Autumn Eye Candy

I've been really involved with the reconstruction of my main web site and probably will be for a few more weeks, but at last I'm making some good progress after finally deciding on the design and functions that I want. Designing stuff for myself is always way harder than doing it for someone else, and if things remain a little slow here at the blog, now you know why... getting out to shoot is kind of on hold until I get this project to a certain point.
It's also a useful process in another way, because it's forcing me to go back through each and every image (a huge task) and re-evaluate all of them, edit out some of the less than ideal ones from my "official" collection, and create comments and keywords for the rest, to make everything search-engine friendly. Self-editing is difficult, but I think very important.. no one at any level creates a perfect gem every time and knowing when to say "nope... not quite good enough" is tough.  Anyway, when it's far enough along that I'm comfortable for people to see it, I will switch my domain over and let every one know to go and take a look.
This one here is from last fall... and might look familiar because it is a variation of one that I posted previously in my article about  film a few months back, but this is a more polished version. I had many others from this trip that I was going to post, but kind of got sidetracked as I often do.  If the rocks look volcanic in nature, they indeed are.. there are many large, amazing lava fields of black volcanic rock in this area, most thickly covered with aspens and SO beautifully colorful in the fall.  This stream is the outflow below a small lake and was a great location to shoot in the early morning... the trees and rocks are nice in themselves, but having moving water in the scene always adds something extra.

Rainy Grove

A rather simple one from Utah, and not so many leaves left in this particular spot, but this is more about the random vertical lines of the aspen trees than the leaves anyway.  Once again, I shot this rather quickly between rain showers.  I was glad to put up with a little wetness though, because I love the light and colors you get from this kind of mixed-bag weather.
If predictions are correct, we may very well see our first snow of the season this weekend here in the San Jacinto Mountains area of southern California.  I'm kind of looking forward to it... nothing much more photogenic than fresh snow on a forest of pines and cedars, so maybe a chance to shoot some interesting stuff without having to travel... we'll see. Might be only rain and fog at this elevation where we live; we're often right on the rain/snow line early and late in the season, but either way, won't be long before I have some fantastic winter scenery to work with.

Watercolor Aspens

After driving quite a ways down some rough dirt roads in search of a large stand of bristlecone pines in the Ashdown Gorge area below Cedar Breaks that I had read about, we did actually find the spot, but couldn't go up there because it was raining with thunder and lightening, and didn't seem such a good idea to venture out on an exposed slope with a camera and tripod. We waited a while... but the black cloud kept sitting right there, so decided to turn back and save that location for another time.  I did manage to get in a few setups between showers on the way back up the road, however.  This scene really reminded me of a watercolor painting. 

Warm and Cool

I hope everyone is not too tired of fall scenery yet, because I have a lot of it coming up:) I must say, it's really good to get back to creating some new work after taking most of the year off to deal with moving and resettlement issues.  All that stuff is pretty much set for now, so with luck I can stay on a creative roll for a while.  The weather is finally changing here in the mountains as we get later into the fall and I should be able to find some interesting subjects locally as we move into winter.
We were lucky to pick just the right time and the right area to stay in Utah this year.. I could get up before the sun and drive only a couple of minutes down the road each morning to a great spot for the twilight and first light, then return to the lodge for breakfast, allowing my wife to sleep in and not have to stand around freezing and bored. The colors were absolutely peak perfect everywhere and even the weather cooperated; that's usually the wild card that you can't do anything about, given the narrow time frame of the trees' schedule.  I found a great variety of subjects within this one small area, which is always a convenient and relaxing way to work and bagging some good shots early makes the rest of the day seem more relaxed.. kind of takes off the pressure to get out and find that perfect scene and light.
I decided to leave the slight blue cast of the cold early morning light in the brighter areas of this image.. it makes for such a nice color combination with the yellow of the aspens and the cool green grass; kind of a fantasy look in the soft light.   

Serenity in Blue and Gold

After my last, rather long-winded post I'll try to keep it short and sweet for today.  So enough of the technical talk and back to the pretty pictures:)
While in Utah, we stayed just a mile or so from this peaceful little aspen-rimmed lake, named appropriately enough Aspen Mirror Lake, so I was able to get out there quite easily every morning before dawn and have the whole place to myself for a while, before even the fishermen showed up.
I will just mention that I needed no post-processing at all on this piece.. shot it on Velvia 100 and took it right from the scan, as-is.  Velvia is so naturally vibrant and saturated that you really don't need to do much if you get the exposure right... love it.

Why Film Still Rocks

I don't talk about techniques or equipment very often, because there are so many blogs and websites devoted to those subjects already... and I am generally more concerned about the artistic result, not how I get there. Today's post will be an exception, so if you're not into the finer points of image quality and printing your work, this one probably won't interest you much.
Many, perhaps most, people are satisfied if their photos look good on their blog or on-line photo gallery, which is fine and good... and almost any image WILL look fine in those environments. I won't imply that any tool or technology is right or wrong, but I wanted to try to explain how and why my own particular method has changed. 
So as an example, here at the top we have a full frame 4"x5" image that I just shot in Utah, scanned from a Fujifilm Velvia color transparency. (This is not the actual full-resolution image, of course, but the following crops are. Please click on the full frame for a bigger version first, though).
This was scanned at 1200 ppi, which resulted in a 5735 x 4584 (26.3 megapixel) image and a 75+MB file size (.tif format... a jpeg file would be much smaller, but jpegs are destructive, as you know:)  This is nowhere near the maximum resolution that film can be scanned, it just makes an easily manageable file size for most common purposes, i.e. web posting or small-to-medium sized prints.  In this case, if printed at 240 ppi, which I find to be very adequate on my printer, the resulting print would measure 19" x 24", a pretty healthy size for framing. Bigger than that, I would simply increase the scan resolution to 2400 ppi, or more if necessary.  The film itself remains intact and unchanged as your analog "RAW" file.. you can always go back and start over from the original source, just as you would from a digital RAW file.

