked quite nicely.  About that same time Rocky spontaneously created a new dance that would have become as  popular as any new dance crave of the '60's had we had time to perfect the moves.  In its rough form it went something like this:  As you are wildly slapping your burning pants legs, you jump around screaming.."I'm on Fire...I'm on Fire!"...it looks really cool with a partner who is waving his flaming hands around in the air also screaming, in synchronized time,.."I'm on Fire...I'm on Fire!".  We called it...wait for it now...."The Flaming Pants Burning Hands Dance".

Somehow or another we managed to smother the flames suffering nothing more than a few singed hairs, blackened eyebrows, and an elevated blood pressure...not so much from nearly being burned alive, but from worrying about what my dad was going to say once he found out..  I am unable to repeat in mixed company the words my church going dad cut loose with when he did discovered what had happened.  As a result, the garage lab was shut down permanently...having a great negative impact on our self esteem.

That episode also pretty well satisfied any interest I had about becoming a scientist.  Soon there after, my dad feeling sorry for me no doubt...introduced me to photography...and now...as the late Paul Harvey would say...You know the rest of the story....Believe it or not...It's all true!

Line, Form, & Texture - and Throw in Some Color

Sometimes the light just isn't there...too bland...to harsh...too dark...too bright. Sometimes I'm just not seeing it...nothing is really working for me.  When that happens, so I can jump start the creative juices, I often look for Line, Form & Texture.  By doing so...the bad light often becomes instead of a problem...a solution.  Nature is full of all three.  Many times when I find the time to get out and about, my eye begins to wander and the first thing I often see is Line, Form, or Texture.  With a closer look, a composition materializes.

Line and Form can by themselves generate a great composition, but you have to work with them in a way as to create that unique, eye catching image.  Sometimes it's just a matter of position...sometimes angle...and other times contrast...  How you place those lines and forms on the page makes all the difference.

The form itself will often have its own set of lines...usually along the outer rim.  They can be abrupt, or soft..straight or curved...subtle or bold.  More often than not, it's how you create the image that determines what it will be.  That's where being able to see beyond the obvious comes into play.  Many times the form or lines are not readily seen, but with a bit of visualization, they suddenly appear.

Texture on the other hand can be difficult to capture effectively.  It almost always must be photographed in conjunction with Line and Form...but it can be in almost limitless abundance...if you train your eye to look for it.  Also remember that color, or more importantly contrasts of color...light and dark...vibrating color schemes...bold vs subtle...will provide the context inside of which the lines and forms generate their energy.  Color always adds energy to every line and form photo...but it can also be simple black and white...or one color against a dark background combined with the line, form and texture of your subject that makes the image move across the line of sight of the viewer.

Photos that are primarily made up of Line or Form or Texture often take on that abstract look.  Nature is full of abstract situations.  The hard part is knowing how to see it.  We often get caught up looking for the big picture and miss the real picture.  This real picture may actually be a small and often subtle subset of the larger scene.  Over time, your eye will begin to lock onto those things...look beyond the obvious...but getting there takes practice and time.

One of the most effective ways to learn how to find line and form is to not take your camera at all, but simply walk around and look for those things where ever you go.  Go to the park, around your house, or ... it really doesn't matter where...be creative and start looking for things that have a unique form or shape everywhere you go, then think of ways you can capture it...what kind of exposure would you use to create a silhouette against the available background...what angle would you shoot it from...where would you place the image in the composition...what background would work best...how best to group the object(s)...How best to Isolate what is there...concentrate on what is exciting you about what you looking at...It's these kinds of thought processes you go through in order to see the forms and lines that are out there and be able to capture them using a photographic solution that is unique to how you are viewing the world around you.  Try it...I think you might like what you find.

Keith

The I's Have It

In most of the blog entries I've mostly written about this or that and maybe try this or that, but I've not actually said much about a methodology that can be used to help point the aspiring photographer toward bigger and better output.  So how do you go about developing the concepts or ideas that I've written about.  Well, everyone develops their own style of doing things and most of us work through those learning curves at our own pace.  Even so, there is a methodology I've used that can help a novice photographer take progressive steps toward more production photographically.  I call it  'The I Method'.

The I Method consists of six related concepts that progressively guides a novice photographer toward creating innovative photographs.

1.   Idea  

 2. Instinct

 3. Identify

4. Isolate

5. Invest

6. Inspire

Let's look at each one.

Idea:  Before you can truly take charge of your photography you should formulate an idea of what you want to accomplish.  Having a purpose for your photography helps you focus on not only the techniques and concepts of exposure, composition, and post processing, but helps you develop a vision.  With a vision of where you want to go, you will more likely find the enthusiasm required to get there.  Going at the craft of photography by simply relying on random chance...well...as I've said before...all you are accomplishing is playing the notes, when in reality what you are wanting to do is create wonderful music with emotion and feeling.

Instinct:  All of us possess our own preferences and interests.  By tapping into those interests, you will find it easier to become motivated to follow through.  Use your instincts to help you focus in where your stated purpose for your photography will take you.  If you instinctively enjoy sports, then maybe sports related photography may be the angle you should take.  If you enjoy nature, then nature photography might be a good directions.  If you are good with people and kids, then portrait and/or people photography could be a solution.  Go with your instincts and most of the time you will not be disappointed.

Identify:  Once you have formulated an Idea, now comes the time to do some research.  Identify potential opportunities for you to follow through with your idea.  If sports is you where you want to go, then check out local sporting events that may allow you access to the fields.  If people photography, then check out local or community events where you might be able to photograph performers or take candid shots.  Practice with your own kids, or the neighbors kids.  Identify as many opportunities as you can and then follow up on them.

Isolate:  Once you have an idea and have identified potential opportunities, it is probably a good idea to isolate specific things to focus in on.  Some ideas are very broad and to avoid being overwhelmed, it often helps to decide that this day or this week, I will concentrate on only one aspect of that idea.  Take the sports idea for instance.  There may be numerous high school and even college sporting venues going on along with little league or development leagues.  Pick one of the easier venues and give it a try...not just once or twice, but over a period of time to develop skill and technique.  Afterwards, you may want to branch out to a more advance situation.  The idea here is to focus your efforts into a manageable opportunity.

Invest:  There is no substitute for time afield.  Simply having an idea is not enough...you must allocate time to follow through with it.  Time afield also means to invest time researching...finding those opportunities...looking for potential locations or venues, then planning ahead to take advantage of them.  Look beyond the obvious when doing this...and always factor in lighting conditions.  What you see visually at the time you find a location may change dramatically with different light at different times of day...so try to visualize what a location will look like in different lighting conditions.

