The Old Guard

On January 29th a new action adventure movie will be released. It is based on a true story, the best kind of movie stories. It is an adventure about courage and dedication and one that strikes a personal note. The movie is The Finest Hours staring Christopher Pine. The event happened way back in 1952 on the East coast during a terrible storm where a Coast Guard small boat crew executes what is considered the most daring small boat rescue in Coast Guard History.

From September 1973 until August 1977 I spent four years in the U.S. Coast Guard. Those few years became the defining moment of my young adult life, moments that still affect who I am today. Of all the events of my life, nothing retains the level of influence gained from those experiences. They were difficult, challenging, and at times dangerous, yet I would not trade those days for anything.

Most of my tenure in the Coast Guard was spent at the Umpqua River Lifeboat Station located at Winchester Bay, Oregon. Winchester Bay was a small coastal community about one third of the way up the Oregon coast from the California border. With a vibrant commercial fishing fleet, it was also known as a popular vacation spot with miles of ancient sand dunes and unspoiled rustic beaches. At the time, hundreds of personal small craft owners would migrate to this location between Memorial Day and Labor Day. As a result, we were understandably very busy during this period. Back then, with a crew of about 24 or 25, we averaged around 400 SAR's, or Search and Rescues, per year, most of them occuring between those dates. Most of them were routine, but some were in fact life and death challenges.

One of our 44 footers

The Umpqua River Bar crossing has the dubious reputation of being one of the most dangerous crossings on the west coast. At times, when conditions are good, you can water ski across it. But when things turn bad as they often did, the bar turned into a hellish boiling mass of twenty, sometimes as high as thirty foot breakers collasping in multiple rows across the entrance channel. To combat these conditions we operated two 44 foot motorlife boats (MLB); the CG44303 and the CG44331. We also had one of the last wooden hulled 36 foot MLB still in commission, the CG36498. This is the same kind of rescue boat depicted in the movie. It's designation was CG36500, from the same construction lineage as our 36498.

(The following video depicts the CG44303 in action on the Umpqua River Bar as filmed for the Lassie series episode 'Tempest' back in the mid-1960's. This sequence heavily influenced my decision to join the Coast Guard and by chance I happened to end up at the same location.)

The 44's were remarkable craft and could perform a 360 degree roll in heavy surf and still complete the mission. They were designed to bulldog their way through the surf, maneuver on a dime, and execute dangerous rescues in adverse conditions. They were powerful, nimble, ruggedly capable rescue boats, but they were slow with a top speed of around 15 knots (about 20mph).

There was a phrase passed around back then about someone who had been in the Coast Guard for a long time, long enough to have witnessed a great deal of change. They were from 'The Old Guard'. Today's Coast Guard is a more high tech, highly motivated service. They still operate out of Winchester Bay, only today they run around in the newer 47 foot Motor Lifeboats. These vessels are very fast, highly capable rescue boats in their own right, but they are of the New Guard generation. From what I understand, the number of SAR's at Winchester Bay today averages around 40 or so per year, more a result of the economic times, and better trained private boat operators than anything else.

One of the New 47 Footers

There are times I remember back to those days and realize that our crew was the vanguard of a newer class of Old Guard personnel. We didn't feel it at the time, but as the years have passed, one begins to realize just how Old Guard we really were. We relied more on 'seat of the pants skill' than high tech equipment. Of the hundreds of small craft owners we towed back to the harbor, few probably realize just how fortunate they were for us to have been there. Stranded as they may have been, things could have turned dangerous very quickly without our intervention. There were times we had boats catch on fire, several capsizings with people in the water, boats lost in thick fog not knowing what to do. We also had one serious situation where one of the smaller commercial trawlers, the Holmes, got caught in heavy surf trying to cross the bar and was eventually battered against the ominous black rocks of the South Jetty. A crew on the 44303 pulled them off just seconds before the Holmes was shattered into kindling wood; a daring and dangerous rescue it was in deed.

Harmony under Tow

We also had the severed thumb or broken finger calls, and one I was directly involved in, a heart attack
victim who had collapsed onboard the fshing vessel Poky. Our crew received commendation for that one. And then the time the large trawler Harmony broke down during stormy weather and we had to head out and tow them back to safety. It was a nasty long and wet ride.

Yeah, the Old Guard helped to build a lot of character for a lot of searching young men back then, To see a movie come out that focuses on the achievements of a previous generation of Old Guard crewmates, well, it does one good. I hope many of you will find the time to watch this new movie and hopefully it will give you a greater respect for a branch of the military few think much about. They are unsung hereos often going into harms way in obscurity. It's good to see them receive some recognition.

Ancient Native American Effigy - Or - Just a Rock

Effigy or a Rock

Even from an early age I was fascinated with ancient history. I remember when I was, oh...maybe eight or nine years old back where I grew up in southeastern Oklahoma, I found a thin oval shaped rock sitting in the bottom of my grandfather's filing cabinet behind the cash register in his store. It was about eight or ten inches long and maybe six or eight inches wide and maybe slightly more than an inch thick. I began to examine its smooth surface, at first it simply looked like a typical flat river rock, but as I examined it more closely, I noticed some weathered etchings on one side. My fingers rolled over the indentations and I turned it one way and another trying to make out what was there. I asked my grandmother, "What is this?"

