tag:blogger.com,1999:blog-91612184005422806232024-03-08T09:09:24.680-08:00Life, Photography and Everythinglandscape and nature photographyJim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.comBlogger41125tag:blogger.com,1999:blog-9161218400542280623.post-71786972757485898192015-04-01T02:00:00.000-07:002015-04-01T02:42:12.100-07:00My Most Unique Photo of Yosemite Yet<blockquote style="margin: 0px 0px 0px 40px; padding: 0px;">
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<span style="font-family: Arial, Helvetica, sans-serif;">It has been far too long since I posted anything to the old blog. Life has just been way to busy between gallery exhibits and various art shows thatI just have not had time to apply to my writing. Time to change all that and get back to one of my favorite pastimes. So here goes!</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I've been a long admirer of the classic landscape from the early days of the early classic photographers. Wanting to try my hand at the amazing subjects in the American West and getting that classic Ansel Adams shot for my image library, I</span><span style="color: #333333;"><span style="font-family: Arial, Helvetica, sans-serif;"> spent weeks researching the best photographic subjects photo locations on Flickr, Instagram and 500px and then tracking down the almost exact location through shared camera GPS data. I flew to Yosemite to capture this amazing view that is destined to be a centerpiece of my landscape portfolio. Just when I thought I was the only person who might have thought of capturing this unique vantage point I ran into my friend Eric as I was leaving. Apart from some brief small talk as I left, I gave my friend Eric my spot in the photographer lineup (after all it was standing room only) to capture his own unique take of this iconic view. I highly recommend seeing his photo on his blog:</span><span style="font-family: Georgia, Times New Roman, Bitstream Charter, Times, serif;"> </span><a href="http://www.ericfredine.ca/blog/2015/3/31/my-unique-take-on-yosemite" style="font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif;">Eric Fredine Photography</a></span></div>
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<span style="font-size: xx-small;">(click on image for large view)</span></div>
Jim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.com0tag:blogger.com,1999:blog-9161218400542280623.post-10555910405188022942012-07-26T19:51:00.000-07:002012-07-26T19:51:17.986-07:00Found Objects<div style="text-align: justify;">
One of the most interesting things about being a photographer is the change that takes place in how one views the world. Instead of the usual mental state where one simply cruises through the day with a narrow, more-or-less self centered focus, everything suddenly becomes full of interest and potential.</div>
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One of the fun aspects of this heightened awareness is what is sometimes referred to as ‘found objects’. These tend to be those little, insignificant things that one would normally never really notice. However, within the mind of the creative and sensitive observer, these objects become endowed with presence and meaning. It is actually quite fun to capture these little things and to try and convey the presence or connection that I see in them. Whether the resulting images ascend to the point of being ‘art’ is not the point for me. It is, simply put, FUN! A whole new world of potential is opened up for exploration!</div>
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The primary requirement is that these objects are seen and then photographed untouched and ‘as found’. It is the fact that these objects are captured in situ that makes them interesting. The scenes are not constructed artificially or with intention - it is vital that they evolve naturally, as that is the aspect about them that speaks the loudest. The scene is a ‘found object’, it has come into existence through natural processes and chance. It is the job of the photographer to capture the object in such a way as to convey the story or statement that exists within it.</div>
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Sometimes, the interest lies within the object itself. Sometimes the interest is generated by the object and its relationship to its immediate environment that poses a question:</div>
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<span style="font-size: xx-small;"><em>(click on image to enlarge)</em></span> <em>Boots</em></div>
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Occasionally, it is the relationship of the object to some other point of interest in the immediate vicinity:</div>
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<em><span style="font-size: xx-small;">(click on image to enlarge) </span><span style="font-size: small;">Water, Water Everywhere</span></em></div>
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Then again, there are those little finds that lend themselves to an entirely different interpretation if one applies a little imagination:</div>
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<span style="font-size: xx-small;"><em>(click on image to enlarge)</em> <em> </em></span><em>Memories of a Green World</em></div>
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These photographs are all part of a growing series I call ‘Sidewalk Stories’. All of them are found in and on New York City sidewalks. New York City is, almost literally, a continuous sidewalk network from the Whitehall ferry terminal on the southern tip to the edge of the Harlem River on the north end, with some 13.4 miles in-between. The potential for finds here is staggering! How many found objects wait to be discovered...</div>
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<br /></div>Jim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.com2tag:blogger.com,1999:blog-9161218400542280623.post-25723429895408731232012-06-26T18:52:00.000-07:002012-06-26T18:52:36.121-07:00Organic Films<div style="text-align: justify;">
