Come on in, I'm glad you are here.  Within this blog I express my thoughts and opinions about the creative process, photography, and my artistic approach to navigating from day to day.  I like to keep this medium on the conversational side, as if you and I are just sitting around talking.  I am very interested in the creative process, as well as the mindset that goes into making a fine photograph.  I make no claim to having "the" answer, this is just my answer.  Those who know me, know how much I enjoy a good conversation, and this blog can be just that.  Feel free to e mail me about any topic in my galleries, or blog.  My photography, this website and blog are an expression of how I visually approach my art.  You are all welcome here as are your opinions.

Photography and Our Inner Critic

November 04, 2016  •  Leave a Comment

Critique, the word inspires all sorts of emotions. Creative people love and hate that word. In the interest of keeping this blog entry on point, my comments are centered around photography, however I am sure there is universal appeal to the points I'll make. Each of us approaches our creative process differently, and with different goals in mind. Right now I will confine this discussion to Fine Art Photography. This process begins with the photographer looking inward, and examining his or her emotions that are triggered by what is in front of their lens. Here it is important to slow down and get an accurate read on how you feel about the subject directly in front of your camera. If you react significantly then technique takes over and the process of composition, design, and analysis begins. As an experienced photographer, you know to capture many angles and perspectives for the editing process back at your studio.

 

Post processing begins on a light box, perhaps in Adobe Lightroom. Your whole shoot sits before you on screen. The evaluation process should be methodical and true to your original emotional vision. Your inner critic surfaces and takes over. The easy stuff comes first, exposure, sharpness, and other technical standards are easy to judge and correct or reject. Once the shoot is winnowed down, the second tier of editing begins. You begin to look for the frame that echos the emotion you experienced at the moment you pressed the shutter button. It's quite difficult to be objective with our own work. We are literally emotionally attached to it and are not neutral. There is a tendency for us to like most of the work we produce. Logic tells us that great photographs are a lot less common than the good, fair, or poor ones.

 

Success requires us to slow down and look, “see” into our selected keepers at a much deeper level. This process could go in a few different directions. If we have a strong well developed inner critic we tend to find stuff few others will even notice. This is positive to the end user that is most important, ourselves. Our work should be exactly the way we want it to be. It's at this point we begin to notice small details that are just a bit off. An awkward reflection, or a tree branch where we don't want it, weird shadow effects, and other more subtle elements of our composition. Some or most of these unwanted details can be dealt with in our photographic editing software.

 

So now we reach the point where we want a physical print from the capture we just spent a good amount of time editing. Either we print it ourselves or send it to a professional lab service. Before we do that more decisions are needed. Decisions about paper surface, contrast, size, frame or no frame, and if we want to mat it or leave it without mat or frame. When we decide to print our own work, then a test print is just the start. Our calibrated monitor and printer has to give us exactly what we envision. Sending our capture file to a professional lab requires we previously set up printing defaults and even ordering some test calibration prints so we can judge what differences there are between our printers output and the pro labs output. At each point in this process, from the first moment we select our subject and look through the viewfinder, through each step, and on to the finished work, we have to deal with that inner critic that lives in our heads. This sometimes friend and sometimes foe guides us to make wise choices that affect how our work will look. Our first obligation is for our work to be exactly as our vision wanted it to be. When we get to showing our work, either in a gallery, or some other exhibition space then the public viewer gets to be the critic. We all know that can go in any critical direction. This is fine. Why? Because the first critic, (ourselves) is content with our piece and can rest with any comments that might come our way.

 


Insights found along the Photographic Road

September 03, 2016  •  Leave a Comment

It was the late seventies and I began the transition from casual snap shooter, to attempting to make creative photographs. I was persistent and patient. Two qualities that I've learned, serve me well. Since I tend to be an organized type person, I also kept tract of the methods and habits that produced the most improvement for me. There is nothing earthshaking here, just good habits that jelled with the way my brain works. I suppose the first tip is always work with your genuine self. This will produce the most progression in your skill level because you will stick with the process.

 

Photographers fall into a few major groups. There are the “image-centric”, the “gear-centric”, and the third group is a blend of the first two. You will find photographers of all skill levels in every group. I have found that for me, expensive top of the line gear does not translate into great photographs. You need very good gear, not the newest and most expensive.

 

Next I'll state the obvious, find a subject you love, and get out of the house and shoot it. Even when your field trip yields nothing, you are still better off for having the experience behind the camera.

 

You will have a difficult time being your own critic. Being objective is difficult when it comes to your own work. In addition, you'll need to learn how to edit a shoot and cull out the few good ones. Also, you are neither as great, or as awful as you think you are. If you work behind the camera for fifty years you'll still be a student of sorts pushing your personal envelope of skill.

 

There are some really good photo editing software programs available. Never let yourself think that you can turn a poor photograph into a great one in post processing. The time behind the camera is critical, make the best image you are capable of, and don't under shoot a subject. Getting the image “right” is very important.

 

Some types of photography require a tripod. Get a decent one, preferably with a ball head, take the time to adjust it so that its stable and level. Also have backup gear of the critical stuff because when you least need it to happen, some important piece of equipment will fail you.