 "Just an old river rock your grandfather found on Caston Creek a long time ago with maybe some kind of Indian markings on it," she said.

Indian markings? What could they mean? As my adventurous boyhood mind played with that idea, I began to see what I believed to be a man on a horse holding a spear. Probably fancyful wishful-thinking mind images, but that is what I remember. Even at that age I knew a little about history and understood that in the late 1500's and early 1600's, Spanish and French explorers had indeed traveled through that part of Oklahoma.

 "Looks like someone riding a horse carrying a spear. I wonder if someone with Coronado or La Salle stopped by here and one of them made these marks on this rock," I asked.

My grandmother, stopped what she was doing and took the rock from me to carefully examined it.

"Maybe", she said, "Just looks like an old river rock to me."

I never knew what happened to that old rock. Too many more important things came about in the years following that discovery and somewhere during all the changes it was lost or tossed out, or seems like I remember my grandmother saying she thought she gave it to the curator of the county museum. No telling where it is now. But, that single moment of mindful intrigue triggered a lifelong fascination with people and events from the past.

A few days ago I left my camera at home and drove over to a fishing creek just to walk around and get out of the house. The water flowed with a rapid pace, clear and cold, like the air that day. As I walked methodically along the gravel bank I glanced here and there hoping to find an arrowhead. After a while with no luck, I was just about to leave when I decided to walk along a much smaller feeder stream that angled along the bottom of a bluff to merge with the main creek. I was getting a bit tired by then and worked my way along the narrow channel more quickly than I should have. When I came to where the two joined together, I decided to give up, turned and took a few steps when I noticed lying face up what appeared to be a large spear point. Its color and shape blended with the background gravel so well I almost missed seeing it. I picked it up and checked for the tell-tell signs that someone had hand worked the flint of which there were good indicators of flint napping and edge working. It looked like it was a rather crude point, roughly made and not pristine with the tip broken and almost had the appearance of being discarded before it was finished, but definitely hand worked.

For a few moments I pondered on who that person was, what was he doing there, and how long ago it might have been. Amazing really if you think about it. Possibly thousands of years ago someone sat near this creek and made this stone artifact and somehow it ended up lying embedded amongst the gravel of this small feeder stream for me to eventually discover. What was life like for him? Was he alone? Did he have a family? Did he live in a village or was this just a hunting campsite? Was this flint spear point ever used to kill an animal, and if so, what kind?

I was encouraged by the find and continued my exploration working my way a bit further down the gravel bank along the main creek. Nothing new presented itself so once again I headed back to my Jeep. About ten yards from where I found the spear point I noticed partially buried in a muddier part of the bank an unusual looking rock. It just looked out of place there. Its color, a rusty reddish brown, and its shape were not typical of the river rocks found in that area. I picked it up and my first thought was...hum...what is this? Certainly it is not a naturally weathered rock. It looked to be made out of a type of sandstone, but felt like it was of a harder substance and indicated signs of having been hand worked. 

Front View - See the arched area across the front right bottom and the notch on the bottom left.

Right Side View

Top View ( See the drilled half holes, one on the left run straight down thru the figure and the one on the right side was drilled at an angle in the opposite direction. The overall appearance looks to be squared off with various right angle polished surfaces.

Hand Held angled view - A stylized bear purhaps

There were what appeared to be two unique half circle holes about 3/4 of an inch in diameter drilled at opposite angles to each other, two flat polished surfaces at right angles to each other that formed a triangular blocked surface on the left side with one of the half circle holes drilled through it.. Another curved area that appeared to have been honed down arched across the bottom and connected with one of the drilled half holes. A smaller notch on the bottom left created what looks like a leg, and a flange on what appeared to be the top looked like an ear protruding. The outer edges appeared to be squared off for the most part and the back and bottom look like they were still in a natural state. When holding it from what appears to be the front, one can see that just possibly it could be some kind of Native American effigy. 

A boy's imagination running away...again?  Maybe, but I've seen and held a lot of rocks in my day and I have never seen a naturally weathered rock to have all of these features on the same rock. Those polished squared off sections are pretty rare I would believe in the natural world, and for it to also have what looks like 3/4 inch wide drilled holes, to me, it looks like it was purposefully carved. The photo's do not do it justice for it is a very striking figure and when held at a certain angle, I can see a stylized bear.

I do know that many prehistoric Native cultures created stylized art work, some more detailed than others. This particular piece, although probably buried for who knows how long, having been found along a creek bank was subjected to at least some wear and tear from sand and water flowing on and around it. It could quite possibly have had part of it broken off as a result. The area where this piece was discovered would have been an ideal location for an ancient tribe to have lived; plenty of clean water, protection from the elements, fish and wild game in the area.