One finds inspiration and vision in the most unexpected places.</div>
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Following by wife's insistence that I take a break from my seemingly never ending backlog of work, I accepted her suggestion that we take our new pup for a walk in a local park. Getting outside into the fresh air and sunshine is never a bad idea, so I happily acquiesced and off we went. </div>
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Naturally, I packed a small camera, 'just in case'.</div>
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The walk was pleasant and we casually made our way to the shore of the Great South Bay. Gardinor Park has one of the very few remaining undeveloped stretches of beach on the northern shore of Great Cove. As we strolled along the shoreline I noticed that one of the recent storms had washed up great sheets of sea lettuce, which now lay stretched and bleaching in the sun. My first thought was that I'd never seen that much sea lettuce before and that it was a bit of an odd, if messy sight. On the first pass, I paid it little attention, focused as I was on Nancy and the pup. On the return pass, Nancy struck up a conversation with another dog owner and I wandered over to the shoreline to see if there was anything interesting about.</div>
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That was when I noticed , really noticed, the sea lettuce. It was stretched in thin layers over a fairly broad expanse of the beach. As it bleached and dried in the sun, it had taken on a fantastic texture which could be seen if one got right down close to it. Out came the Leica and off I went, looking for the most interesting bits and snapping away. </div>
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It was fantastic. The normally nondescript sea lettuce had taken on an entirely new presence in its decaying transformation. Visually, it had actually become MORE organic in appearance as it decayed. I processed the images in high contrast monochrome to bring out the incredible details in full.</div>
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I recall the fascination many years ago when I had first seen images produced by an electron microscope. A whole new world of astounding, living textures had been exposed to me. I immediately recognized that same experience in the textures of the fading sea lettuce, the thin algae form having taken on a new structure as it compressed, folded and stretched into semi-transparency as it dried out.</div>
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The end effect is at once fascinating and a bit creepy, in a deeply thought provoking way. The textures project this inescapable organic presence. Studying the final 12 images in the series, I can't help but be forced to recognize the fragility of life within these thin, semitransparent structures. The connection to our physical and, ultimately, our inner selves is direct, speaking to the soft, albeit tough, reality of skin, muscle and sinew. The emotional message is more subtle, of course, addressing the stretched, thinness of self as we age and, eventually fade. These films are dying or, more likely, already dead, their cogent mortality immediate and stretched out, ready for study by the sensitive witness. The images conjure thoughts of human faces - old, dark, leathery. Sun cooked by years of exposure to the raw, burnishing elements and time's unforgiving hand, the ancient fisherman's sun drenched soul exposed. </div>
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This is my journey. Photography paves the way. Thank you for joining me for a few moments.</div>Jim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.com0tag:blogger.com,1999:blog-9161218400542280623.post-72977035427622031652012-04-17T18:19:00.001-07:002012-04-17T18:21:34.665-07:00The Promise of Days in Sunshine<div style="text-align: justify;">I've spent much time recently experimenting with images of people. This probably wouldn't strike most as being unusual unless you consider the nature of my early photography work, which was almost entirely devoid of human presence. Recalling that my day job requires, if anything, a rather intense involvement with a broad range of people, from UN representatives to cleaning staff, in both good moods and bad, in matters personal and professional. My weekends were generally spent in a concerted effort to get AWAY from people! My early photography, with it's emphasis on nature and landscapes was a direct result of this.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">I've noticed a change in myself recently. While my high stress day job has not changed a bit, my recent iPhone experiments in New York City and elsewhere have opened up an unexpected door to a rather different perspective. At least part of this progressive change can be traced back to Sean Kernan's suggestion to me to study Robert Frank's book 'The Americans'. The process had already begun in the form of my street photography, but Mr. Kernan's suggestion and Robert Frank's work have catalyzed the formation of the process in my mind and photography goals.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The result can be seen in my growing series of City images, taken with both the iPhone and my Leica. The subject matter has shifted from the 'traditional' form of street photography towards a specifically broader perspective: that of the relationship of people within the spaces they inhabit and to each other. I have tried to capture a specific dynamic in the urban images, where nature has been severely constrained to a bare trace of an existence in what, a little over a century ago, was once a mostly natural woodland. What greenery now remains is entirely man made, in the sense that every tree has been intentionally planted and maintained by man in a specific, purposely restricted space. I find an inevitable stress in the natural relationship results which broadcasts itself into the dynamics of human interrelationships in these densely populated spaces.