Inspire:  There is a difference between capturing simple memories and creating an image that inspires.  Inspiration comes from the heart and is often triggered by a creative vision.  When photographing nature, always think in terms of inspiring your viewer...not illustrating a text book.  Light is the key to generating those inspirational moments...Inspirational moments are often visualized by looking beyond the obvious...Looking beyond the obvious requires that you develop your unique vision and purpose for your photography.  Seeking to inspire is the engine that elevates your photography to the next level.


The idea behind the I's is to help establish a methodology that will guide you toward developing your own unique style of photography.  It's not an all inclusive stepping stone approach...just something to get you thinking differently about what you might be doing...and that after all...is what this blog is all about.

Keith

Three Misconceptions about Photography

As I have stated numerous times, Photography is all about Light.  Light is the key to great photographs...and it is the quality of light that is important...not the quantity.  Most beginning photographers tend to concentrate on the equipment side of the equation and rely too heavily on the camera's mechanical ability to take good photographs.  They often ignore the most important element which is looking for and seeing light...or being able to see photographically.  Granted, there is no substitute for quality equipment, but that alone is not enough.  Even the best equipment will only take mediocre photographs if the person using it doesn't understand what to look for, or have a solid grasp of the mechanics.  More often than not novice photographers grow frustrated because they approach photography from a frame of reference based on several misconceptions.  Having talked with a a lot of photographers of varying levels of skill, it seems to me that three misconceptions are most prevalent and tend to prevent us from graduating to the next level of becoming artistic photographers.  Let's take a look at them.

Misconception Number One: Concentrating on Place or Object...or believing that a place or an object alone will generate that great photographic moment.  Think about this for a minute.  I've often used music as a comparison to photography.  There are a lot of piano players out there...they can play the notes...but...there's a difference between playing the notes and imparting emotion into your music.  Photography is the same.  Many people can mechanically play the notes...take a snapshot...but rarely understand how to impart emotion into their photographs.  They rely on the mistaken belief that the location or object, and their camera will do that for them.  Granted, places like the Grand Canyon offer some potentially wonderful photo ops...but that alone isn't enough.  Do you just want to play the notes, or do you want to create emotional music?

The problem is placing too much emphasis on the wrong thing...the object itself.  I recently had a photo friend of mine proudly show me her first ever photo of a deer.  It was a nice 'note playing' photo of a deer...but only that.  There was nothing exceptional about it, the deer was too far off, and standing in a shaded area.  No thought was given towards how light plays a dynamic roll in any artistic photograph, nor was the composition cleverly thought out.  Without great light combined with creative composition...even a great location like the Grand Canyon, or a wonderful critter like a deer will look...well ordinary.  With great light, ordinary objects are transformed into artistically expressive images.  Always...always...think quality light...combined with creative composition.

Misconception Number Two:  Believing that you must capture a scene exactly the way it looks.   Now the idea of capturing a scene/image exactly how you see it is not always a bad thing...but neither is it always the right thing to do.  This may be one of the most difficult misconceptions to overcome.  Countless times I have had people say to me..."I just want my photographs to look like what I see...but my pictures never turn out that way...and I don't understand why."
I really don't have enough space to do justice to the subject...but you must understand that the camera cannot detect the emotion of the moment...all it is capable of doing is registering the intensity of the light...and your camera sees light differently than your eye.

We can see great spreads of colors, contrasts, differentiate between glare and clutter...but the camera doesn't know that.  Once you understand how the camera captures light, then you can begin to use it as a tool to capture a scene the way you want to express it...not necessarily how it looks visually.  The point here is to get you to thinking about photography from a different perspective.  Use the camera to capture your vision...use your mind to visualize the potential of a scene...look for and use light in such a way as to bring out the unique qualities of the moment.

Virtually all of the images you see on this page in their final form did not look like what I saw visually.  What I try to do is look beyond what is there visually, and try to observe the scene from the perspective of how the camera will see it...how I know it will look in its final form.  Knowing in advance how the camera will react to certain lighting conditions will give you a huge advantage and open up windows of photographic opportunity way beyond what you may be experiencing now.  Sometimes, even marginal visual light can look stunning through the lens of the camera.  Make it a practice to look at your scene from the perspective of how the camera will see it.

Misconception Number Three:  Always shooting on Auto or Program mode...or believing the camera knows best.  This is closely related to Number Two.  Full auto or Program mode will provide a mechanically good photograph and can be a good starting place for new photographers to begin understanding how their camera works.  Photography is actually more of a visual art form than a mechanical process.  If all we want to do is 'Play the Notes'...then program mode will work just fine.  But, if we want to impart emotion into our images and create a work of art...it's going to take a bit more effort on your part to understand of how the camera does what it does...then using that knowledge, capture a moment the way you want it to look...not the way the camera wants to capture it.  


I know an individual who has a solid grasp of the mechanics of photography..could easily teach those mechanics and do a good job of it...but...that person's photographs fall well short of what that knowledge base should dictate.  Why is that?  Well there are probably a lot of reasons, but based on conversations we've had, these three misconceptions play a part in it.  That person simply never looks beyond playing the notes.  Another person I know gets this far off look whenever anyone speaks tech talk about cameras...has not a clue what is being said...and further more probably doesn't care.  But...that person takes some really very nice photos...simply because of not being afraid to break the rules and never wanting to be known as a note player.


Today's cameras are marvels of engineering and they have tremendous capabilities.  I hope by examining at least in definition, these misconceptions...it will encourage you to look at what you are doing photographically a little more creatively...

The Four Levels of the Photographic Learning Curve

There are some great photographers out there and every time I visit one of their websites I realize just how much I still have to learn..  A year or so ago I was asked to teach a short workshop on photography. I really had a lot of fun putting it all together and then presenting the material. Part of that workshop included what I like to call "The Four Levels of the Photographic Learning Curve".  It raised a few eyebrows at the time, but it actually made a lot of sense.

Level 1: The Snapshot...or "nice picture...you must have a good camera."
Everyone takes snapshots...even the pro's. Snapshots are those images that when taken you really don't put a lot of thought behind it...or put another way, it's simply a way to capture memories, as a photographer friend of mine once said.  They may capture memories, but they don't necessarily possess a lot of artistic value.  Snapshots are where every aspiring photographer begins.  They are the shots you bring home from vacations and show to your friends and family.  More often than not their reactions are along the lines of, "...those are nice pictures, you must have a good camera..."  Well, you may have heard this before, but that's like saying to a cook, "Nice meal...you must have a lot of good pots and pans."