Is this find really an ancient artifact? I've certainly never seen anything like it before. Only an expert could truly determine if it is, but, for now, I'll let the nine year old boy's imagination that still resides in me believe that it is.

Same Flower - Three Looks: The Difference Between Ordinary, Pretty Good, and Extraordinary

It became one of my favorite images, but almost did not happen. Back in the day when I was still shooting film, transparency film to be more specific, I happened across a situation where I had one image left on the roll with a potentially great shot developing. In front of me alongside a country road stretched a long row of Queenannes Lace blooms. In the distance a low rolling horizon rose up to meet the setting sun which hovered just above the ridge. Subdued by a thick hazy layer the sun turned into a orange ball. My thought was to zoom in tight on the bloom and center it against that orange ball. I could only visualize the final image, but knew what I wanted and set the exposure to what I believed would produce the expected results. Problem was, I could not easily line up the shot because of a barbed wire fence. I stooped low through the wire, stretched as far as I could but just could not get the alignment I wanted without falling. I leaned a few inches more and rotated the camera but could only partially align the bloom against the setting sun which was rapidly about to dip too low. I fired off the shot hoping for the best. The final results turned out far better than I imagined.

This image became a good example of what I mean when I explain to novice photographers 'never settle for the ordinary'. Often they become fixated on the object thinking that the object by itself is what creates the great image. Too often they neglect to think in terms of photographing light. There is a difference between ordinary, pretty good, and extraordinary, and as photographers we should always pursue the extraordinary.

Ordinary

Ordinary, when it comes to nature photography, tends to have that fundamental look about it. It may very well be a good technical image and capture the basic appearance of the object, but, more often than not it looks like something that would be used in a Text Book, a documentary image of sorts, where the light falls upon the image.

Pretty Good

Pretty Good is a step in the right direction where light has been used to enhance the basic beauty of the object. It certainly provides a more interesting viewpoint, but there is more available to capture. As a photographer, if I stopped at Pretty Good, I would have left myself short realizing that anyone, even a novice can capture Pretty Good. There is always another look, another example, another opportunity to use light in an artistic manner, and that is what we seek to discover.

Extraordinary

To capture the Extraordinary, one must look well beyond the obvious and visualize the potential of what is there. Even simple objects in ordinary circumstances can become extraordinary images with a bit of creative vision. One must also understand how the camera captures light, knowing why that white field of snow looks gray in your image, or why that deep blue sky looks pale and washed out. This idea takes you deeper, it stretches your thought process broader into the realm of becoming an artist, someone who has a command of the tools they use, someone with a vision vs simply being a photographer of things. It takes practice and a willingness to try something new, something different. It may require you to learn more about how your camera actually does what it does and why it does so, instead of just accepting what the out of box configuration gives you.

Same flower, three perspectives. The difference between Ordinary, Pretty Good, and Extraordinary is often just a few inches away, a different angle of light, another perspective, or coming back a second or third time to discover the right combination of light, object, and circumstance. What you will find is that even though Extraordinary seems hard and difficult to master, the potential for doing so is endless.

Ten Things I learned About Photography in 2015

1. You're never too old to learn something new in photography and there is more new in photography to
learn than I have years left to learn them.

2. Never give up on fading light...even after it appears to be virtually gone, what is still there will often produce unexpected results..

3. There is more to Light than meets the eye, and more ways to capture it than I realized.

4.  Light is not only visible, it speaks with a language all its own...but sometimes you have to be still to hear it.

5.  Kids and teenagers make wonderful models.

6.  Photographing teenagers can lift your spirit like nothing else can...they have an energy about them that can make a tired older photographer feel like being 40 again.

7.  On any given day something magical photographically can happen, on any given day I will miss a magical photographic moment.

8.  Sometimes I need to set the camera down and enjoy the moment just for myself.

9.  It is too easy to get caught up in photography and miss the rest of your life moments.

10. I can often see lives begin to shine in a different light when I see them through the lense.

Essence of the Moment

One of my favorite refuges is to stand alone on a high knoll inside the tallgrass prairie. One can discover moments of the heart while standing there. Emotional Images such as these are difficult to convey inside the visual elements of a photograph, but that is exactly what I always try to do...capture the Essence of the Moment.

You see photography is more than taking a picture of an object, it is about capturing moments of the heart. This may be one of the most difficult concepts for novice photographers to grasp, maybe even for a good number of advanced photographers as well. The Essence of the Moment is about capturing what you feel and less about what you see. One of the biggest mistakes novice photographers make is to think they have to capture a subject exactly the way they see it when in reality a photographic work of art rarely exhibits visual life as an exact capture of visual facts. Instead, a photograph should capture the emotion of the moment and become a visual point of reference as to why that moment was important. There is no single best way to accomplish this. Photographers must first understand what the concept means, be willing to alter or adapt their way of seeing, and then develop their own techniques that fulfill the desire.