</div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-lJtq8lo5Jac/T44SXk4lkMI/AAAAAAAAE_8/EbPRa6W2JyQ/s1600/IMG_2196.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" qda="true" src="http://1.bp.blogspot.com/-lJtq8lo5Jac/T44SXk4lkMI/AAAAAAAAE_8/EbPRa6W2JyQ/s320/IMG_2196.jpg" width="320" /></a></div><div style="text-align: justify;"><span style="font-size: xx-small;"><em>(click image to enlarge)</em></span> <strong><em> No Connection</em></strong></div><div style="text-align: justify;">The word 'alienation' is certainly an overused descriptor, but that element is profoundly present and captured in these photographs. Lone isolated trees and lone isolated people at the center of one of the most densely populated urban centers of the world.</div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-ahr1FCDgE2E/T44V5VV6y0I/AAAAAAAAFAI/xjrm-JU7924/s1600/IMG_2482.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" qda="true" src="http://4.bp.blogspot.com/-ahr1FCDgE2E/T44V5VV6y0I/AAAAAAAAFAI/xjrm-JU7924/s320/IMG_2482.jpg" width="320" /></a></div><div style="text-align: justify;"><em><span style="font-size: xx-small;">(click image to enlarge) </span><span style="font-size: small;"><strong>The Confrontation</strong></span></em></div><div style="text-align: justify;">A very subtle change has taken place during the process of taking these photographs, however, and one that was entirely unexpected. The importance of the personal relationships has started to come to the fore. The New York City work does not lend itself easily to this due to the rather specific direction of the project. Instead, it has presented itself at family gatherings, especially in the presence of the very young and old members of the family as they act out the natural dynamics that comprise all families. Here is the stuff of our lives and an enormously fertile field of potential. The difficulty lies in taking these daily, commonplace events and bringing forth the soul that lies deep within the heart of the relationships in play, the stuff of memories recorded in the albums of family snapshots.</div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/--MlWn7UqyAs/T44WaMW7SoI/AAAAAAAAFAQ/0g6RfgGWtIc/s1600/IMG_2752.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" qda="true" src="http://3.bp.blogspot.com/--MlWn7UqyAs/T44WaMW7SoI/AAAAAAAAFAQ/0g6RfgGWtIc/s320/IMG_2752.jpg" width="320" /></a></div><div style="text-align: justify;"><em><span style="font-size: xx-small;">(click image to enlarge) </span><strong>The Promise of Days in Sunshine</strong></em></div><div style="text-align: justify;">This is pretty nearly the exact opposite space from where my photography started. Funny how that works...</div><div style="text-align: justify;"><br />
</div>Jim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.com0tag:blogger.com,1999:blog-9161218400542280623.post-47287823582580890762012-04-03T18:12:00.000-07:002012-04-03T18:12:39.268-07:00BarriersBarriers come in many forms. There are the common physical barriers, some inconvenient like that fence that blocked your favorite shortcut as a kid, others serving practical purposes, such as the various forms of traffic control which block your short cuts as an adult! Still others are beneficial, such as barrier islands that form protected waters where marshlands and estuaries can exist, flush with wildlife.<br />
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The barrier foremost in my mind lately is that of the 'day job'. Now, calling my day job a barrier requires a certain context because, lets face it, without it a lot of necessary and/or desired things would not be possible. There is that pesky mortgage, the kid's college tuition, all the bills associated with living in the Long Island version of suburbia, the nice vacations, etc., etc. All that is understood and accepted, if reluctantly, in spite of the running joke that 'my day job is really cutting into my play time!'. On top of that is the disruption caused by a do-it-yourself kitchen renovation. Disrupted habits and routines are not always a bad thing, but when layered on top of an existing stress, well...<br />
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The barrier caused by the day job that seems to crop up too often recently is its tendency, through stress and mental exhaustion, to deplete the energy needed for creativity. Too often lately, I've caught myself late in the evening staring into the 24" high res lcd panel, filled with some image file I am trying to finesse to fit the potential I see in it and my focus drifts and my eyes slowly close - only to snap awake when I catch myself. The result is the writing starts to fall off and the image processing backlog doesn't get any smaller. It even gets noticeably harder to fire up that creative spark needed to enter that mental space that allows me, even drives me to create.<br />
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This is NOT good, especially for someone who's need to create is one of the prime motivators in life. The frustration can become palpable.<br />
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So, what is one to do? Not much but ride it out, unfortunately. The day job is not always this stressful and, as the saying goes, this too shall pass. The kitchen project, little by little, is getting done and in a few more weeks we should have a functional, and even attractive, kitchen again. In the meantime, I've learned how to install an Italian tile floor, the definition of the word 'slake' as applied to mortar, how easy it is to blow a hand powered tile cutter to smithereens and the advantages of spending a bit more money for a proper stone cutter table saw (highly recommended). The RAW photo files will still be on the computer and waiting.<br />