To a novice photographer, snapshots are a necessary stepping stone and valuable learning tool.  Only when you begin to separate yourself from the notion that the camera does all the work, then you will begin to understand the difference between what it takes to create a snapshot verses what it takes to create a photograph with artistic value.

Level 2:  "That's a good picture...it looks just like a post card."  How many times have you heard that one?  I've graciously heard it more times than I really want to hear...because what is really being said is, "I've seen this kind of image a thousand times before."  That answer would probably be right...there are thousands of post cards in every drugstore and tourist trap you go into.  What this means is that the image may be a technically good photograph, but it's not unique...it looks just like  every other post card image in the same category.  There is not much to separate it from the ordinary photograph that every vacationer takes by the millions.  What is needed to separate those kinds of images from all the rest is to visualize the same scene in an extraordinary way...and then add a bit of 'Wow' to the composition and light.

Level 3:  "Wow...Great picture". Wow factor photographs are generally powerful enough to elicit an emotional response  from whoever is viewing it.  They clearly stand apart from most photographs, but...what this kind of reaction really means is..."Hey, this is a really good photograph, but can you consistently take these kinds of images...or did you just get lucky."  Even novice photographers will from time to time manage to take a Wow photograph.  What separates the novice from someone who consistently generates this level of image is that the novice tends to rely on luck, while the other relies on his or her ability to visualize the potential of a location, plan out a strategy, returns again and again until just the right light is present...and has the technical skills to take advantage of the moment...and do it over and over.

Level 4:  "Whoa...". The forth and highest level of photography is what I call "The Whoa Factor". Like the term whoa suggest...these images stop the viewer in their tracks.  They are so powerful that they move well beyond wow and generate a "Whoa! How did you do that?"  This means you have reached a level of creative understanding and mastery of what you are attempting to accomplish photographically.  Your photographs become like fine music.  Images you create are consistently at a high level because you have an exceptional knowledge of the principles of exposure, composition, story telling, visualization, and technical expertise...and you understand how to combine those principles into an extraordinary photographic solution.  Like the very best musicians, your photographic music imparts feeling, emotion, and depth.  Only a few photographers ever really consistently reach this level.  Even though I know it when I see it...very...very few of my images might fall into this category...but...that's why I keep shooting.

Fifty things I've learned about photography...

(I wrote this about a year ago...slightly modified)

1. Watching someone take an unexpected swim with a $2000 camera in one hand and several thousand dollars of equipment in the other hand is not a pleasant experience for either party...just less so for the swimmer.

2. Repair bill for a drenched $2000 camera...$300.  Repair bill for a water logged $1000 lens...$200.  Aggravation costs waiting for return of equipment...Way too much $.  Having insurance on said water logged equipment...Priceless!

3.  The piece of mind about having insurance on your camera equipment is of far greater value than the small price of actually getting it insured.

4.  Just like Writers Block...there is such a thing called Photographers Block.

5.  The technology just keeps getting better and better...but the old style equipment made a better learning tool.

6.  A good camera backpack is better than a camera bag slung over the shoulder.

7. A good camera backpack is essential for cross country hiking photography trips.

8. Photographing a dragonfly is not easy.

9.  What's left of the Tallgrass Prairie is one of the most under utilized photographic opportunities available.

10.  Wild buffalo (American Bison) are indeed wild and unpredictable.

11.  Did I mention the having insurance thing yet?

12.  Planning ahead and anticipating where and when a great photo op might occur is more productive than relying on random chance.

13.  Random photo ops often produce spectacular results...only if you're prepared for it.

14. When photography stops being fun...well, its time to take a break.

15.  Photography has yet to stop being fun.

16.  A great model(s) can make an average photographer look good.

17.  Getting up before daylight to catch that great moment of light is worth the effort.

18.  Sleeping in because you're too lazy to get up before daylight to catch that great moment of light is a lot easier to do...just less rewarding.

19.  A quality lens is worth the extra cost.

20.  A photogenic spouse is often your most critical critic.

21.  Be optimistically critical of your own work...and less so of others.

22.  Some pro's can be very willing to help...others no so willing.

23.  Try to get something published...it doesn't hurt to try...and it just might pay off.

24.  Publishers are a finicky bunch of characters.

25.  Why do publishers overlook your best work and settle for the lesser submissions simply because it better fits with their publishing requirements?

26.  An 85 year old parent and DVD and/or computer technology don't mix well.

27.  Take all criticism of your photographs constructively..most praise with a gracious grain of salt.

28.  Photographing coyotes is pert-near impossible...how do they do that?

29.  You know when you've created something special photographically...it doesn't matter what anyone else thinks.

30.  Sandhill Cranes are goofy looking birds...but magnificent to photograph.

31.  The best times to photograph is now.

32.  There is always time to learn something new...just less time to perfect it.

33.  Going on solo photo trips offers a lot of flexibility...going at it with others offers great fellowship.

34.  Photographing with a purpose in mind maybe more productive than relying on random chance...it just takes a bit more thought.

35.  Check your batteries before you head out.

36.  Standing exposed on top of a prairie knoll during a prairie thunderstorm to photograph the moment is one of the most exhilarating experiences you can have...it's also very stupid.

37.  Photographing lightning is much harder than it looks...but an exciting thing to attempt.

38.  The weatherman gets it wrong a good deal of the time...so go anyway...the predicted good weather just might turn out bad...which is usually good for photographers.

39.  Complaining about the conditions won't change them.

40.  There is no such thing as bad conditions for photographers who take the time to look around and seek out the opportunities that are there at that moment.

41.  Skill is better than luck...luck is better than nothing...nothing results if you don't try.

42.  You don't have to travel very far to find great places to photograph...just look out your back door.

43.  When you do travel a long ways to find great places to photograph...you end up showing the people you meet all the old photos you took at home.

44.  Figuring out how to create effective HDR photographs is like trying to re-fold a map in the dark...I eventually just wad it into a mess and shove it into the glove box and hope I don't get lost.

45.  Plastic grocery bags make decent rain covers...just trying to find one when you need it most might be a bit tricky.

46.  Work the scene...don't settle on one or two shots.

47.  There is a difference between a slide show and a photo presentation.

48.  A photo presentation set to great music can make even mediocre photographs look great.

49.  There is no such thing as a mediocre photograph if someone likes it...even just yourself.

50.  The Good Lord created a beautiful world out there...photographing it can help you begin to more deeply appreciate what is there.

51...bonus entry...Did I mention the insurance thing?

