I spent some time in Utah this past November, and was struck by the colors of the directional light and shadow on the rugged buttes looming over the landscape.
Artists of the Renaissance period would work on a medium-toned colored paper and used light and dark paints, inks, and other materials to build depth within the image, adding form and dimension along the way. The term “chiaroscuro” has come to define images in which there is a strong contrast between light and dark areas that help inform the shape and form of a subject.
Renaissance artists often painted by candlelight, which provided it’s own harsh directional lighting. With photography we are painting in our own way with natural light we’ve been gifted, or our own artificial setups.Obviously it helps to have strong directional light when the sun is low on the horizon, but still high enough to illuminate your subject.
One of the draws to visiting a country like Romania is the old-world rural setting, and I came upon a couple fantastic and eventually willing subjects to illustrate just that.
When I first found the cat and the Muskovy duck in a barnyard in Romania, I decided to play up their relationship by basically herding them closer together. Initially they were about 5 feet apart which meant their association was less memorable. By slowly circling I was able to get them to be less than a foot apart which becomes visually more significant.
The cat understandably was unfazed by my presence. The duck was less confident with my intentions. Finally, with perseverance and patience, I got what I wanted – and brought two friends closer together!
I create books in large part because I know how impactful and inspirational they can be to the right audience. Sometimes all it takes is finding the right perspective to instigate an idea, a project, or even a lifestyle change. What might just be a picture and technique book to one person fills in the gaps for others and can send them down a creative rabbit-hole.
To that end, I make it a point to highlight books that either come across my desk or that I am referred to by friends, peers, and clients (often one in the same!) that leave an impression on me or that I think might be helpful for the photographer who follows my work.
Today I am honored to discuss fellow Tales By Lightalumnist and kindred spirit Peter Eastway’s recently released book, The New Tradition. As a fan of both the traditional photographic works of staple legends like Ansel Adams and Edward Weston as well as the idea that photography can be its own self-contained conceptual art form, this book echos and expands upon this idea. Filled with hauntingly beautiful photographs, each one is accompanied with techniques and anecdotes that help describe Peter’s process and approach.
This is an important book that comes at a great time for photography enthusiasts. Digital photography has in recent years finally shaken many of the stigmas attached to it, and The New Tradition illustrates just that – a new way of approaching photography while capitalizing on the technology we have available rather than shrinking from it simply because it’s not how things were done “back in the day”. We have the ability and opportunity to push things beyond anything these historic innovators ever could, and I can’t help but think if they were still working they would be taking every technological advantage they could find IF it helped convey what they were hoping to communicate with their captures.
I can’t recommend this book highly enough! Order it today as an amazing gift for the photographer and artist in your life!
Happy Technique Tuesday! A little less of a technical lesson today as I’d like to talk about the many ways simple shapes and forms can become the basis for decades of design inspiration. This photo is from the book Indian Baskets of the Pacific Northwest and Alaska and captures a Cowlitz-style basket made from bear grass and dyed cedar bark. Coiled baskets were generally used in cooking are adorned in diagonal zig-zags and checkers.
The detail and quality of these baskets was cherished and ownership of them was prestigious enough that many baskets of this caliber were kept unused as pieces handed down generationally or traded. This particular pattern was used as inspiration when Westlake Center in downtown Seattle underwent a re-design in 1989. The pattern covers Westlake park and expands a block in any direction and was intended to bind the central down-town park into a ‘living room’ for the city.
From beautifully hand-crafted basket to (exquisitely captured, if I do say so myself!) photograph to major metropolitan design element, the original artist had no idea their work would become so very timeless. Next time you’re down town, give it a look – and the next time you’re looking to do your own decorating, it’s worth considering that inspiration may come from unlikely places!
Currently I’m on the road traveling, but have some photos to share from our visit to Romania. While there, I was able to photograph the Bear Dancers whom parade through the streets of villages every year between Christmas and New Years in their bear-skin costumes. It was a privilege to photograph them in this way long before they will officially don the outfits.
This ceremony is a joyfulcelebration belying the fearsome appearance of the traditional costumes and demeanor of the dancers within. It is a tradition intended to scare away evil spirits – including an accompaniment of drums, flutes, and singing – with beginnings that have been difficult to pin-point due to sparse documentation of the region’s history.
To begin with, we assemble the performers! Dressed in a red military uniform, the “Bear Tamer” leads his group of dancers while a wool-clad shepherd stands with the musicians in blue and white garb. A more overcast day may have been ideal, but you must work with the circumstances you are given. By closing in close on the group of dancers themselves, we can put the focus directly on the savage costumes.