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In the midst of this morass, I have found one creative outlet which has paid some surprising dividends: the iPhone camera. I've discovered that the few minutes spent walking between Penn Station and my office can be a goldmine. In this mile and a half of walking and observing, before the pressures, interruptions and obligations of the day start to encroach upon the psyche, the creative spirit can still manifest itself. The result is a collection of little images that speak to a unique world that exists in the early moments of each weekday in New York City. As I take my varied daily route through Murray Hill, I am primed for the small discoveries. The resulting collection is growing, such that I have committed one of my web site galleries to iPhoneography. I have posted a few examples with this blog entry as usual, but be sure to stop by the iPhoneography Gallery to see the rest of a continuously expanding collection of images. One photograph, 'An Intersection of Metals', was even selected for the juried photography show currently being exhibited in the Kiernan Gallery's 'iSpy: Camera Phone Photography Show' in Lexington, Virginia.<br />
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It seems the late night creativity has taken a little bit of a hit as of late, but creativity finds a way. This time, it came out through a little camera phone and a series of unexpected but intriguing photographs.Jim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.com0tag:blogger.com,1999:blog-9161218400542280623.post-47356090826845708722012-01-11T17:53:00.000-08:002012-01-11T17:53:56.209-08:00The Days of Future Past<div style="font: 12px/15px "Arial Unicode MS"; margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif;">"I love deadlines. I like the 'whooshing' noise they make as they fly by." - Douglas Adams</span></div><div style="font: 12px/15px Helvetica; margin: 0px; min-height: 14px;"><span style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="font: 12px/15px "Arial Unicode MS"; margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif;">Wait a minute, was that December that just blew by?!?!</span></div><div style="font: 12px/15px "Arial Unicode MS"; margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="font: 12px/15px "Arial Unicode MS"; margin: 0px; text-align: justify;"><span style="font-family: Arial, Helvetica, sans-serif;">Here we are finally coming out of the far side of the careening rush of the holiday season. Like many people, I frequently find myself wondering how we continue to lose ourselves in the maddening crush of the season rather than take the other direction and just slow down a bit and reflect on our personal take on the Solstice and/or whatever spiritual take we might have on it. One of the victims of this year's running about has been my photography. There is just too little free time to get out to personal shoots or even process images. I've certainly let my blog updates take a bit of a back seat to more pressing matters. Still, even with all the rushing about, it is a natural time to find a moment to look back over the passing year and consider the ground covered, lessons (hopefully) learned and also to consider the rapidly approaching future.</span></div><div style="font: 12px/15px "Arial Unicode MS"; margin: 0px; text-align: justify;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; font: 12px/15px "Arial Unicode MS"; margin: 0px; text-align: justify;"><span style="font-family: Arial, Helvetica, sans-serif;">The news isn't all bad, happily enough. It looks like we had a banner year for Holiday season sales which has contributed in some part to the running about - but that's a good thing and hopefully a sign that the economy is starting to warm up again. We will have both kids home for Christmas, which is a very good thing! I've made some new friends over at the Islip Arts Council and won an award for my Maple Red print at the recently concluded Seatuck Environmental Association Photography Show, which is sponsored by the Council. The reception was very well attended and my prints received a lot of attention, particularly from Council members. I am looking forward to doing a lot more work with this group. As this post does not discuss some photographic concept in my usual manner, I will share the three images that were accepted into the Seatuck show, starting with the award winner, "Maple Red":</span></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-IXjhvASwokQ/Tw45X6Nk5NI/AAAAAAAADX4/uTphP7H7GKc/s1600/Fall---_20111113_0020.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" kba="true" src="http://2.bp.blogspot.com/-IXjhvASwokQ/Tw45X6Nk5NI/AAAAAAAADX4/uTphP7H7GKc/s400/Fall---_20111113_0020.jpg" width="400" /></a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; font: 12px/15px Helvetica; margin: 0px; min-height: 14px;"><span style="font-family: Times, "Times New Roman", serif; font-size: xx-small;"><em>(click on image to enlarge) <span style="font-size: x-small;"><strong> Maple Red</strong></span></em></span></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; font: 12px/15px Helvetica; margin: 0px; min-height: 14px; text-align: justify;"><span style="font-family: Arial, Helvetica, sans-serif;">On the bad news side, another gallery has closed. Studio East Gallery, owned and operated by my friend Terry Falquero closed their doors after a three year run. We had the reception for the current mixed media show a few weeks ago and it was a bittersweet event, knowing it was the last show for this quirky little gallery. I will miss our monthly show receptions and friendly, interesting discussions with the other artists. I may actually have to consider joining one of the local art groups at some point. </span></div><div style="font: 12px/15px Helvetica; margin: 0px; min-height: 14px; text-align: justify;"><span style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="font: 12px/15px "Arial Unicode MS"; margin: 0px; text-align: justify;"><span style="font-family: Arial, Helvetica, sans-serif;">It is already time to start considering next summer's show schedule. We want to show in the Westhampton Spring show, for instance, which will be a new one for us. We are considering a return to Sag Harbor as well, as they seem to have wised up and allowed tent setups on the park grass instead of the roadway. I want to find a show venue in the Stony Brook area as well, which is an odd void in our show network. I think we will still limit ourselves to showing on Long Island for the coming year. The logistics of traveling out of state are just too much for what amounts to a weekend event for us, at least for the immediate future. Next on the promotional front is the ongoing search for open artist calls for shows and publications. I've two submissions in the works as this is being written, so hopefully they will come to fruition.