So Much the Better

Resolutions...New Years or otherwise...almost never work, so the only resolution I ever make is to never make a resolution I know I can't or won't keep.  About this time of year I always seem to take count of my physical condition more than other times and usually come to the conclusion that it is way below what it should be.  For someone my age I stay reasonably active, but not nearly enough so to compensate for adverse effects of the volume of down time I seem to experience.  Off and on...mostly off...over the years, I've managed to find time for various physical activities...things like bicycling, running, hiking/backpacking, canoeing, tennis, various team sports, swimming and swimming related stuff, hunting and fishing, and weight lifting...and I even tried triathlons there for a while.  At best I never became more than mediocre at any one of those activities, but combined I suppose those adventures have contributed to at least a moderate measure of physical phitness.  My current favorite pastime of laying on the couch indulging with various types potato chips, among other assorted snacks, unfortunately has contributed to a decline of that fitness level of late.  Even so, every once in a while I take measure of the layer of flab and sag that has developed around my mid section and decide to do something meaningful about it.

For the last couple of years I've managed to frequent the gym a few times a week to grunt and prod through various levels of lifting heavier than I should lift weights.  My joints and other parts of my anatomy seem to benefit ( and suffer ) as a result.  In past years, one of my favorite workouts has been swimming, and although never at a competitive level, I obtained at least a reasonable level of competency at it.  For lack of an adequate facility and an overall general attitude of age related malaise, I've not swam a single lap in several years.  A little over a year ago Bowling Green and Warren County built a brand new state of the art aquatic center complete with a real dandy swimming hole inside...a 25 meter competition level facitlity that just happens to be only a few minutes from my office.  So, realizing I no longer could rely on the 'a lack of adequate facility' excuse, I recently purchased a membership and began my quest to start swimming for fitness again.

First time out I managed to flounder through about 600 meters...50 at a time with long periods of letting the gorilla on my back gasp and choke between each one.  By mid-afternoon I crashed and burned.  Second time wasn't quite as bad, and by the third time I felt like I was starting to get my old form back...but still have a ways to go.  I hope to soon work up to a 1000 meters in under 25 minutes...respectable for an old fart like myself.  Who knows, maybe that potato chip fed gorilla and myself might trim off some of the excess flotation around my mid section in the process.

S0...what does this have to do with outdoor photography?  Well...nothing really, except I hope to try something new this summer; underwater photography.  The plan is to purchase one of those disposable 35mm cameras encased in a plastic waterproof container and visit one of the local clear water streams and see if I can photograph some of the fish or other aquatic interesting things that lurk on or near the bottom of the shallows.  Might be kind of fun to try.

In the mean time, I plan on hitting the gym a couple days a week and hitting the pool a couple days a week, and when the weather permits, hitting the road on my old trusty and probably rusty triathlon bike for a quick 20 miles from time to time.  Throw in a canoe trip or two, maybe a hike here and there...and who knows, maybe this tired old body of mine just might come back to life.  If I happen to lose some of the sag around my middle...well...so much the better.

Keith

It's Harder than it Looks

Wildlife photography, I discovered, is much more difficult than one might think.  Not only does it require some specialized equipment, but it requires a great deal of patience and time.  This past year or so I started to explore this type of photography in more depth taking the relatively easy tweety birds at the feeder approach.  I don't know...that just didn't seem adventurous enough...so I began to expand my territory and that's when I discovered just how difficult it really was. Often, while I was waiting for something to appear, I kept wondering how the pro's were able to get those great wildlife shots...close up.  It wasn't that I didn't see anything interesting...it was just that everything I saw was too far away to take effective wildlife photos...even with my relatively large 500mm lens.

I quickly came to the conclusion that luck played a big part of it.  On one such occasion, luck played a big roll in one of the best wildlife shot's I've taken to date.  I arrived one spring day at Shanty Hollow Lake well before sunup and paddled my canoe to the upper end, about three quarters of mile, hoping to catch the sun rising over the lake.  After the initial morning program played out, I tried a little fishing eventually drifting  into one of the many coves found on the north end of the lake.  A green heron flew across the cove and sat down  behind some tangled snarls along the bank.  It was maybe 50 yards away, so I cautiously paddled in that direction hoping to get close enough for some photo's.

Green herons are interesting birds...rather small about the size of a crow...and have the ability to extend their neck out about twice its sitting length to grab a tasty morsel in the shallows.  As I drifted closer to the bank, I grabbed my camera from the dry box.  I couldn't see the heron at first then spotted him behind some cover next to the waters edge.  I was about 15 yards away when I started snapping photo's...but eventually was able to close that distance to about 10 to 12 feet.  I was able to follow the heron from that distance for the better part of a half hour.  Oddly enough, he never seemed too concerned that I was there.  Maybe, he just never thought that any threat would come from the water.

A few of the shots were decent but nothing all that great...then he hopped onto a partially submerged log and walked along its length.  A few feet later he stepped out of the shadows into the sunlight and cast his reflection on the surface.  I fired off a couple of shots before his head and neck extended way out in a quick jab where he managed to snare a minnow.  Unfortunately, he turned away from me and I was unable to get the shot.

I drifted a few feet closer and he raised the hackle on the back of his head, squawked, and off he went.  It wasn't until later after I downloaded the images did I discover just how special the reflection shot turned out.  It's one of the best wildlife images I've taken...only because of a bit of luck and being in the right place at the right time.  I suppose what I learned was that luck is simply being able to take advantage of a good opportunity when it arrives.

Seeing Photographically - Framing Light

I once said to a class of high school journalism students, "...the difference between taking a snapshot and capturing photo's that stir the imagination is understanding how to see photographically."  Seeing photographically is a complex and instinctive subject, but one of the most important and often overlooked elements is the understanding of and using composition effectively.

Light is the key ingredient for all photographs, but composition is the frame upon which light is stretched to build those amazing shots.  A simple blog could never fully cover the subject of composition...so what follows is a basic primer on a few of the fundamentals.  Using these simple fundamentals help to build the foundation of your photographic skill.

One of the best tools for learning about composition is to use one of those simple point and shoot disposable film cameras.  The only thing you can control with that kind of camera is the composition so you can spend more time concentrating on framing the image as opposed to worrying about the exposure.  Learning about composition is an ongoing adventure, but lets start with one of the most basic of the concepts:  The Rule of Thirds.

Divide your image into a tic-tac-toe grid with nine squares covering the scene.  In the middle you will see four points where all the lines intersect.  These points are important subject position locations within the frame.  You see, in order to generate more visual appeal, your subject should be placed somewhat off center.  These four points provide a good position reference.  You will also notice that your image is also divided into three separate sections both vertically and horizontally.  Generally speaking your image should also be divided into thirds with the foreground material located in the bottom third, middle ground in the middle third, and background in the top third.  You can of course use any number of variations on that theme, but the idea is to break apart your image to create a visually appealing composition.