A good writer is able to 'show' through words the emotion of the moment in his story. An inexperience writer tends to 'tell' his reader what is happening. The same holds true with photographers. The good ones instinctively understand how to 'show' what they are experiencing visually. There is a big difference between a photograph that 'tells' me about an object from one that 'shows' me why that object at that moment was important. The images that 'show' carry a hint of realism across a pallet of light filled with color, texture, contrast, vibration, and purposeful composition.

It has been said that all photographs contains two people in them. The first is You the photographer as it is a representation of not just your technical skill, but your emotional being. The second is the person who views the photograph, for they always project a part of themselves into the moment of the image. A photograph capable of pulling the viewer into it making them wish they were there or stirring an emotional response from them is a photograph that captures the Essence of the Moment.

Photography For The Birds

A calm demeanor floated above the small lake that morning creating a mirrored smooth surface from which the tall trees lining the edge reflected. The only ripples were those made by my paddle as I floated across the open waters in my Old Town canoe. Out of the corner of my eye I noticed a somewhat large bird swoop across a cove and land next to the waters edge. A quick look through my long lens revealed it to be some kind of heron but it was too far away to make out exactly what kind. I turned my canoe toward where the bird had landed and paddled ever so slowly to close the distance. I fully expected whatever it was would fly away as I approached, but to my surprise it remained calm and focused on catching his meal. Amazingly, I drew within about twenty feet or so, and raised my 500mm lens and began to shoot. I was barely far enough away to stay outside the minimum focal distance for that lens. In my viewfinder I saw what appeared to be an immature Green Heron stalking the shallows amongst some tangle of vines and stems. I fired away with the shutter as he appeared totally oblivious to my presence. The results were amazing.

Wildlife photography can be one of the most rewarding and challenging types of photography a person can pursue. It requires not only a good command of your camera equipment, but an understanding of wildlife habits and environment. It requires a measure of patience, stealth, and determination. What I've discovered is that you have to want to do it to be successful at it. Although I do not spend a great deal of time in the field pursuing wildlife, when I have done so I have thoroughly enjoyed the process. It can provide a pleasant change of pace from the everyday photography I tend to do. There are days I come back without a single usable image and there are days I must cull many images just to reduce the numbers to a manageable level. There are also days when great opportunity presents itself and I am not ready, and days where I stumble into a great image without even trying. Wildlife photography is not for everyone, especially those who do not like being hot or cold or wet. However, there is a relatively easy way to break into the field; Photographing songbirds in your backyard.

This article is not intended to be a definitive dissertation on the techniques of birdwatching or bird photography. It is however intended to encourage the reader to give it a try. Equipment required is minimal, but there are certain requirements that will make your attempts more enjoyable and successful. First of all you will need a good zoom lens. It does not have to be some pro-grade f/2.8 500mm multi-thousand dollar engineering work of art. It does however need to have some reach to it. At a minimum, one of the standard 70 - 200mm zoom lenses will work. Something reaching out to 300mm is better. If you have a budget that allows for it and wish to purchase a good quality zoom then you might consider something in the range of 50 - 500mm. Good after-market used lenses in this range are very reasonably priced.

Another good piece of equipment is a sturdy tripod. Although not absolutely necessary, when using a long focal length lens, you will find your images will be much sharper if shot from a tripod. Other than that, what else you use in the field is up to you.

Attracting songbirds to your backyard is pretty easy. Using a general all purpose birdseed will attract a wide variety of subjects, plus any kind of suet or millworms or homemade food stuffs will work. What you should remember is when photographing songbirds, it is best to capture them in as natural an environment as you can, avoiding the cliche images of birds sitting on the edge of a feeder. In order to accomplish this, place your feeder near some overhanging limbs or even consider making your own by cutting a limb or two from that vacant lot down the street and placing them a few feet from your feeder. This will provide the birds a secure place to perch before they approach the feeder. Remember, the feeder is simply used to attract the birds, your pictures should focus on their natural behavior.

Another requirement is to position yourself close enough so you can fill the viewfinder with the subject. This is generally a lot closer than most people realize. Even with a 500mm lens with a lot of reach, you should be within about 20 feet or less to be able to capture those detail revealing images. Using a 300mm lens requires that you get within about 15 feet or so. So how do you do that without spooking the birds?

Well, there are several ways. One of the easiest is to shoot through an open window or door that opens onto a deck or patio. Just setup your feeder close by, hang the perching limbs a few feet from the feeder, sit and wait while you observe through the window. I do not recommend shooting through the glass as that will tend to distort the image and reduce the sharpness. Another way is to setup a blind. Something as simple as a few yards of old burlap, or cheap camo material stretched across a couple of poles will work. The idea is to reduce the visible physical movement which is what scares the birds. You can also purchase one of those pop up camo hunting tents which affords a good deal of portability. They not only protect you from the elements, but are very effective at concealing your movements.