</span></div><div class="separator" style="clear: both; font: 12px/15px "Arial Unicode MS"; margin: 0px; text-align: center;"><a href="http://1.bp.blogspot.com/-xXZ9oWEU_Xw/Tw464eCNlmI/AAAAAAAADYE/y4Uvtb5u2mA/s1600/Stroll-Garden-6837-Edit.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" kba="true" src="http://1.bp.blogspot.com/-xXZ9oWEU_Xw/Tw464eCNlmI/AAAAAAAADYE/y4Uvtb5u2mA/s400/Stroll-Garden-6837-Edit.jpg" width="400" /></a></div><div style="font: 12px/15px "Arial Unicode MS"; margin: 0px;"><span style="font-size: xx-small;"><em>(Click image to enlarge) <span style="font-size: x-small;"><strong>Inner Light</strong></span></em></span></div><div style="font: 12px/15px "Arial Unicode MS"; margin: 0px; text-align: justify;"><span style="font-family: Arial, Helvetica, sans-serif;">One of the year's outstanding moments was my portfolio review with Sean Kernan. This, in fact, may have been the most important moment of the year for my development as a photographer. We had a really interesting, if all too brief, discussion about my work which ended with Mr. Kernan's entirely unexpected statement that "Anything that I could show or teach you, you are already doing. You are on your own. Let's see what you can do!" </span></div><div style="font: 12px/15px Helvetica; margin: 0px; min-height: 14px;"><br />
</div><div style="font: 12px/15px "Arial Unicode MS"; margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif;">I really did not see that train coming, as the saying goes.</span></div><div style="font: 12px/15px Helvetica; margin: 0px; min-height: 14px;"><br />
</div><div class="separator" style="clear: both; font: 12px/15px "Arial Unicode MS"; margin: 0px; text-align: center;"><a href="http://4.bp.blogspot.com/-vHTuQTChBDg/Tw47bakEMrI/AAAAAAAADYM/gU9pufB2CUM/s1600/Windswept-II---HK.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="258" kba="true" src="http://4.bp.blogspot.com/-vHTuQTChBDg/Tw47bakEMrI/AAAAAAAADYM/gU9pufB2CUM/s400/Windswept-II---HK.jpg" width="400" /></a></div><div style="font: 12px/15px "Arial Unicode MS"; margin: 0px;"><span style="font-size: xx-small;"><em>(Click image to enlarge) <span style="font-size: x-small;"><strong>Windswept II</strong></span></em></span></div><div style="font: 12px/15px "Arial Unicode MS"; margin: 0px; text-align: justify;"><span style="font-family: Arial, Helvetica, sans-serif;">Bearing in mind that I have never taken a photography class, or even an art class for that matter, excepting the usual 8th grade thing we all take, Mr. Kernan's pronouncment came as a surprisingly profound shock. It is one thing to study on your own, comforted by the fact that you always have the option to reach out to those teachers and resources to get a helping hand or hints of direction. It is quite another to inadvertently discover you've passed an important benchmark without even realizing it. I'm still sorting this out in my own head and it will be interesting to see how this newfound realization affects my work.</span></div><div style="font: 12px/15px Helvetica; margin: 0px; min-height: 14px; text-align: justify;"><br />
</div><div style="font: 12px/15px "Arial Unicode MS"; margin: 0px; text-align: justify;"><span style="font-family: Arial, Helvetica, sans-serif;">So, here is to hoping all of you have an interesting and happily challenging new year. Get out there and let's see what you can do!</span></div>Jim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.com0tag:blogger.com,1999:blog-9161218400542280623.post-5887390523746416732011-11-07T18:54:00.000-08:002011-11-07T18:56:54.331-08:00On Personal Growth and Learning<div style="text-align: justify;"><br />
</div><div style="text-align: justify;">"Don't ever take an art class. It will ruin you."</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">These words were spoken to me over thirty-five years ago by a gentleman who had just purchased one of my paintings. Obviously, the statement stuck in my head. Why have I remembered this comment after all these years?</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">I think the first part of the answer is the sheer surprise I experienced at the comment. At the time my greatest desire was to get into one of the established art schools and here was a person who loved my work enough to spend money on it telling me to do exactly the opposite. I recall asking him why he would say that and his response was something along the lines of "they will make you just like everyone else. It will destroy your originality."</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Ah! Even then I could see the sense in the statement. I've since followed that dictum and never have attended an art class of any kind, not even one on photography. Another question remains however: how is one to advance as an artist without the guidance of peers (or superiors) in some form? In my case, having a deep, inherent curiousity provides a natural drive to educate myself about those things that interest me - which is pretty much everything. In the case of the arts, I avail myself of all the information that exists on the internet, in our public libraries and magazine publications. There is an enormous amount of information within reach out there if one is willing to commit the time to search it out and then really study it.