Month: August 2011

Places to photograph

Visiting great places near home

Wherever you live, I’ll bet dollars to donuts that at some point a visitor has asked you “..what’s there to see around here?” After you tell them about the most famous “sight” around, they invariably ask you “Have you been there?” And chances are, you have to say “no.” For some reason, Americans will go out of their way to visit places that require a long drive or short flight. We often overlook those nearby sights that are literally filled with tourists this time of year, all of whom have made long drives or short flights to get there!

MapSince April 2011, I’ve been doing pro-bono photography for a local not-for-profit organization, the Mosby Heritage Area Association (http://www.mosbyheritagearea.org/). This Association promotes the natural and cultural heritage of the Virginia piedmont located in Loudoun County, where I live, and surrounding counties. This has been a boatload of fun, but more than that, it’s encouraged me to spend alot of time exploring parts of Virginia close to my home in Leesburg, but that I had never really explored before. 

High on a typical American photographer’s wish list is to attend workshops at  drop-dead gorgeous places like Yosemite, Yellowstone, Grand Canyon, the Tetons, Death Valley, anywhere in the Utah Mountains, Great Smoky Mountains, Appalachia, and the coasts along of the Atlantic or Pacific Oceans. Notice something?  For most of us, each of these places require a long drive or a short (sometimes not) flight! 

The northern Virginia Piedmont is largely rural and agricultural. It has constantly rolling hills, plentiful rivers and streams, hardwood and pine mixed forests, historical architecture, and lots of animals- domestic and wild. And twice a day– on most days– it has beautiful sunrises and sunsets!  I bet it’s pretty typical of areas close to your own home. Since I like taking landscape photographs, this kind of terrain is ideal as it offers variety to my camera without a lot of complexity. I’m not crazy about complex scenes.

Taken during early evening in rural Fauquier County

I mentioned sunrises and sunsets before. These are my preferred times of the day to photograph landscapes (and they should be yours too). The quality of light is just awesome when the sun is up and within a couple of hours of the horizon. For example, I captured the image above of the deer grazing on Piedmont grasses about 2 hours before sunset. At these times of the day, wild animals are moving around and more visible, the deep shadows provide greater depth in the scene, and the lower intensity of light is more suited to capture by camera. Even when not shooting with a camera, driving around the countryside at or near sunrise and sunset will give you views you’ll never see at mid-day.

This is one of a pair of ornaments placed on the gate posts at the Welbourne House, an antebellum mansion belonging to the Dulaney family.

As you explore an area close to home more fully, you’ll begin to notice its enduring (and endearing) character.  On my recent trips in the Virginia Piedmont, specifically along a 7 mile stretch of US Route 50 west of Middleburg, VA, I noticed something I’d seen nowhere else in Virginia. Many of the farms in this area are large, and entrances are marked with stone gateways. What amazed me was the variety and number of ornaments placed on top of these gateways, which I found fascinating: both from a photographic perspective and from a human perspective. Clearly, some these ornaments are new, but many predate the American Civil War. I began purposefully looking for swans, foxes, eagles, pineapples, roosters, and other pieces of statuary set atop farm gate posts. At some point, I want to research how and why this small area developed this unique character, and that research will encourage me to return time and time again. I’m sure I haven’t discovered them all, yet.

So let me encourage you to get out and explore the sights close to home. Unlike more distant destinations, you can return time after time easily and really get to know the area. And don’t forget your camera!

You can view more images of my ventures into the Virginia piedmont at  Virginia Piedmont Collection


Best regards,

Jim

Art, Personal perspectives

We can learn a lot from other artists

As a developing photographer, I found it very difficult to find advanced lessons in color theory, composition, and artistic design related to the art of photography.  EVERYBODY seems to want to talk about photography gear…cameras, lenses, software, etc., etc. Likewise, articles and books that discuss the basics of photographing are abundant. But once you’ve grasped the basics, where does a photographer turn to learn the advanced techniques so critical to becoming an accomplished fine art photographer??

I’ve mentioned before that I’m not formally trained… what I know I learned from other photographers/artists and by experimentation with my own work. Lots of experimentation.

I decided some time ago that I wasn’t going to find what I needed to know about ‘what makes a great fine art photograph‘ by reading photography magazines and photography web sites (a few exceptions aside). So now I spend more time reading blogs and newsletters that cater to fine art painters than I do to those that cater to photographers. I’ve found I can learn a lot from advanced artists, regardless of which tools they use to express their art.  

From painters: neutral whites and grays, being devoid of color (by definition), typically fail to add anything to a colorful presentation of a  landscape scene, a bowl of fruit, or even a portrait. In real life, shadows are rarely dark neutral gray or pure black and whites are rarely neutral light gray or pure white–shadows and highlights are affected by surrounding colors. Painters think about the various hues (colors) and values (‘lightness’) that their shadows and highlights must have to produce the intended emotion in their paintings before they even paint the first brush stroke.

What can we photographers learn from this? After all, this appears to conflict with the common, albeit important, basic rule of photography to white balance our photographs to reduce tinting artifacts that might appear otherwise. Unless intended for artistic reasons, a tinted photograph will more likely be accepted as distracting/disturbing instead of pleasing.

So we all white balance our photographs. And the way we do this is to find a subject in our image that “should” be without color, and remove all color from that subject, which then removes the same color globally from the image. This makes everything balanced colorwise. Whites are neutral white and grays are neutral gray, just as they should be, right?

Well…..sometimes this is right, but it may come at a cost to your creation. As fine art artists, we need to consider color confluence as Lori describes in her article. I do, and have for a long time, so let me describe how I approach this lesson with an example.

Morning light is typically warm on the landscape, and shadows are deep and cool (meaning they don’t get much of the direct warm sunlight). Under these conditions, there is no single best white balance…any setting you use will compromise the other end of the spectrum. So balancing on the cloud tops produced the resulting image below. It is generally cold, comprised largely of cyan and blue green, with just a weak hint of the warm sunlight that inspired me to capture the image in the first place.

  As photographers, we should to be aware that rarely are shadows and whites truly neutral in the environment. Neutral subjects pick up the colors of surrounding articles, even sky. We can create images of much greater impact and beauty if we exploit this lesson. Let’s not be victim to the dumb white balance algorithms in our cameras/ scanners.

The other lesson I want to return to is that fine art photography is, in fact,  art. I continue to learn more about creating art from fine art painters as I do from fine art photographers. Go where the lessons are, and your photography will reap the benefits.

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Best regards,

Jim