Along those same lines of thought, framing your subject also generates strong points of interest within a scene.  Almost anything can be used...like overhanging tree limbs, fences, barn doors, clouds...even light and dark areas...you get the idea.  Just think a little creatively and let your imagination take control...the idea is to look for those things that help define the subject.

When you are out photographing, think in terms of angles...or in other words, don't always shoot from eye level.  Kneel down or sit low to the ground or rotate the camera.  Simple things like that will often give your composition a fresher look.

In an earlier blog entry I wrote about Simplicity of Purpose...or simplifying your composition by making sure that everything in your image is there for a reason and contributes to the overall effect.  It does not mean that an image may lack for complex detail, just that it tells one story.

Creative composition is vital to being able to capture memorable moments.  The trick is to look for the key elements and then place yourself where you can capture the moment effectively by placing the subject inside the view where it generates a high level of interest.

One of the biggest mistakes novice photographers make is when they shoot sunsets or sunrises.  By their dramatic lighting, all of us are attracted to those events, but I can't count the number of times I've looked at photo's of a great sunset that was made mediocre because of the composition.  Most of the time the sun is placed in wrong location...square in the middle of the picture...and the horizon splits the image down the middle.  Shots like that rarely work well.  Usually what you want to do is offset the sun area to one side...remember the tic-tac-toe grid...and then raise or lower the horizon somewhat.  Shooting over water offers great reflections and sometimes you can split the image down the middle in those circumstances...but those are rare exceptions.

Composition, like so many other standard rules of photography, is always open to interpretation.  Two of the most important things you can do is ONE: Learn about as many of those rules as you can...and TWO: Never be afraid to break them.

Keith

Adventurous Nature

I was talking to someone the other day who asked me if I was a big outdoorsman...she had stumbled onto my blog site.  Well...I'm certainly bigger than I used to be, but I must admit I don't get out as much as I used to.  I suppose age and other obligations do deplete not only my ability to get out, but the available time to do so....plus this thing called 'work' tends to interfere with all the things I'd rather be doing.  Even so, I still find time for some adventure and throwing in a photo trip or two...it's just more compressed and maybe not quite as adventurous as what I did in my younger days.

Speaking of my younger days, this week I discovered a website many of you probably already visit called Hulu that offers full episode viewing of old television programs and movies.  I've enjoyed watching some of my old favorites.  My generation grew up at the beginning of and during the golden years of the television explosion.  I suppose that gives us a unique perspective on the medium.  Can't speak for others, but it just seems to me that the old programs were a lot better than most of what you find on television today.  There are exceptions of course as programming today tends to be more sophisticated and have more of a biting edge to it...they're also way to explicit in my opinion. Even so, the science and nature programs available today do a good job of not only entertaining, but educating the ordinary viewer with outstanding footage and insight.

When I look back on those early days I realize just how influential many of those programs were to the development of that adventurous nature I seemed to have over the years.  Take for instance one of my favorites of all time 'Sea Hunt' staring Lloyd Bridges (Beau and Jeff's dad).  The main character was guy named Mike Nelson who ran into all kinds of underwater scuba diving adventures.  This program played an important roll inspiring me to take up scuba diving once I was old enough to make that choice for myself...(my parents would never have allowed such a thing...heaven forbid I might actually drown or maybe even have too much fun or something).  And how many of you remember  'Rip Chord'?  A great adventure show where the two main guys sky dive into all kinds of dangerous exploits.

Now here's another good one...do any of you remember 'The Whirlybirds'.  What a great show about a couple of guys who flew into and out of all kinds of adventures using a helicopter.  No I never took up skydiving nor did I ever learn how to fly a helicopter...not that I didn't want to...just never had an opportunity to pursue those things, (and I haven't been scuba diving in quite some time).  I guess there are some adventure quests best left to the 'Walter Mitty' hopes and dreams most of us have tucked away someplace.

What was important was not so much that I did or did not pursue those kinds of adventures...what really counts is the ideals and spirit of adventure that were nurtured because of them.  I probably would never have taken up hunting and fishing or hiking and canoeing..even photography.  I more than likely would have never  attempted competing in triathlons at the age of 40, nor would I have thought about or enjoyed those two summers as a lifeguard and swimming instructor way too many years ago to admit to.  The idea of jumping ship after three years of college looking for adventure by joining the United States Coast Guard and getting involved in search and rescue operations crashing through twenty-five foot breakers along the Oregon coast would never have happened...nor would time spent maintaining an old historic lighthouse.

Those old adventure shows from years ago were not the only things that nurtured the desire for adventure in my life, but they certainly must be included in the conversation because they created a visual point of reference that a young mind grasp onto...and dreamed about doing.

If you just stop and think about it though, one thing my generation...the Baby Boomers...learned how to do was to dream big...seek out the unknown...and challenge ourselves.  Those traits have served our generation well as we became the most productive and innovative generation in history.  We didn't just use technology, we invented it.  We stretched our imaginations well beyond the ordinary and challenged the status quo and reached for...well..the moon.

Even though I've slowed down as I've gotten older, the dreams of adventure from my youth still resonate in my heart.  I may never again be able to pursue those things at the same level I once did, but the desire still burns to get out and explore.  Maybe that is why I started this blog...so I could experience again and share many of those memories with the few people who may actually visit these pages.

You know...I've only just slowed down a bit...I ain't dead yet...there are still plenty of adventures yet to chase after and I hope to share more with you as time goes by...I hope you join me.

(Would love to hear about some of your own adventures)

Post Processing - A Little Goes a Long Ways

Ansel Adams would have loved Photoshop...I'm sure of it...He also would have loved the computing power we have at our disposal today.  It was amazing what he accomplished in a darkroom.  Just image what he might have accomplished had he been exposed to the various photo enhancing capabilities we have today.

I always strive for and promote 'In the field photo technique'...there is no substitute for a correctly exposed image...(probably a habit from my film days).  Although no photo enhancing software can save a badly exposed or composed image, almost every digital image can benefit from a little bit tweaking.

Through trial and error I've developed a workflow that seems to work well for me.  About all I do is make minor adjustments to the levels (lights - darks - midtones), a bit of color correction/saturation, contrast, and sharpening...and not all images are treated the same.  The time it takes me to complete the process is in most cases is less than a minute and not more than two or three.