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Note that I did not refer to this process as 'work'. If the act of applying yourself to study and learning seems like work, it is strong evidence of a lack of passion for what you are doing. For me, this is not work. Rather, it is more like breathing, something I am driven to do. My wife will occasionally chastise me for bringing along some bit of technical reading material when we go on a vacation trip as she says I should take the opportunity to relax. What I've had to explain on more than one occasion over the years is that burying myself in that sort of research is how I relax! Learning really is like breathing to me, especially so when it is a subject in which I have a fervent interest. I can actually get a bit fidgety if I can't get to a bit of research on something that has lit a fire in me.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The technical aspects of photography aside, one of the most important resources available to us is the work of those artists we admire. I can spend literal hours poring over the work of the likes of Stieglitz and Steichen and others. I was browsing through a rather dingy, dusty, unkempt, dark rabbit hole of a bookstore recently and found gold in the form of two out-of-print books - The National Museum of Art Calloway Edition of 1983 'Alfred Stieglitz' and 'A Life in Photography', Edward Steichen's autobiography. Bookstore nirvana! The opportunity to study the work of these masters in such high quality printings at my leisure is invaluable. I do not limit myself to the masters of photography either. I began my art career as a painter, after all. I have a beautiful copy of Andrew Wyeth's autobiography as well and have many hours invested in this one book. It is from Wyeth that I learned something of the importance of what is included in an image and what is left out. Wyeth's work opened the door for me to a whole new consideration of how to approach composition and the contribution texture can make to an image.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">I have many ideas from Wyeth's tempera paintings that I want to incorporate into my photography, but this is not easily done. The two mediums have fundamental differences in material and process that I have as yet been unable to bridge successfully. The excitement lies in continuing to try! Another example of a painter that has had a strong influence on me, especially in my early in my studies, is Maxfield Parrish. Parrish's landscape paintings, his main focus in his later years, are a wonder to me. His exceptional mastery of the ancient master's technique of glazing with oil paints (think Rembrandt) represents the high point of the technique and it is brought to its full modern potential in his landscapes. I have one photograph where the Parrish influence is clearly evident, 'Dream Swing'.</div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-IMEvK1y6ouo/TriVvx3snXI/AAAAAAAACEw/EhGu4nUSDfs/s1600/Caumsett-Swing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" ida="true" src="http://1.bp.blogspot.com/-IMEvK1y6ouo/TriVvx3snXI/AAAAAAAACEw/EhGu4nUSDfs/s400/Caumsett-Swing.jpg" width="281" /></a></div><div style="text-align: justify;"><em><span style="font-size: xx-small;">(click on image to enlarge)</span></em> <strong><em>Dream Swing</em></strong></div><div style="text-align: justify;">It seems to me that the influence of Stieglitz and Steichen on my recent work is fairly obvious. The current Cityscape series of limited edition architectural prints do not seek to copy their work, but to incorporate some of their ideas within modern subjects. Here I am trying to expand on certain aspects of the Photo Secessionists style by minimizing the softening effects of that period and blend it with the sharper, highly detailed and graphic nature of the silver gelatin prints from the '30's. The results are really intriguing and have received very strong positive reactions from viewers. The resulting images are unique in both look and subject, but deeply rooted in the the previous accomplishments of my silent mentors.</div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-zBOk_F6tm50/TriZqFYYU0I/AAAAAAAACE8/ISNiryrvdeU/s1600/G9-2010_095.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" ida="true" src="http://3.bp.blogspot.com/-zBOk_F6tm50/TriZqFYYU0I/AAAAAAAACE8/ISNiryrvdeU/s400/G9-2010_095.jpg" width="272" /></a></div><div style="text-align: justify;"><em><span style="font-size: xx-small;">(click on image to enlarge)</span></em> <strong><em>The Morgan in Winter</em></strong></div><div style="text-align: justify;">For people like me, the process never stops, nor do we want it to. It isn't just some holistic sort of self-improvement thing. Rather, it is a basic function of our character, the desire to understand the world and universe around us. In that process we usually do improve ourselves, if for no other reason than we operate from a greater and more accurate understanding of our environment. The sheer scope of the unknown assures us, happily I might add, that we cannot possibly run out of things to learn! In this way, that delicious, childlike sense of wonder and awe can last a lifetime!</div>Jim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.com2tag:blogger.com,1999:blog-9161218400542280623.post-84760543927793940732011-10-13T20:26:00.000-07:002011-10-14T08:47:38.088-07:00Steichen<div style="text-align: justify;">As my experience and education regarding photography continues to grow, I make a point of learning, at least broadly, the history of this amazing medium. I've always been one to hold to the maxim that if you want to fully understand something, you need to understand its history as much as its current status. This applies to photography as much as any subject. We are fortunate in the case of photography in that it is a very recent technological development and therefore well documented. As with all human endeavors, it is the human element that lies at the center of what photography is and was. This is why I've spent much of the last year studying the early masters of photography as an artistic medium.