The trick now is to capture the birds. It will usually take a day or two for the birds to find your feeder, but they will find it. Remember, fill your viewfinder with the subject, include some of the environment in the image, shoot using a large aperture as this will blur the background especially with a long focal length lens. Focus on the eyes and use a fast shutter.

Hope this encourages you to give it a try. There is a great deal of information available on the Internet about the subject, so get out there and enjoy.

Keith

Make the Extra Step - Solving the Technical vs Artistic Equation

I am constantly looking for ways to improve my photography. One of the more productive ways is to simply observe what others do, examine how they solve the lighting problem, and watch how they interact with the environment and people they are photographing. One of the most important tips I've learned is to not settle for what you have, always seek to do more, to discover more, to take  an image idea and push it further, take it beyond what you might ordinarly accept and explore richer possibilities.

Many times when I setup an image there is something I have in mind as far as what I want the finished product to become. Sometimes...well, it does not work the way I hoped it would. However, when it does, I realize I made another step forward toward understanding how to solve the technical vs artistic equation. Sometimes this mean to try something new even if it falls way outside your current skill level.

For many years I never used a speedlight (flash) because I simply did not understand how to use one. My results always fell well short of what I knew others were able to obtain. So, I began to watch others, study videos, read about the techniques pros were using until one day it all clicked and that 'Light Bulb' came on in the part of my brain where all the dots were connected. Once I began to grasp the concepts, it was a matter of applying that newly obtained understanding with trial and error to perfect the technique. I am still trialing and erroring, but have moved a long way toward not only understanding the concepts of speelight photography, but being able to visualize the results before they happen.

Take your image deeper. Never settle for the ordinary nor the first option. Look past what the camera wants to give you and use it as a tool to create what your heart and creative instincts desire.

More...Selected Blog Post Excerpts

End of 2015 is approaching. Here's some excerpts from previous Blog Posts you might find interesting.

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

...at the moment I realize I can never truly lock a camera image in place, I will set the camera down and simply create an image of the heart, one that can never get lost, nor forgotten. I say to myself, "For now I will just sit...just enjoy...for no other time will I have this particular experience, and this moment is just for me".
(A Moment Just For Me - Novermber 18, 2015)

I do love the soft twirl made by line as it rolls off the spinning reel followed by a girgled ploop as the spinner
lure falls with a natural grace into the stream. When the bail closes with a soft clink joined in motion by the gentle whirl of the gears, memories return from times past, the kind that reminds me of what fishing is all about. (The Best Day Ever - There is More to Fishing than Catching Fish - Nov 6, 2015)



...my favorite places to get lost is to simply find a creek where the clear waters roll and dance around softly rounded stones, over casual drops, to create an unending echo of natures music.....the visual effects will suspend one above the trials of the day. I suppose that is why God created these small creeks, to remind us to slow down, to reflect, to listen so we can hear him and know who he is. There is wisdom in those immortal words, "Be still..." (Be Still - Oct 26, 2015)


...the prairie can be cold, hot, wet, dry, windy, overcast, and bright sun, all in one day, but it can also be one of the most rewarding and challenging of photo adventures one can pursue. The key is get off the access road, shy away from the cliche, and seek out new potential by walking into the prairie. It is there you will discover its true identity and it will reveal itself to you. Take only its portrait, but leave a part of yourself blowing with the prairie wind...(Big Sky - Big Country - Sept 23, 2015)

...Using light as the narrator of your image story requires one to understand how a story flows. There is a beginning, middle, and an ending. Light, like words, illuminates each part in such a way as to bring importance to each one, but to also tie or bind together the loose ends. Without a good narrator used effectively, the story falls flat. Without effective use of light, your story image will become ordinary...(Using Light as the Narrator of Your Image Story - Sept 8, 2015)

...seeing what wasn’t there…yet…I was able to visualize something extraordinary evolving from this ordinary location. It took several pre-dawn attempts to catch the right moment, but when it happened, I was there. The moment would not have happened had I not used my most valuable lens; being able to see past the ordinary...(Your Best Lense is your Eyes - Your best Filter is Your Imagination - 6/26/2014)

...young folks with their energy and adventurous spirit, without even knowing it, helped to cheer up and encourage an older generation of photographers simply by reminding us about our own youthful past. They were grateful to get a few photos. We were grateful to share in a few moments of their youthful energy....(Young at Heart - May 22, 2014) 

...Everyone has subtle light in their lives that requires a long personal exposure along with careful and attentive tracking to see. With the right amount of effort and understanding, the light in their lives regardless of how faint, will over time begin to glow with it own unique radiance. When I smile as an image of the night sky begins to form, I am smiling because what I see is so much more than stars floating in the sky . . I see lives beginning to shine... (What I See - Feb 20, 2014)

The winter woods can provides a welcome relief from the pressures of life and soothes the soul so completely that all the anxiety and stress we force ourselves to endure seem ever more insignificant. The colors of winter are soft and reflective like the soothing words of a poetic lullaby. We only have to find time to seek out their curative words. (The Winter Woods - Dec 28, 2013)