Today's photo editing software are marvels of computing power and open the windows to some incredible techniques if properly used.  My take on it is to keep it to a minimum and using the least amount of correction required to bring out the texture, flavor, color, and character of the moment.  I don't really have space to go into techniques and such in this blog...just wanted to touch on the subject

How you approach post processing depends a great deal on what format the image was taken...RAW or JPEG.  Don't expect a long description of both because I couldn't do it justice anyway...but JPEG is a type of compression algorithm that reduces the size of the stored image...then re-expands it when opened.  RAW simply stated captures and stores more information allowing for more extended post processing.

What's the difference?  Well...there's actually a lot of difference if you start looking closeup and become a pixel peeper...but in reality, a well composed and exposed JPEG image will look just as good as an image taken in RAW format that has undergone extensive post processing.  JPEG images may not quite contain enough pixel information to blow the image up to large sizes where as RAW images will probably work better for those types of prints.  But...RAW images are harder to work with and require RAW converter software before you can do anything with them, plus they take up lot more storage space...(By the way, RAW images by themselves look like crap and require significant post processing to turn them into a finished picture).

I know some photographers who shoot strictly in RAW while others shoot only JPEG.  I do mostly JPEG but will from time to time shoot in RAW.

Anyway...don't think the image that comes out of your camera is in its final form...a little bit of tweaking goes a long ways.

A Trophy of the Heart

Something unexpected happened on that foggy September morning a few years ago.  For many years fishing from a canoe became a way of life for me.  I've probably paddled hundreds if not thousands of miles over the years and caught a lot of fish in the process.  When I first moved to Kentucky from Oklahoma, I left my trusted, and worn out old canoe behind.  It wasn't long before I replaced it with a brand new Old Town Camper...and she's a beaut and a delight to paddle.

I must admit it was difficult to leave my ancestral home where countless hunting and fishing adventures played out over the years.  Even so, I looked upon this rich new land of Kentucky with anticipation and soon began to scout for new opportunities.

For two seasons I randomly did a bit of hunting and found time to work in some fishing, but it just wasn't the same.  I guess I missed those week-long deer camps in the pine covered Kiamichi Mountians of Southeastern Oklahoma...and floating down the Baron Fork in Oklahoma's portion of the Ozarks, or those morning fishing trips to Old Beggs Lake...and not to forget those freezing mornings on some wild and crazy waterfowl hunting trip...but I suppose I missed my old hunting and fishing buddies most of all.

By Kentucky season three, I vowed to do more fishing to shake loose from the doldrums that had crept into my life.  Most of the hot and muggy summer came and went and I barely wet a line.  Then September arrived and with it a change in the weather as the first hints of Fall began to linger in the air.

With fresh aromas of autumn brewing, memories of days from by-gone years stirred me into action and I loaded my canoe on top of my now beginning to age Jeep, tossed fishing gear in the back, and headed out early one morning.  My destination was Shanty Hollow Lake, which is about a forty five minute drive from my home.  It's a beautiful little lake about 600 acres or so in size...ideally suited for canoe fishing...with clean water and isolated by steep heavily wooded hills.

As I drove toward my destination I passed through cave country hills and marveled at the ghost like valleys and small farms, and barns that filtered through the morning fog.  I arrived moments after official sunrise, but the sun would take another thirty minutes or so before it climbed over the tops of the surrounding hills..  A thick fog floated across the lake and filtering through the haze I could see the first vestiges of fall colors in the trees.  There was no wind at all...just a magnified sense of anticipation that wafted from lingering memories of similar mornings past.  Before I shoved off, I simply stood on the edge of the lake and surveyed the scene.  It felt good to once again experience one of life's small pleasures.  As I slid away from the bank, the sounds of the morning provided an uplifting, calming spirit.

I tossed a line here and there seeking out those hidden recesses where the big bass lie...but alas the fishing was slow.  It didn't matter.  I was drawn to the peacefulness that reigned over this time and place.  As I drifted through the fog, noble emotions I thought long since dormant began to rekindle into flame.

The morning played slowly away and while the final layers of the mist dissolved, I paused in the middle of the lake.  No wind had yet stirred the surface of the water...just the ripples from my canoe and paddle.  I gazed across the skyline of trees now accented against a blazing blue sky.  It was then I once again realized how good it was to experience life from the heart.

No matter where home may be called, by finding time to grasp those moments, in some small way I discovered that a part of Kentucky already existed within me.  Historically, I will always be a native of Oklahoma...but because of this morning...Kentucky truly became a part of me...and I became a part of Kentucky.

I returned home with a renewed spirit equipped with a trophy like no other...not one that can be displayed on a wall...but one much more rewarding...for you see, what I discovered during that rendezvous of time and place was something that stirred deep within.  It was a trophy won from the heart...a gift you might say from my new home...Kentucky.

Keith

The Lighthouse

Many years ago I experienced an adventure I would never trade for anything.  I spent four years in a very distinguished service:  The United States Coast Guard.  Most of that time was spent at the Umpqua River Lifeboat Station in Winchester Bay, Oregon.  One of the many responsibilities we had was caring for the Umpqua River Lighthouse.  The following is a recent story I wrote for
Sherri Elliot,   http://friendsofumpquariverlight.weebly.com/,  for their 2010 symposium celebration.

(Photo's courtesy Sherri Elliot - http://friendsofumpquariverlight.weebly.com/)

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There was a quiet symmetry and slow rhythm to the nightly dance of light that played out high on the bluff that over looked the Umpqua River bar. Listen closely and a subtle but distinct growl seemed to reverberate from within the hollow confines of the old lighthouse. I never really knew why…maybe it was vibrations from the motor and drive shaft that supplied motion to the brass gears of the prism dome that rotated high above…maybe it was simply how the wind wrapped itself around the breadth of its tower creating a resonance of sorts that caused the hollow shell to vibrate. Maybe it was just my imagination, but the rumble seemed to keep time with the slow rotation of the one red and two white beams of focused light as they cut through the mist during their orbit around the compound.

I was much younger then…I guess it’s been the better part of 37 years ago now. I was 21 at the time, coming from the heart of Oklahoma the closest I’d ever been to a real lighthouse were pictures in a book. Maybe that was why I was so captivated by it. Even so, it doesn’t matter where you come from…there is something magical and endearing about a lighthouse.

The good Lord knew what he was doing back then by placing me in Winchester Bay, even though I did not fully comprehend the significance of it at the time. As a result, the few short years I spent on the Oregon coast as part of the U.S. Coast Guard Station, Umpqua River became the defining years of my young adult life…and my time in and around the Umpqua River Lighthouse became one of those iconic experiences that still affect who I am today.