 

Expose yourself to great work. Go to galleries, get a book or go online and study the masters of photography. It is really OK to admire a few greats and study their work. The intent is not to copy, or become a groupie, but to study their technique.

 

Keep this process of creative photography in perspective. This is a journey, and there will be times when all goes so well you'll think you've arrived, and other times when the best you can claim is that you spent the day behind the camera. It's all part of the process, and the process is a lifetime commitment to the art that you love.

 

You will find people that admire your work, and love it, but never offer the market value to purchase it. Thank these people for the compliment, and resist the free photo habit. Giving away your work seldom benefits you, and very rarely translates into a sale. You are undermining yourself and the industry. Keep the free photos to a scarce minimum. It is not the camera or other equipment that is responsible for the work, it is your skill. A highly skilled photographer can create very good photographs with almost any camera placed in their hands. Never sell yourself short.

 


Appreciation of Professional Quality Photography

August 02, 2016  •  Leave a Comment

I recently upgraded my cell phone. My old phone developed lots of glitches and overheating issues, so it became time for change. My new Phone is a Samsung Galaxy S7. Here are the specs. The phone packs 32GB of internal storage that can be expanded up to 200GB via a micro-SD card. As far as the cameras are concerned, the Samsung Galaxy S7 packs a 12-megapixel primary camera on the rear and a 5-megapixel front shooter for selfies. Pretty amazing right? This gadget fits nicely in my pocket, it's a phone, calendar, contact list, web browser, and does lots of other neat stuff. It also has replaced the handheld snapshot camera. Cell phones and their cameras are everywhere, and almost no event that transpires goes unphotographed. The day of the film snapshot camera is gone. How has this passing of film to digital effected us?

 

With film, we were limited to 24/36 exposures per roll. Also limiting our shot selection was the cost of development, and the trip to our nearby film lab. A benefit of film was that we held in our hands paper prints of the event we photographed, and saved them in various ways for later viewing. With digital photography the only thing that limits our shot count is our ability to save the files. On average, our personal shot count has risen dramatically. My guess is that the number of prints that get printed and saved is a much lower percentage than that of film. Also I suspect that the way people save digital files varies greatly and leaves many digital captures at risk of loss. The ease of making a photo with today's cell phones encourages photo making, at the cost of understanding what it takes for a camera to make a photograph. The obvious response is "who cares?".  Most people are interested in the image, not the tech stuff that made it.   My observation of personal photography, (family snapshot photos), is that there is a tendency today to photograph an event, rather than live the event. The proliferation of casual photo making has had a numbing effect of sorts, a lessening of appreciation of professional quality work. There are also advantages to working digital that are undeniable. We are limited only by our imagination as to how to use our images. Post processing has become easier, and the result is that the quality of our work has improved dramatically. We are able to share our work widely anywhere there are internet connections, we can produce hardcover book albums that are coffee table quality, and tell stories in new and innovative ways.

 

As with any advancement in technology there are benefits as well as trade offs. Digital capture and printmaking have made photography an everyday event. We photograph ourselves doing all sorts of everyday activities, including the meals we eat. We also document life events extensively. What we've lost I believe is the appreciation of professional quality photography. It is common to hear remarks about work being "Photo shopped", even when that is not the case. The photographic skill that was developed with years of training gets diminished, it was the software or that expensive DSLR right? I don't hear much talk about what paintbrush was used to make an oil painting. The tendency is to be reluctant to purchase a well done image. Ironically, we are exposed to and use photographs more than ever, and at the same time devalue it. In the early 1960's the age of the fully manual camera came to an end. It was common before that for photographers to use cameras that did not have light meters. Focusing skills were important, as well as knowledge of light and shutter speed. Tripods were a must for any serious photograph due to slow ASA (ISO) film speed. When ISO speeds increased without image degradation, the camera left the tripod for the most part. The style of work changed to a more casual and organic type composition. Working digitally has also changed photography for the good as well as to its detriment. This transformation is ongoing and increasing in speed. My hope is that somewhere along the way well made professional quality images are valued for their significance as art.


Sabbaday Falls, Waterville Valley New Hampshire

July 05, 2016  •  Leave a Comment

I recently visited a little gem of a spot in Waterville Valley, New Hampshire. Just off Route 112 (Kancamagus highway) Sabbaday Falls is a beautiful short hike, that is rewarding for all those who appreciate nature walks. The purpose of my visit was photography, and these falls do not disappoint. The 0.3 mile hike is short and accessible to most people. There are benches along the way they offer a good way to slow down and take in the details of this very beautiful area. The trail is cinder and well cleared and marked. It is up hill, so a measure of common sense is useful. If you are not a regular hiker, here are a few heads up suggestions. You'll need, good comfortable shoes, water, and clothes appropriate for the weather. The falls itself consists of three tiers. If you are time flexible, then I'd suggest following the weather and timing your visit during the time of year when there has been some rain.