There is a new movie about to open soon about my old pal Walter Mitty. He and I have a lot in common actually...well...maybe not a lot but certainly his and my tendencies to day dream are rather similar. I found myself daydreaming the other night as I cleaned out that old tacklebox. It's funny how an old stinky and beatup lure can transport one back to another place and time. Guess maybe that is why I spend time sorting and resorting old wornout fishing lures...it's good therapy for the soul, only now I must again find time to generate new memories...there have been too few of them as of late. (Cleaning out the Tacklebox - Dec 19, 2013)



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

The diversity of nature may surprise us if we stop and observe closely enough. Photography presents us with opportunities to witness more closely subtle events that we more often than not simply overlook. Things we take for granted take on a new life when viewed from the perspective of a photographers eye. (Take a Closer Look - Dec 2010)


That one defining moment may never happen...but I'll continue to search for it and even though I'd rather be good than lucky...maybe a little luck will come my way and I'll stumble onto a magical moment of light and actually have my camera in hand. (That One Defining Moment - Dec 2010)


Never again would a sunrise simply be a sunrise. It would be a unique moment of time and place forever bound and tested against that morning...forever etched as a defining principle of what a relationship with God is all about. Few images can stir the soul like witnessing God's creative hand as it unfolds across his natural palette. Every morning...every new dawn...is a unique creation there for the taking...there for all to share. It;s just a matter being still long enough to not just view it...but to experience it. (When Nature Wins - Dec 2010)


I've heard it said that an artist begins with a blank canvas and adds the elements required to create his vision.  A photographer on the other hand, begins with a full canvas, and must remove those elements that interfere with the vision he has...(Imagine the Extraordinary - April 2011)

Photographs capture a single moment in time…being there at those remarkable times to experience a new day from its first moments of life generates a prolonged feeling that lingers well past the actual event. Every similar outing provides for a new experience…a new understanding of what is important. Being able to capture a few moments afield photographically…well, it’s sort of like catching a bass while fishing...fun and rewarding, yet, that’s not the main reason why I traveled that journey...it’s simply the bonus for having done so. (For Having Done So - More To Photography Than Taking Picutres - Sept 2011)


Experiences such as those generate unspoken words that attach themselves to our young minds as we grow older...words that echo across time attached to memories...it is those words that still encourage me...words that carry with them reminders of how those years provided a True Tempering in my youth that only now is becoming evident.  (True Temper - Oct 2011)


That day would have been just another ordinary day in the lives of two rather ordinary 13 year old boys…had we not had the run in with those mean cows and the evil intimidation of all those snakes. As it turned out…well, seems we’re still talking about it forty seven years later, so we must have enjoyed the day…at least part of it…anyway. (At Least Part of It...Anyway - Jan 2012)


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. (Creating Images With Impact - May 2012)


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. (Visual Sounds of Summer - July 2012)


No camera could have captured nature’s poetry spoken that morning...but, the images, sounds, and power of those visual verses that were performed then, have stood the test of time…for all other mornings have been tested against that single poetic example. (Poetry of Morning Light - Oct 2012)

Moments of the Heart are what I call them - moments of time and place blended in such a way as to carve new meaning into a faded identity. (Moments of the Heart - Sept 2013)


Echoes through the hills are made only from living forward, yet there will come a time when those harbingers from the past catch up to us, to reveal new meaningful purpose to why those adventures were important. By living forward each day, new meaningful echoes will follow you into your future.  (Echo's Through the Hills - Nov 2013)

Are You a Lucy Photographer or a Schroeder Photographer?

I first watched the Charlie Brown Christmas program fifty years ago and I do not believe I have missed a single season since then. It certainly is one of the most endearing and heartwarming programs of all time with its simple message about the true meaning of Christmas.

There is one scene in the show I especially like. It is the scene where Schroeder is playing his piano making beautiful Christmas music. Lucy asks him to play Jingle Bells and of course he begins playing in a style that sounds like an organ playing. Lucy interupts him and say's 'No, no...you know, Jingle Bells...' And Schroeder changes his tune to a more classic style. Of course Lucy interupts him again insisting that he play Jingle Bells the way she wants him to play it. He, somewhat disgusted with her by this time, pokes out with one finger the Jingle Bells tune...ding ding ding...ding ding ding...ding ding ding, da-ding...and she yells out 'That's It!'.

Even though I have watched that scene a hundred times, I still get a big kick out of it. The other day, I got to thinking. Seems like there is an interesting photography analogy hidng in there somewhere. I asked myself, "Am I a Lucy Photographer or a Schroeder Photographer?"

Think about that question for a minute. What does it actually mean? The way I see it is like this. A Lucy photographer is one who instinctively settles for the ordinary, making the same mistakes over and over, and rarely takes the time to learn how to create an extraordinary image, often snapping away in total bliss creating ordinary images and feeling good about it. They may not even be able to descern the difference. A Schroeder photographer is one who has advanced well beyond the ordinary and can instinctively create extraordinary images even from simple or ordinary situations. 