To demonstrate the incredible amount of visual information captured here, I have framed four quite small areas of the larger image in pink and included a 100%, full-resolution crop of each highlighted area, so you can see the detail to be had. Click on each to get the full 1-1 pixel resolution. These are unadjusted and unsharpened, as is the top full frame, other than the standard optimization used during scanning. With a little work any of them could stand alone, I think. Pretty cool, eh? Notice the clarity and definition in the blades of grass, tree bark, small twigs and the individual leaves (you can count 'em if you want!) and the lack of colors bleeding into each other from overblown pixels, or fringing in high contrast areas that you often see in digital-capture files.
The last sample is a side-by-side matchup to a digital capture, shot from almost the same spot one day before.. I tried to get as close to the same spot as possible with the crop.. (you can see a round spot on the rock and a tilted tree that match) and you will notice how it resembles an impressionist painting by comparison. I did add a little sharpening to the digital image to make it half-way comparable. Honestly, I was kind of stunned at the difference. Now to be fair, my digital camera is no longer state-of-the-art at 12 MP, but even the highest-end current DSLRs costing $7 - 8K barely touch this resolution, which as I said, is actually pretty low for medium or large format film. I suspect a medium format digital capture would look very close, but medium format (6x6, 6x7, etc) digital cameras/backs can easily cost the equivalent of a luxury car before you even talk about lenses, accessories, etc. This becomes a cost/benefit situation.  The cheapest digital back that would fit on my Mamiya 6x7 starts at a cool $10K for 22MP, just for the back... and I can buy a whole lotta film for $10K. (And, the film is still better, just less CONVENIENT). The new Leaf/Aptus 80MP back goes for about $32K.. I can easily produce an 80MP file from this transparency without spending another penny. There are some more "affordable" medium format digital cameras coming out around $10K (Pentax 645D), but we'll have to wait and see how they do, I'm not sure where the market is for something like that.  The camera that took this photo cost me under $1000 brand new (it is beautifully hand-made by a small company of large-format enthusiasts in China and is a work of art in itself), plus a nice, good-as-new German made lens that I picked up on EBay for $350. Unlike a digital camera, it will not be out of date next year... or in 10 years. The basic design has already been around for the better part of a century.  Workflow after scanning is exactly the same.. process with Adobe Camera RAW as far as possible, add adjustment layers in Photoshop to fine tune... and then off to print, website, or wherever. I actually find I need less messing around with "film raw".. the colors are richer and more right-on right from the start.

Does any of this matter to the "quality" of a photograph?  Yes and no.  It certainly can't improve improve the light, the composition, the color, the timing, the concept.. all those things that make up a good photograph as a whole, but there IS a certain expectation and respect for detail and print quality when it comes to landscape art, so from that perspective it is certainly a big advantage in at least one area. Disadvantages? Without doubt more cumbersome and slow to work with, no zoom lenses, no sophisticated built in light meter, no instant preview, no instant 5 shot bracketing to cover your exposure mistakes, but somehow it just feels more like the "real deal", at least the way I originally learned and fell in love with it, and had almost forgotten.

I think that's enough about large format, for today at least. Shooting in medium format is much closer to working with a typical digital SLR, while image detail remains superior... and it's very cost-effective. I find it to be an excellent compromise. I'll talk a little about that sometime soon.

What?... Fall Colors Without Color?

Aspen Trees - Southern Utah

Sure, the leaves were very pretty shades of gold and yellow, but the light at the time was kind of flat and try as I might, I couldn't get any shots from this location to pop as I would like in color, so why not reconsider conventional wisdom and try it in black & white? Aspens seem to be one of those subjects that look great either way... and I am much happier with this now than I ever was with it in color. The thin vertical lines of the trunks and the delicate leaves always give a watercolor painting-like feel that I never get tired of, especially if you can get them against a dark background. Luckily that happens a lot in Utah where the groves tend to line open meadows against the darker evergreens of the forest. I found it interesting when analyzing this scene that I could crop it to almost any section, size or proportion and still end up with a pretty decent composition, so I guess in reality it's a kind of texture study.

Shot one year ago to the day, I came back to this because I'm deciding if I will go foliage hunting this year and where.. it will be more towards the end of the month or into November if I do. And yes, the colors were indeed fantastic.. I will post some color images too:)

"Simply look with perceptive eyes at the world about you, and trust to your

own reactions and convictions. Ask yourself: "Does this subject move me to feel, think and dream? Can I visualize a print - my own personal statement of what I feel and want to convey - from the subject before me?"

- Ansel Adams

A Pastoral Scene in the Land of Contrasts

When most people think of Utah, they picture the canyons, hoodoos and many colorful red rock formations typical of the southern half of the state, but at the higher elevations north of Zion and east of Cedar City, the environment is much different. Two roads descend slowly from Cedar Breaks at over 10,000ft. through wide, open meadows like this one, evergreen forest and huge aspen groves growing right up out of black stone lava flows. In fall, the colors and atmosphere are truly gorgeous, but you can still drive around all day, pull over and stop anywhere you want and rarely run into other people, certainly never enough that it feels crowded. (You might however hit a traffic jam of sheep moving to lower ground for the winter as I did here the next day!) Every september I start watching foliage reports on the web and try to time a trip to catch the peak colors. I always get some fantastic images from this area and I love the seclusion and the beauty of it, not to mention all the other fantastic and varied landscapes within a couple hours drive. Kind of makes you want to leave the city and never look back.

I shot this late in the afternoon; the next day it was snowing hard at this elevation and I had to stay down lower and try to work in the rain.