That old structure became a safe haven of sorts offering a brief respite from the everyday grind we endured as crewmembers of the Coast Guard Station. That grind was characterized by hours and hours of cleaning, painting, and scrubbing, broken by an occasional stint on bar patrol riding the waves on the now retired CG44303 and 331 surfboats and even less often actually performing some kind of search and rescue operation. Oh…we were busy enough with the bar patrols and SAR operations especially during the summer months…but when we were not involved in one of those adventures…well, we scrubbed and painted just about everything that could be scrubbed and painted…multiple times…and then we did it again.

When the chance to break away from that routine became available, I was quick to latch onto it and Friday clean up chores at the lighthouse offered one of the best opportunities. I actually looked forward to that time and tried to keep that fact a secret as I jealously wanted to share very little of it with my fellow crewmates.

While there, I would often read some of the old entries in the lighthouse log books…mostly ordinary things like ‘swept the floor and stairs…oiled the gears’…things like that…making numerous mostly routine entries myself. I’ve often wondered what ever happened to those old log books.

Sometimes, I would hurry through my clean up chores so I could spend time simply looking out to sea from the heights of its tall structure. On clear days you could see about as far as your imagination would allow you to go. On those cold, dark, and damp days, I’d simply watch the light cut through the mist as that great lens would rotate slowly behind me slicing the damp air with its red and white beams. There was a peaceful atmosphere that permeated those heights, an atmosphere that is best experienced up close, as words can do little to describe the actual feeling. Needless to say, over time I began to believe that old lighthouse was a friend of mine…someone who didn’t care if I had messed up that week…always welcoming…always warm and refreshing…always providing something new to experience. I really looked forward to those few random opportunities to visit that place.

Often, when I had some free time, I would drive up the hill at night and park beneath the lighthouse to watch its choreographed performance. I found it rather calming. Dusk was the best time as the mist would gather and the beams would begin to glow. It was almost like the old lighthouse was using those beams of light to point toward something…as though it was trying to speak to anyone who wanted to listen…

”Come and see…” it would say...”Let me tell you of the adventures I have seen.”

Many times I have wondered what stories it could tell if indeed it could speak to us. One thing for sure is that it helped inspire a young man to dream of grand adventures.

I spent many hours on watch at the old lookout tower that at the time was situated just on the north end of the parking area in front of the lighthouse. During the long night watches, I can still vividly remember observing the magical light show as the red and white beams cut through the mist…and yes that growl…that constant, low volume rumble that seemed to groan from within was always there…a kind of song that was part of the symphony of light, sound, and the aroma of the pine scented mist that played out every night on that hill. It is a good thing that our minds capture such things for they become so much more than reflections of times past...they become reflections of who we are…Even so, I choose to save the best of those memories for myself.

From time to time we would be asked to provide tours of the lighthouse. As I was one of the few people at the station who could type at the time, I was often assigned office duty filling out daily reports and such and standing the comm-watch so when someone came in and asked for a tour, more often than not I would take them myself…not all the time mind you, others performed that roll as well…but I didn’t mind doing it when I could. Usually those tours involved an older retired couple on vacation or maybe some middle aged couple…rarely anyone close to our own age, except on rare occasions. One day a car pulled up next to our main building down in the harbor and a middle-aged couple stepped out. Many of my crewmates for some reason didn’t like giving tours and they tended to scatter rather quickly…and prematurely as it turned out on that occasion. Right behind the man and his wife their two daughters stepped out…and I must admit, they were both rather stunning. That was the best lighthouse tour I ever had the good fortune to perform…much to the jealous chagrin of several fellow crewmates.

There probably isn’t a day that goes by that the experiences that came into my life back then are not in someway reflected in who I am today. I learned a great deal about life during those few short years and the old lighthouse was an important part of it. I venture to wonder what life would be like now had I not been exposed to those days. It is good for the soul to do such things…remember dormant adventures by removing rustic memories from the old “trunk of recollections” and bringing them into the light again.

Should we ever lose all or part of the old lighthouse I suppose all those memories would still be there…but it would never be the same. Twenty-five or thirty years from now we may find ourselves asking why such a thing was ever allowed to happen.

The old lighthouse has always functioned admirably with a sense of grace, strength and purpose, but what seems most important today is simply its aesthetic beauty. The lighthouse may have over time lost its ability to serve the same purpose for which it was originally intended. I suppose it really doesn’t need to. In reality, it actually serves a more important purpose now…and that is to remind us of who we are.

It’s one of a kind Fresnel prism lens that has served so well for so many years, can still serve a common good by helping us to remember the significance of the lives that have revolved around it. It serves as an anchor in time, a point from where we can not only look back and revisit from where we have come, but look forward to where we want to go. Its beams hold within their glow the stories of times past, gliding on the currents of life that still reach across time…offering a safe haven where future stories may be archived.

Like lighthouses of olden days whose beams served as a beacon of warning, those beams can also serve as a warning to current and future generations…a warning about not letting go of old values, about not throwing away the things that cannot be replaced…about seeking wisdom before we act…about clinging to the things we hold dear and remembering that the most important safe havens are often found in the heart. It is good to know that the old lighthouse is still there, still reminding us of whom we are and encouraging us to build new memories on the way to the future.

My life would not be the same without the connection it has to that old lighthouse for through the years I’ve come to understand more clearly a few things I wished I would have understood more closely back then. Even today, in the half-light of a misty morning far removed by time and place… I can still hear the rumble of that old lighthouse as it speaks to me across the vacuum of years gone by.

I am forever thankful for having known you…my old friend…grateful for the memories…strengthened because you were a part of my life, and for a brief moment in time you provided an uncertain, searching young man a point of reference from the past…so he could face the future with confidence and purpose. It’s comforting to know that you still hold a part of my history cast onto your beams of light as dreams of grand adventures…dreams that still echo across time.



Keith R. Bridgman

USCG Station Umpqua River
1973 - 1975

Looking for Mood

Most of you probably know by now, one of my favorite places to photograph is the Tallgrass Prairie area of Northern Oklahoma.  Over the past five or six years I've probably made in excess of twenty-five individual trips to the preserve often arriving before daylight and staying until after sundown.  This area may be one of the most under utilized scenic areas for photographers in the country.  That suits me just fine as on many of those excursions I was practically the only person there.  The prairie is not a place that can be effectively photographed from the gravel road or scenic overlooks. It is best observed up close by hiking into the interior and spending time amongst the arroyos and rolling hills.

I am often asked why I spend so much vacation time and effort returning over and over to the prairie...'Don't you have enough photographs?'  I used to try to answer in some profound way...but I no longer even try...instead my answer is more often, 'Well, I can't explain it'.  I've also been asked a number of times what I look for when photographing that area...and what I look for just in general when I head out on a photo shoot.  That's a tough one to answer as well, because there are so many variations.  The best answer I can give is to simply say I look for opportunities that generate a mood.