Oddly enough, there is nothing wrong with being either one. A Lucy photographer will most often be the happier of the two, while a Schroeder photographer often over complicates the process and stresses out way to much.

 In the early days of my photography, I was a Lucy, fumbling around thinking I was doing just fine, not understanding how Lucy-like I was...I was just happy to watch those imperfect black and white images magically appear in that tank of chemicals processed in my closet darkroom. Today, in the digital world, I tend to pursue perfection in my images and because I have never achieved said perfection, I find myself not so happy with the results most of the time. At times I find myself wishing I could rely more on my old Lucy instincts and less so on my Schroeder instincts.

Even so, a Schroeder can adapt his style, shift his focus, and create beautiful music. He can look beyond the obvious and visualize what is truly there. He may never truly achieve the desired results, but his understanding of what is possible drives him relentlesly forward. A Lucy, on the other hand, plows along doing the same ole thing all the time, never improving, never desiring to discover the nature of the creative process, settling instead on the imperfect bliss found in her results.

Photography is a lot like music in a way, where a delicate melody of light plays across a composition and color theme. I call it Visual Music, or Symphonic Melody. Sometimes understanding our Lucy mindset helps us to simplify what we are doing and enjoy the process more personally. It makes life appear as less complicated. Growing toward being a Schroeder can be a painful process, one that takes time. On those days when we almost arrive, almost create what our minds eye desires, an inner sense of satisfaction encourages us to keep trying.

Hopefully, we do not allow our Schroeder to become disgruntled with our Lucy. Keeping an open mind about what we are trying to accomplish as photographers is important. By blending our Lucy with our Schroeder we may discover the results of our efforts are far more satisfying and probably less...ding ding dingish.

Artificial Moody Light: A Simple But Effective Solution

As a photographer I like to control light, even natural light. Simply by its nature, natural light is more difficult

to control, but by incorporating diffusers, angles, reflectors and a myriad of other light altering solutions one can effectively control even the harshes of natural light. But what about artificial light? How do you control it? Well, this short article does not provide enough space to dwell on all the exposure variables for using studio or speedlights in the field. But, let us discuss a very simple solution to creating moody light when none is available naturally. What you need is a remotely fired speedlight (off camera flash), a bed sheet, and a large window.

First of all lets briefly discuss how cameras and speedlights work together. It is a common misconception that speedlights are simply used to throw light on your subject. I see this all the time. When you see a photo where the subject(s) appear to be standing in front of a spotlight, well, you get my drift. I have boxes full of them taken with one of those pocket cameras many years ago using the little rotating on camera square flashes...oh my, red eyes and everything. Not much mood inducing effect. Unfortuantely, many novice photographers still believe a high dollar flash unit is simply an expensive way of accomplishing the same thing as those square flash cubes from yester-year. Well...it's not. Speedlights provide the photographer with one of the most powerful mood generating tools in his camera bag. The key is to use it off camera.

Using a speedlight also requires one to expand their understanding of exposure. Anyone who has used a DSLR for any length of time probably knows fundamentally that exposure is controlled by ISO sensitivity, Shutter Speed, and the light gathering Lens Aperture. Some combination of these three creates your image. Change one, and then one or both of the other two has to change to compensate. We'll just leave it at that for now. However, when using a speed light, you must slightly alter your exposure thought process.

All speedlights are designed to provide different Power Settings. But do not be mislead with that concept. First of all, a speedlight always fires at the same intensity on every shot. What changes its Power setting is the amount of time it is allowed to fire, and the actual flash happens very quickly...somewhere in the 1/2000th  to 1/3000th of a second range or possibly faster. For example, a full power flash could fire for 1/1000 of a second where a 1/2 power setting will fire for say 1/2000 of a second....these are just round figures and are intended to demonstrate the point, you get the idea. Now think about this. If your camera flash sync speed is say upwards to 1/200th of a second, well compared to 1/2000th of a second, that is pretty slow. What happens is, when your shutter opens the flash fires for that short 1/2000th of a second, and then the shutter closes. (It's more complicated for a high speed sync, slow sync, front/rear curtain sync, but again this is just an example). Your shutter stays open for a relatively long period of time when compared to the flash duration. Knowing this then helps us understand how to use that to our advantage.

In flash photography, the shutter speed controls the ambient light (background light) exposure, while the aperture controls the flash exposure. Uh...what? What this does is to allow the photographer to capture the background ambient light differently than for the light falling on the subject from the flash. If you want to darken the background exposure, set the sync speed to the highest setting your camera will allow. (High speed sync will allow you to fire at a very fast shutter speed and still sync with the camera flash.) Your aperture then is set to capture the light coming from the flash because it fires so quickly, it really doesn't matter so much what your shutter speed is as long as it syncs with the flash...Huh?