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">A few moments ago, I completed Edward Steichen's incredible autobiography "A Life In Photography". I have been engrossed and moved by this man's story and the parts he played in various aspects of our recent history. I am forced to sit for a while and contemplate his story and why it affects me so.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Part of the matter, and possibly the most superficial although still important, is Steichen's direct participation in such a broad range of historical events. A brief overview:</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">- He taught himself photography as a young boy when the medium was still barely more than a fledgling technology and was right at the forefront of its development and ultimate acceptance as an art form.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">- His relationships as a young man with some of the world's most amazing artists and influential men, in particular Auguste Rodin and Alfred Stieglitz.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">- His personal contributions to photography, including aerial photography for the Allies in WWI.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">- His development of portraiture as an art form while photographing many of recent histories iconic figures.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">- Inventing and re-inventing the concept of fashion photography.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">- Creating the first independent photographic unit within the US Navy for the purposes of documenting WWII - he was in his late 60's at the start of the war!</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">- Serving as the Photographic director of arts in the Museum of Modern Art after the war, assembling some 40 world class photographic exhibitions over 15 years, culminating in the matchless and world renowned 'Family of Man' exhibit, still being shown when he authored his autobiography at the age of 84.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The descriptive title 'Great Man' is one I apply very rarely. I freely apply it to Edward Steichen. Here was a man possessed of an aggressively seeking mind matched with real talent and vision. As recently as two years ago I did not know he had existed. How can it be that people of Steichen's quality are relatively unknown in our society while characters like 'The Situation' and Charlie Sheen fill the headlines during their 15 minutes of fame and are idolized by a sizable chunk of our population, only to be replaced by the next flashy, meaningless splash? As if that weren't bad enough, all this goes on while people of real ability and commitment are rarely known outside of a narrow circle of familiars. It points to something deeply broken within our society.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">This small blog entry cannot do Steichen or his contributions any real justice, but I highly recommend reading up on him in detail, especially so if you have any degree of interest in photography. I will offer a couple of small examples that may, hopefully, pique your interest enough to get you to educate yourself regarding this great man. To this end, I am going to break from my usual practice of displaying and discussing my own photographic work and display that of another artist.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The first is an example of his early work from 1902 in Paris and representative of his relationship with the great sculptor, Rodin. Steichen met the older and already established great sculptor during one of his visits to Paris as a young man, still interested as much in painting as photography. Over a period of about a year, the two developed a close friendship that ultimately led to Rodin granting permission to Steichen to photograph him and his work. One of the resulting images is also one of the great, masterful portraits even to this day.</div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-1AxG57Ug_cw/TpeqKsPbIeI/AAAAAAAABck/zZ5McgfBF0M/s1600/steichen-rodin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="307" oda="true" src="http://3.bp.blogspot.com/-1AxG57Ug_cw/TpeqKsPbIeI/AAAAAAAABck/zZ5McgfBF0M/s400/steichen-rodin.jpg" width="400" /></a></div><span style="font-size: xx-small;"><em>(click on image to enlarge) <strong> 'La Penseur'</strong></em></span><br />
<div style="text-align: justify;">Here, in this stark, simple photograph, Steichen manages to capture the utter essence of one of the world's greatest sculptors, two of his works forming the backdrop of the portrait. One of the things that I really like about this image is that it represents an intersection of talent of two of my most admired and favorite artists. I've pored over this photograph for hours and even had the pleasure of examining the original in the Metropolitan Museum of Art recently. It is one of my absolute favorite works of art. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Portraits were how Steichen made an early living in New York City and also established himself as a photographer of considerable talent. Over the years, he was employed in photographing many of the powerful and celebrated personalities of the time and exhibited a consistent ability to bring out the subject's personality. There are many, many examples of this talent, but one the most interesting to me is Steichen's photograph of the famous actress Greta Garbo, taken in 1928 and seen below. Steichen was forced to rush through the shoot in an environment where the actress' public image was rigidly controlled by managers and the shoot also interfered with the active, tightly organized filming schedule. He was unhappy with the results as the shoot progressed, but the right moment arrived when the director shouted over that it was time to get back to filming. Steichen had the camera ready and recognized the delicate and brief moment when Greta Garbo's true personality flashed to the surface as she turned and glared at the director.</div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-rPG-XOKbliM/Tpeqs_n8zGI/AAAAAAAABcs/c3acKNIumY0/s1600/Garbo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" oda="true" src="http://3.bp.blogspot.com/-rPG-XOKbliM/Tpeqs_n8zGI/AAAAAAAABcs/c3acKNIumY0/s400/Garbo.jpg" width="315" /></a></div><span style="font-size: xx-small;"><em>(click on image to enlarge)</em></span> <span style="font-size: xx-small;"><em><strong> 'Greta Garbo'</strong></em></span><br />