Here, a young girl peaks out from below her mask, giving us a great opportunity to capture a similar shot of the group, but with this reveal adding an extra sense of context to the photograph. The contrast of her face among the fierce, snarling bears only adds to the story.
Again, I want to isolate and emphasize the costumes and the dancers themselves without any other outside information informing the story – the subjects here are the elaborate costumes, their muzzles silhouetted against the blue sky, and the shadowed faces of the dancers themselves.
Of course, these ARE dancers after all – so action shots are necessary. Capturing the dancers in their furs against the rich evergreen background of Romanian landscape ties them together nicely. As complimentary colors, the rich reds of their costumes stand out against the forest green.
Here we focus on the procession of bears as they might appear in their journey through the village, usually ending up in a town square for further celebration. Whenever you are given an opportunity like this, take full advantage of it and get all the shots you possibly can – I’ll have more up soon along with the rest of our haul from Romania!
If you’re not already, now is a great time to make sure you’re following me on all my social media platforms. I try to offer a variety of content on each one, so collect the whole set of @’s! We have some upcoming contests and give-aways coming up, so get recognized and score some loot!
. . . And last but not least, the blog here on ArtWolfe.com. Throughout all my social channels, I try to include tips, techniques, and much more. The social icons on the blog posts are for sharing – use ’em! If you’re not signed up for the newsletter, it’s a great way to get updates on upcoming workshop and speaking opportunities.
Have a great weekend and stay tuned for some great new pics from my recent trip to Greenland!
AW – Often students in my classes will bring work that shows an interesting subject, but without enough information to tell a complete story. I find that one effective tool for storytelling is using a wide-angle lens close to my subject, so that some of the background is included, creating a valuable sense of place.
I find elephant seal weaners, fattened up and then abandoned by their mothers, to be wonderfully cooperative photographic subjects. With this weaner, I laid flat on the ground in front of it to photograph it on its level.
The hot-spring-addicted macaques in the Japanese Alps are another fun subject. When their own hot springs were invaded by the furry monkeys, the human residents built a monkeys-only spring. This youngster hung around the side of the pool, making a perfect subject for a wide-angle shot, which allows me to add important background and context.
MH – Looking at us with its liquid black eyes, the seal pup seems to be hoping we are his mother coming to feed him. Weaned at three weeks, he seems a bit lost, even indignant, that the tap has suddenly been turned off. With the spectacular landscape of South Georgia in the background, this image creates a sense of loneliness, seeing this solitary pup by himself in this grand wilderness.
In the second image, the Japanese macaques are so human-like that it’s a little freaky. The monkey in the image seems curious, even mischievous, while his peers ignore his proximity to the camera and wallow in the thermal heat. I love seeing an animal in its environment, especially one as unique as this. It enlarges our understanding of how they live and sometimes gives us clues as to what motivates their behavior. Here, the slight distortion of the wide-angle lens enhances the drama of the scene.
Strong Leading Lines
Another important approach to using a wide-angle lens is to work with leading lines. Leading lines have long been important parts of painting and other two-dimensional forms of art. A leading line is simply something that creates a line from foreground to background and leads or directs the eye through the image. It can be anything that is visually distinct, that a viewer is going to notice, and helps define the composition.
You can find all sorts of leading lines in the environment: tracks in the sand, edges of roads, cracks in rocks, architectural structures, and so on. These can be used to direct the viewer’s eye through a composition and toward the main subject. They are an excellent way to help the viewer understand your picture as well as add a graphic element to the design of your image.
Wide-angle lenses help emphasize leading lines. This comes back to the concept of perspective. By getting in close to nearby parts of leading lines, you spread them apart, yet they still go to the same vanishing point in the distance. That creates a very strong change from foreground to background along those lines, something that will dramatically show off the elements of your photograph.
To understand this, think about a railroad track. If you stand on a hill and photograph railroad tracks in the distance so they start at the bottom of your picture and go to the horizon near the top, you will see them heading off to a vanishing point at the horizon. The railroad tracks will be a certain width at the bottom of your composition. If you then put on a wide-angle lens and get right down on the tracks, the width of the tracks will fill the width of your image. The tracks are still going to go off into the distance to a vanishing point, but now they go from the full width of your frame, creating an extreme change from foreground to background.
Don’t be afraid to get close to leading lines in order to emphasize how strong they are. So often photographers back off from subjects like this and lose some of the impact because they don’t have the same foreground-to-background perspective.
