Old Trees, Shade, Backlight and Highlights

The tree once stood tall and straight with a broad base anchored along the ancient creek bank. For untold
years it helped to stablize the soil along the steep sides of the creek, but now all that remains is a toppled over trunk that is slowly being compromised by the elements of natural decay. It now serves a new purpose, one that adds to the aesthtic value of the scenic view, and one that provides a photographer with an amazing natural prop for a location shoot.

New trees have now sprouted and grown large enough to support the bank and provide a lot of dappled afternnon shade. My photographers eye locked onto the scene within the first few moments of my initial survey. This I knew would be a great place to photograph any model. Problem was the shade, which in many ways is beneficial, but at the same time can cause your images to appear flat and lifeless. What one needs is controled light to add vibrancy to the scene.

We arrived mid-afternoon on a bright and sunny day, however as was expected the tall trees prevented most of the suns rays from penetrating very deeply allowing only a few veins of dappled light. These rays came in handy as they added a measure of natural background light to scene. I setup one speedlight with a 24 x 30 softbox for my main light and one bare speedlight to use as a backlight. The key for the backlight was to generate a separation layer or halo while the main light provided a soft light that brought a flair to the eyes and provided just a kiss of fill light that brought life and vibrance to the face.

When shooting in a shaded area like this one, you really have to look for ways to highlight your model by using either natural beams of light that cause the hair to glow, or providing your own light to accomplish the same thing. The natural light provides a bit warmer and softer look while the speedlight provides a whiter brighter look. Some photographers prefer natural light exclusively which works well in certain situations, but you tend to have less control over intensity and direction. I've grown fond of using speedlights in the field as they provide a greater measure of control and you can dial up the intensity to fit your desires.

The main reason for a backlight is to separate your model from the background. I tend to dial up the intensity to really make it shine. What happens is you not only get that great hair glow, but it will also provide a subtle glow around the edges of your model to further separate her from the dark background. I don't get overly concerned about ratios between the two, I just go with what looks good to me at the time changing each light's power output according to the need at the moment. I will usually start with 1/4 power for both lights and change one or the other up or down depending on the circumstance. Sometimes I simply move the light closer or farther away to get the desired effect. Keep in mind by using a small softbox like the 24 x 30 one I was using you want to avoid the spotlight effect. Moving the light farther away makes the light source smaller so it tends to look more like a spot light as a result. Moving it in closer makes the relative size of the light larger so it provides a wider wrap around effect. Moving it closer usually requires you to dial the power down a notch or so to keep from blowing out your subject.

With a lovely model and a great location, combined with creative use of the light, well, I'll let the results speak for themselves.

Back To My Roots - Standing On Solid Ground

We walked along the old abandoned golf cart path that weaved over and around the remains of a golf course. Where greens once spread  their manicured surfaces, weeds now grew. Where sandtraps once glinced in the sun, they were now inundated with scraggly looking thorny growth. The bridge that arched across a large pond was still there, but its once glowing white paint was flaking off and it was in need of repairs. It was a shame in a way to see this once wonderfully scenic area crumbling from what was a pretty nice course. But, in a way it was a good thing because here nature was reclaiming its own, and that is good for a photographer. The scenic deposit discovered here only increased in value with its slow return to nature.

Early fall in Kentucky can be some of the best times to get out as a photographer. On this late afternoon the wind was not a factor and the sun began to slip below the openings in the thick cover of rolled clouds. A rich vibrance spread across the scene, one only nature can supply. At once I knew this was a special moment.

I enjoy all kinds of photography; nature, wildlife, scenic, portraits, astrophotography. My roots lie in landscapes and sometimes I tend to fall away from what I know best to explore other avenues of expression. Overall it is a good thing to branch out and try new things, but, it is good to return to those roots, for there is where my creative desires find solid ground.

Cross Training

I stood in the middle of the railroad tracks casting hurried glances towards the sky. Whenever I would look
away even for a short time and then gaze again toward the sky it seemed to have undergone a dramatic change. The thick overcast was beginning to split apart and the upper currents of air were pushing and forming the remnants into elongated rolled cylinders. What I hoped would happen was for the setting sun to fill those formations with a golden hue, but where the sun hovered the clouds were too thick for any such magic to happen. The beauty of digital cameras is that you can impart some magic of your own with a few simple tweaks and settings.