Okay...I said this was simple...so let me demonstrate using the sample photo. Notice how the background appears dark, but the subject appears correctly exposed in moody light. The room actually was filled with a good amount of ambient light flowing into it from a large window, but by setting the sync speed to its highest allowed setting (1/200th in this case), and using a low ISO setting (100) that ambient light exposure was subdued to the point the room appeared to be rather dimly lit, when in fact there was a good amount of ambient light flowing into it. The flash unit was set to 1/2 power and positioned about 2 feet away from the window, then fired thru window from the outside. The aperture was set I believe at f/5.6, to properly match the flash output exposure. What you end up with is a subject lit by moody side light against a dark background.

So, how did I get the moody light from this setup? Simple actually, I taped a bed sheet to the outside of the
window which diffused not only the ambient light, but the speedlight flash as well. It effectively became a very large softbox and spred the concentrated light from the flash to provide a very soft kiss of light that subtly wrapped around my subject who was positioned about 5 feet from the window. I set the camera to a Shady White Balance setting that pushed the white balance into a warmer tone. The result was a moody, warm toned, photograph using controlled light from a flash. This image was captured on one take, one shot.

Moody Light, it is as simple as understanding how your camera and an off camera speedlight work together, being a little creative, and combining the two into an effective solution.

Never Give Up on Light

All day for two days the rain fell intermittingly and the sky rolled as a guilded, dark gray, overcast. Not so good for your spirits, perfect if you are a photographer. I love to photograph on misty gray days. Not only is the light subdued with an even coat of texture it becomes moody and filled with mystery. Even more exciting is when the thick overcast moves out and behind it follows a line of clear air. When that moment coincides with sundown, oh my goodness, what results borders on the indescribable.

I managed a late start that afternoon. Only about an hour or so of daylight was left and what remained of it generated a dark mood. As I revisited some familiar locations hoping to capture some of that mysterious mood, I noticed way off toward the horizon what appeared to be a thin line of clearing skies. 

My plans changed and I hurried over to a location that would offer a decent view of when the sun dropped below the cloud line. For fifteen or twenty minutes as the evening sundown progressed I waited and shot, changing lenses and altering my location slightly trying to find the best angle. The results were encouraging, but average I thought even though the sky was spectacular. As bright and dramatic as it was for those few minutes, the drama began to fade toward a flatter outcome so I loaded up and started home.

About a half mile or so from home I passed near a country church location I see all the time. Having made numerous attempts to photograph it in vain, I almost drove on past. The sky was still vaguely under lit by the remnants of the setting sun, but just barely. Visually it appeared dull and flat, with a fading hint of highlight catching the lower parts of the remaining overcast. Within a few minutes it would fade into darkness. Being Wednesday night the church was lit up inside and out waiting for patrons to show up. Although, what little illumination remaining was faint, I decided to give it a try and pulled off the road, setup my tripod and fired off a quick shot. The light was so low the shutter hung open for close to two seconds. What appeared on my viewer took my breath away. That two second exposure allowed the camera to accumulate the dim light reflecting from the clouds and turned it into a spectacular red glow. The shot I had wanted from this location for the past 12 years finally became a reality. 

What I learned; as a photographer one should never give up on the light because what might appear flat and dull to your eye, the camera can capture as bold and beautiful. The general rule about the magic hour holds true; the last 30 minutes before sundown or sunrise, and the next 30 minutes after sundown or sunrise offers the best potential for amazing light. The sun had long since set and what remained was simply the afterglow, the last spark of daylight. This is the time that most photographers call it a day and turn loose of the opportunity. I wanted to see what would happen by not giving up on the light. On this day the results far exceeded the visual clues. 

A Moment Just For Me

A rolling creek composes its own kind of music. Sometimes it sings like a flute, other times it chatters like a snare drum, and still other times it chimes in softly like a clarinet. Their moods are as many as there are memories discovered along their banks.

Small creeks and streams are some of natures most enduring photo opportunities. At first I find myself drawn to them for the aesthetic beauty they offer. I will often sit in the shade of a tall tree and simply listen, shutting out the distractions life in general throws at us. Before long I notice a movement, a reflection, how the light filters across the water, or how a leaf spins and sails on the surface. A Kingfisher chatters and dives to retrieve a tasty meal, a squirrel barks after scampering along a low hanging limb, the breeze sings its cheerful song as it catches the trees. A soft blanket of green mossy growth covers the larger boulders and spreads across the bulk of a downed tree trunk. These are but a few of the obvious mysteries to greet anyone who takes the time to look for them.

I raise the camera and search through the lense, moving closer and then back, seeking how the light plays off background clutter. Early in the day mist or fog will often drift across the channel and the morning light cuts numerous transluscent paths through the haze. I search, I look, I stop and simply listen.

Sometimes, most times really, the picture simply does not capture the experience. At the moment I realize I can never truly lock a camera image in place, I will set the camera down and simply create an image of the heart, one that can never get lost, nor forgotten. I say to myself, "For now I will just sit...just enjoy...for no other time will I have this particular experience, and this moment is just for me".