On the heels of my recent trip to Ecuador where freezing the action of the tiny and quick humming birds there was my primary goal, here is an excerpt on using fast shutter speeds from Chapter 7: Creative Options from The New Art of Photographing Nature. Enjoy!
AW: In this final set of images—of a Gentoo penguin porpoising in Antarctica, of leaping impalas in Kenya, and of whooper swans coming in for a landing on a frozen lake–I have chosen the fastest shutter possible to stop the action, capturing a frozen moment in time rather than a more impressionistic view. In the age of digital, the ability to select higher ISOs and faster shutter speeds allows me to capture a lot more moving subjects in sharp focus in this way, although my preference is still for blurred motion.
MH: The penguin shot is a wonderful example of allowing us to enjoy something unusual, in this case, a penguin “in flight.” This is a split-second event and takes remarkable timing to capture with a camera. The result allows us to appreciate the penguin’s torpedo-like shape, and understand a little better what makes them such speedy swimmers.
All of these images are examples of the camera being able to record something that is either too fast or too slow for the human eye to capture accurately. Fast shutter speeds enable us to savor moments of peak action at a later time and at our own pace. One of the greatest advantages of digital has been the ability to immediately see your results, allowing you to experiment and then make corrections on the spot. This can be especially valuable, for example, when testing different shutter speeds to gauge their effect.
I spent some time down in South America recently, a trip that was initially conceived to photograph the solar eclipse in Chile but also turned into a fantastic opportunity to photograph birds and other wildlife in Ecuador with a focus on capturing tiny, agile hummingbirds.
There are numerous sources online you can go to to find technical information on shooting slight and/or speedy subjects such as these, so I won’t bore you with technical specs except to say that my photos were captured with a Canon 5D Mark IV, a 100-400 lens, and a shutter speed of 1/160th of a second. Instead, I’d like to focus on my approach to capturing these and other animals that can be hard to get a handle on.
There were two things I didn’t want to end up doing in this situation – chasing elusive birds around with my lens all day long, or firing off a bunch of shots in hopes of coming away with something good after spending hours and hours editing and cropping photos.
Instead, I took the approach of spending plenty of time observing these creatures long before I attempted to take any shots. I recognized patterns in their behavior and how they interacted with their surroundings and each other. This allowed me to anticipate their movements and come away with more focused and intentional shots rather than just releasing the shutter and hoping for the best. Instead of chasing, I let them enter the frame and do the work for me. In the end, I came away with shots I’m happy with, and didn’t have to sort through too many duds to get there.
Currently, I’m in Chile viewing the total solar eclipse visible from South America, and it makes me hark back to when I traveled to South Australia back in December 2002 to photograph a total eclipse there. At the time, I was photographing landscapes for my book Edge of the Earth, Corner of the Sky and I thought this would be an amazing opportunity. I’d seen many technically excellent photographs of total eclipses over the years, but quite honestly they all looked pretty much alike. My objective became capturing the eclipse in relation to the Earth.
The solar eclipse that occurred on December 4, 2002, was noteworthy when viewed in South Australia for a couple of reasons. First, the eclipse was unusually brief at 25 seconds. Also, it occurred less than 40 minutes before sunset, so the likelihood of an obscured view was greatly increased because clouds generally stack up along the horizon at that time of day. To maximize my chance of success, I decided to find the precise position from which to film the eclipse by experimenting exactly 24 hours before the eclipse. I also decided to try two cameras for two very different perspectives, so I used both a wide-angle and a 70–200mm lens, enabling me to take full advantage of the eclipse’s late hour by incorporating the landscape.
Most eclipses occur earlier in the day when the sun is much higher in the sky. For this book, I wanted to establish the connection of the eclipse with the Earth. I wanted the viewer to witness the eclipse as if they were standing there next to me under the gum trees. Since I could not determine exposure until totality began, I decided to use matrix metering on an automatic aperture priority setting. When totality began, I would simply engage the shutter using locking cable releases, hoping that the entire roll of film would run continuously through the camera. This would have happened had I not made one final decision: to auto-bracket my exposures. I discovered, too late, that the camera would not continuously advance while on the auto-bracket setting. After just three exposures, both cameras stopped advancing. By the time I figured out what was happening, totality ended. Fortunately, I did get proper exposures for both compositions. After the critical moment of the full eclipse, I continued to photograph as the eclipse continued, switching to other lenses and film.
To create these images I used two Canon cameras, an EOS-1N and an EOS-1N/RS, EF70-200mm and EF 16-35mm lenses, Fujichrome Provia 400 film, and a Gitzo tripods. For the images of the setting eclipse on the horizon, I used an EF500mm IS lens and Fujichrome Velvia film.