 

I was looking for photographic subject matter, and there was plenty. In addition to the three major tiers, there are lots of places where moss, rocks, and water create wonderful compositions. Being sure footed is necessary if you want to get up close to the stream bed. I like to use slower shutter speeds for this kind of subject. In this regard, there can be compositions that are 3/4's shade and frequently have a blast of bright sunshine. The contrast ratio can be unpleasant. I prefer a light cloud cover to even out the contrast levels. You might want to bring a Neutral Density filter to help extend the shutter speed. There are trees growing out of the small gorge vertical face, and the green stands out from the Basalt Rock background. Near the parking area, there are picnic tables where you can enjoy a peaceful lunch. Scampering around the tables are Red Squirrels, and lots of Chipmunks. They clearly associate humans with food and are not shy. If you are patient and motivated they would make good subject matter.

 

These days I like to travel light. I use a photographic vest and only take what I really need. A good sturdy tripod that is flexible is a must. My two favorite lenses are; a wide angle zoom, and a telephoto zoom. In addition I carry a macro lens for closeup work. I usually avoid filters, however I do carry a polarizer and a neutral density filter. The most useful thing you can include and bring with you is patience and the ability to slow down and really look at what nature is presenting to you.

 

Sabbaday Falls is 74 miles north of my hometown. The drive is pleasant and relaxing. This area is the kind of place I'd photograph in all seasons. It's a subject that reveals more of itself the more you look. I will go back in the fall and capture the rocks, water, and foliage.

 

It took thousands of years for water to carve out this small gorge. The vegetation that lives there has adapted to the environment and the result is the perfection that nature offers. In addition the sounds of water and songbirds are relaxing and restorative. If you plan your trip mid week, and around the vacationers it is a very meditative experience. My most successful photographs are the ones that capture the essence of my subjects. This is accomplished and made easier when I slow down, look, and listen. My visit to Sabbaday Falls was restorative, calming, and energizing. If you visit and bring the right frame of mind, you will make successful photographs, and leave feeling rejuvenated.   


The Family Snapshot, Our Personal Historical Thread

May 01, 2016  •  Leave a Comment

On the table in front of me sits a photograph. More accurately, a snapshot made in haste, a record of an event only vaguely remembered. This particular photograph has power, it stirs emotion and memories. This past April, it has been 12 years since my Dad passed from this life. Yet, there is his face, frozen in that fraction of a second shutter speed moment. As long as that photograph exists that moment remains very real. We all have snapshots of loved ones. All of us have experienced that instant when we've casually flipped over a snapshot, and felt a rush of emotion, and a longing to be with a loved one long gone. This is magic. Even though I understand the process of making a photograph, even after all these years, it is still magical. A recent visit to an Antique shop brings me to a corner where a table holds piles of snapshots. On this table lie memories, dreams, love, loss, and celebration. These are orphan photographs to be sure. Unknown faces stare out at the future with their best clothing and stiff formal poses.

 

Some have short notes written on the back, or even across the image, "Aunt Elizabeth at Niagara Falls". I study the image to try to age the scene, looking for an automobile, or perhaps dated clothing to set the year. More importantly, I wonder how did so many snapshots become unwanted enough to land on this table. Maybe even now there are family members wishing they could have saved the pictures from this fate. Looking into the faces captured in silver is fascinating to me. Their eyes might offer a clue for me to look deeper into this slice of history. So many contain formal stiffly posed adults, with a young distracted child looking off camera. Others have black paper stuck to the back, this photo once sat in an album. They are proof of a history unknown to me. Here is one of a young couple on a beach, looking happy and relaxed. Were they both happy with their relationship? Endless photos of Christmas gift opening, and holiday feasts. How good was that wonderful Turkey sitting center table?

 

This table in the back corner holds so many strands of history that seem to be lost. Every once in a while I'll come across a photo of a place I recognize. It's Time Square take a look! I scan closely all the store fronts, buildings, and cars to place the year. So much has changed, yet some things are recognizable. They dressed so formal back then. These days we are much more casual about our dress code. A shot of Yankee Stadium shows almost all the men in the stands in suit and tie. The more I browse the more fascinated I become. Then there are photographs of the great war. The conflict that killed more humans than any other, WWII. Some battlefield photos are scattered and mixed with homecoming enlisted men. Mothers and Fathers with ear to ear smiles for a returning son. One table holds the human experience.

 

This table holds a treasure of experience that is orphaned, disconnected, and out of context. They are lost to the people that could give them their true meaning. I keep wondering why and how? Here's a wild thought, could software and facial recognition match people and families? It would be a monumental task. I read that after violent storms and other natural disasters, some people gather scattered photos and post them so others can find them. At the very least we should protect our documented history. It might be a good idea to dig out that box of snapshots once a year and have some fun with the kids. Its a good laugh and bitter sweet trip through the box. Best of all, us older family members can place context and meaning for the younger ones. The historical thread can remain connected from past to present. Another thought fascinates me, these rushed, casually snapped photos are given more meaning as time passes. The instant when the shutter is released, passed so quickly, little thought to personal history came to mind. Hindsight gives meaning and value to the family snapshot.

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