I call it 'Jumping Light'. It's not a term you will find in any photography text book, just something I made up a couple years ago while experimenting with the white balance settings. I do that a lot; try something just to see what happens. Pushing the WB toward the upper end of the Kelvin scale I artificially forced the sky and clouds to look as though a golden hue was indeed being cast across their rolling forms.

I do not always know what I will discover when I head out. No amount of planning ahead can always guarantee the results you hope for. More often than not, the light doesn't cooperate so I have to adapt. The important thing here is to get out and there are times regardless of the conditions that I just have to get out and try. I have discovered that by diversifying what I do photographically opens up a lot of opportunities that might otherwise not be fulfilled. I know a lot of good photographers. They are very good at what they do, but tend to shy away from photo opportunities that do not fall inside their comfort bubbles. Just like cross training in sports helps the athlete to achieve a higher standard of fitness, cross training in photography can achieve the same kind of results for the photographer.

From location portraits I've learned the importance of expression, light, and timing. Landscapes and scenics
have taught me about how to simplify...to identify what is really important. From nature and wildlife I've learned to be more patient and exacting. Night photography has helped me read drama and story into a composition. From astrophotography I've learned to anticipate the extraordinary and to look for what is not always seen. From working events I've learned how to operate at a fast pace and make quick instinctive adjustments. Black and white has shown me the importance of shape, form, and texture. Floral's have helped me discover subtle details and how to apply light to enhance those details. Video has taught me about angles, steadiness of hand, and continuity. Cross training your photography will in time generate a stronger overall performance that will show up in all forms of your photographic pursuits.

Country Roads - A Great Place to Climb Out of a Rut

There are times when I find it difficult to discover something new locally to photograph. It  happens more



often than I would like, but it also serves a good purpose by forcing me to look beyond my normal range. It is easy to fall into a rut and become dissatisfied with my results, but again it also serves to as motivation to seek out something fresh and rewarding. Often it is simply a matter of waiting for good light or different light on old subject matter. Sometimes it requires me to find a new subject altogether. Once the need arises to seek out something new, one of the best places to find it is along a country road.

Country roads are one of my favorite photographic haunts. Kentucky is blessed with an abundance of winding and random flowing back roads with hundreds of old barns and ponds and other rural paraphernalia. Each of them adds a unique flavor to the landscape and how one observes this unique landscape is how one will photograph it.

Light is still the key ingredient so simply photographing what you see will only produce snap shots of the landscape. I often will spend the middle of the day driving along a new country road simply looking for potential locations taking note of where the sun will rise or set, are there any valley's or low areas where fog will collect, is there a clear view of the horizon or sky, what is actually important in what I am observing and how best can it be captured. This kind of approach helps to simplify your approach and narrow down the time and place to attempt a capture.

Country roads; and great place to climb out of a rut.

Now On Fine Art America

Just a quick plug. I am now on Fne Art America. Click on the link on the right side of this page to take you there.

Big Sky - Big Country

As first light brightened over the horizon I realized I was once again running about fifteen minutes late, so I hurried my pace across the rough terrain to close the gap between what I was seeing and arriving at the location to capture it. There was a cool breeze whispering over the top of the prairie and the bottoms of my pants grew damp from the morning dew. A few birds were already beginning their morning songs and I stopped for a moment to absorb the moment. Could not tary long for the sun would not wait and I hurried to setup my camera before the light changed.

Photographing Oklahoma's Tallgrass Prairie requires one to arrive early and stay late. Sometimes it is difficult to separate the task at hand from just simply enjoying the moment, so sooner than I wanted, I began to snap off images as the morning colors progressed across a palet as large as the prairie itself.

The Tallgrass Prairie is one of my favorite places. Browse through this blog and you will discover a number of articles that reflect my fondness of this location. It can be a challenge to photograph sometimes because the diversity that is the prairie makes it difficult to decide what is important to capture. I often find myself second guessing my choice of locations. Once I decide on place, I wonder if maybe I should have chosen the other location. What if? That is a question that plagues my thoughts as I wait for the light. What if I were here yesterday or wait until tomorrow, or should I have setup someplace else, but no, I'm here now so take advantage of what has been offered.

There are elements I look for, things like a compelling foreground to add interest and depth to the landscape. The angle of the light, the color and quality of the light are just a few. Sometimes elements just fall into place, other times I have to search for them, and sometimes it requires taking a hike just to see what lies over the hill. Most of my scouting is done during the middle of the day when the light is flat and harsh. While scouting I look for potential, then hope the light changes as anticipated.

Photographing 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.