For a photographer, mood is determined by several factors..the most important being the quality of light.  Light alone though isn't always enough.  For light to be effective in generating mood it must be combined with an effective composition and interesting subject.

An area like the Tallgrass Prairie can never truly be captured in a single photograph.  What I've discovered is that a collection of related images viewed together does a better job of conveying the essence of this amazing landscape.  On any given trip into that area, I always try to capture what are called 'Establishing Shots'...or shots that captures the basic nature of the landscape.  I don't stop there...but I begin to look at it more closely and focus in on the smaller things that define the larger landscape.  Those include the common things like wildflowers, birds and wildlife...but they also encompass things like contrasting colors, shapes, form, and the action of wind and water.

Speaking of wind...there is a lot of it on the prairie which makes for ample opportunities to capture its effects. I often will use a small aperture and slow shutter speed and allow the wind to blur the movements of the grass.

What I try to avoid doing...not always successfully...is taking those cliche shots.  Cliche shots are those images you've seen a hundred times...time and place may be different...but the basic shot is pretty much the same.  Not all cliche shots are bad, it's just that I try to be a bit more creative.  Even so, I still struggle with avoiding doing so as it is easy to snap away and end up with hundreds of shots that all look alike.

I also often head up that way with a specific agenda in mind.  On one trip I may concentrate on morning or evening shots.  On another trip I look for birds or wildlife...and on still another I concentrate on wildflowers or related subjects.  Many times the weather does not cooperate so I try to remain flexible and adjust accordingly.

One thing I pretty much always do is to shoot early and late in the day.  Depending on the lighting condition, photo's taken in the middle of the day tend to be flat and ordinary.  Most of my middle of the day shots I use just to document potential locations for future early or late opportunities.  Having said that, sometimes middle of the day shots can be quite effective, but that requires a good combination of bright colors and/or contrasts of color or light.  Overcast days oddly enough are often great days to shoot the area because of the soft even light and especially if there is any kind of  texture in the sky.

In summary...the Tallgrass Prairie is a location filled with visual emotion expressed through many moods.  As a photographer, my job is to capture the changing moods of the landscape through the effective use of light...and then present the image in such a way that it generates an emotional response in the viewer.

Where what once was...still is

I've written a number of articles and stories about Oklahoma's Tallgrass Prairie.  I've also taken thousands of photographs of the area.  Some might say there's a bit of obsession involved.  Maybe so...but, I prefer to think of it as...well, let me try to explain.

Most people have never heard about the tallgrass saga, and most probably aren't aware that there are three distinct prairie regions in North America.  First, there's the short grass prairie which encompasses the western sections of the plains states.  It is characterized by short scrubby grasses...a hot and dry climate...and higher elevations found along the landscapes that reach eastward from the Rocky Mountains.  Then there is a thin ribbon of an area called the mixed grass prairie where the climate begins to change and a blending of the short grass and tallgrass area begins.  Finally, there is the tallgrass prairie.

The tallgrass region at one time was perhaps the largest eco-system in North America...it was a massive sea of tallgrass species that grew taller than a man and stretched from southern Canada, across the eastern Dakota's, Nebraska, Kansas, Oklahoma, and into Texas almost to the gulf coast.  It stretched across southern Minnesota, almost all of Iowa and a good part of Illinois and northern Missouri, and there were even isolated pockets in Kentucky and Arkansas.

Three forces helped to create and sustain the tallgrass prairie:  1. The climate with hot summers, cold winters, and good moisture.  2. Millions of American Bison (buffalo) roamed across the area which grazed the grasses low, disturbed the soil, and dropped tons of fertilizer. 3. Fire...which burned across the grasslands often for days or even weeks clearing thousands of acres and preventing the encroachment of brushy plants and trees from choking out the grasslands.

The tallgrass prairie saga today is one of loss and restoration for between 1840 and 1890, in less than one generation, over ninety percent and in some areas as much as 99 percent of the tallgrass prairie was destroyed.  This destruction took form in multiple ways when civilization discovered the rich fertile lands.  The tallgrass region was plowed under, replanted with crops, fenced off and replaced with single species of range grasses.  The bison were killed, and fire was suppressed.  Within 50 or 60 years, almost all of the original tallgrass area was gone. The only place now where horizon to horizon vistas of original tallgrass prairie can still be found, is the Flint Hills region of eastern Kansas and northern Oklahoma.  It's difficult to grasp, but the Tallgrass Prairie is the most endangered land form in the world...even more endangered than the rain forests.

Northern Oklahoma is home to the largest of the few protected areas that remain...The Tallgrass Prairie Preserve, owned and maintained by the Nature Conservancy, is unique in the world.  No other location still uses all three of the original forces that sustained the prairie.  The climate has remained basically the same in the region, and there are around 3000 bison that roam free and wild across the preserve.  Fire is also used, although controlled, in the same way as the wildfires that once scarred the landscape.

I began my affair with the tallgrass saga over 15 years ago when I first visited the preserve.  It was pretty new at the time and only a few hundred bison were on the preserve.  Most of them I was able to watch from high atop a knoll as they grazed across a slope a few hundred yards away.  I watched my first legendary prairie sunset that day and even though I didn't own any quality camera equipment at the time, I made a promise to myself to return and photograph what was there.  It took over ten years before I would live up to that promise, but eventually I did return with camera in hand and began capturing the flavor and drama across this wonderful landscape.  Little did I realize at the time that six years later I'd still be searching that landscape for all of its photographic potential.  I've not even come close to finishing.

Oklahoma's Tallgrass Prairie is truly a place where what once was...still is.  At one time I thought of the prairie as just a big field full of weeds.  No more...for I've spent hours sitting under the shade of an isolated cedar tree just letting the sounds of the prairie infiltrate into my heart.  I've watched legendary sunsets and amazing sunrises.  I've face prairie storms and encountered close up angry bison.  I estimate that I've driven hundreds of mile on the gravel roads and hike dozens of miles through its fields and across its hills and arroyos.  I've sat atop a high knoll and surveyed a landscape that stretched from horizon to horizon with not a single man made object in sight.  I've watch white clouds drift across a blazing blue sky.  I'm still in wonder of this landscape and will continue to search its quiet beauty and the soul cleansing that it affords.

I'm often questioned about why I keep returning after all the thousands of photo's I've already taken.  I quit trying to find an answer because there is no answer that will satisfy that question.  The best I can do is to show you what I've experienced.  Please find time to watch this video...after doing so...maybe you will understand as well.   http://www.facebook.com/video/video.php?v=182132195149227