<div style="text-align: justify;">Here, preparation and talent combine to deliver on a moment that existed in front of the camera for the briefest of instants and the subject's personality comes right to the forefront.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The last example is another one of Steichen's earlier works, dating to 1901. It is a self portrait, done by Steichen as an experiment. It is also one of my favorites examples of his work. The print is heavily manipulated by Steichen, as much painting as photograph, as he used his considerable creative talents from both mediums and combined them on the master plate to create a subtle yet powerful image.</div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-uKEvcE6FAKw/TperSDvtlaI/AAAAAAAABc0/2x41_NIfQYo/s1600/Edward-Steichen-Self-Portrait.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" oda="true" src="http://2.bp.blogspot.com/-uKEvcE6FAKw/TperSDvtlaI/AAAAAAAABc0/2x41_NIfQYo/s400/Edward-Steichen-Self-Portrait.jpg" width="301" /></a></div><span style="font-size: xx-small;"><em>(click on image to enlarge) <strong>'Self Portrait'</strong></em></span><br />
<div style="text-align: justify;">In order to understand and better work within the photographic medium, it is necessary to understand its history and roots in all its creative variety. Edward Steichen embodies very nearly the entire history of photography in a single package, not only by being present during the early days of the medium making itself known as an art form, not only by participating personally in its history and development, but by actually being one of the creative spirits to make that history, and then guide its progress through nearly a century of growth and development. A unique and great man indeed.</div>Jim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.com2tag:blogger.com,1999:blog-9161218400542280623.post-84149349726040214852011-09-12T19:11:00.000-07:002012-01-11T18:22:48.713-08:00Sidewalk Processing<div style="text-align: justify;">Technology manifests itself in some interesting and often unexpected ways. For example, you can now do photo processing on the go. I don't mean in the sense of having your notebook computer in the field with you, ready to process your latest and greatest DSLR image. I'm talking one handed, in the street right on your phone as you take the shot. Crazy.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">In my prior blog post I went on about having fun with some of the new iPhone camera apps. Well, frankly, I underestimated just how much fun these little programs could be, particularly the odd little Hipstamatic app. It's actually gotten to the point where I haven't taken my little Leica out since I bought the Hipstamatic app and started using it. I even find myself using it alongside my big DSLR 'just for kicks' when doing a serious photo shoot. This happened just this past Sunday during a pre-dawn shoot on a fairly inaccessible bit of beach near my home. I was doing long 15 to 30 second exposures of an abandoned and badly deteriorated bulkhead just off the shoreline in the bay. Behind me was a very large expanse of salt marsh. The DSLR was firmly ensconced on my tripod as I worked through a series of exposures on specific parts of the bulkhead. Suddenly I heard a honking of geese behind me and turning, spotted a large flock coming across the marsh in my direction. I took a quick glance at the DSLR, tripod, long telephoto and all and quickly realized there was no way I was breaking the setup down and getting the camera on target in the very few seconds available. So I went for the iPhone mounted on my belt clip and keyed up the Hipstamatic app just as the geese came in range. I panned and caught six frames as they went buy. True to form, the app captured some nice atmospheric images of the flock of geese in flight over the bay.</div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-VSErVEKrwJs/Tm61cUSAw8I/AAAAAAAABBQ/k6n6CnMzz58/s1600/photoCAN4RA8D.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://4.bp.blogspot.com/-VSErVEKrwJs/Tm61cUSAw8I/AAAAAAAABBQ/k6n6CnMzz58/s400/photoCAN4RA8D.JPG" width="400" /></a></div><div style="text-align: justify;"><span style="font-size: xx-small;">(click on image to enlarge)</span> <em>Geese in Flight</em><br />
One of the drivers here, as mentioned in the earlier post, is the serendipitous nature of the results that the software delivers. Each image is a surprise and my curiousity simply gets the best of me. I'm pretty sure of the image that will come out of the DSLR, after all, that is what having all that control is about. I can never be certain of what the iPhone camera will deliver via the Hipstamatic app. The result is that after I finish my main shots with the pro gear, I find myself pulling out the iPhone to see what it delivers - click, click, click. Oh, cool!<span style="color: black;"><span style="font-family: Times, "Times New Roman", serif; font-size: small;"></span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-smxMxTWCyus/Tm62IKL_KeI/AAAAAAAABBU/LYQeBHhLYxE/s1600/photoCAAT353D.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://1.bp.blogspot.com/-smxMxTWCyus/Tm62IKL_KeI/AAAAAAAABBU/LYQeBHhLYxE/s400/photoCAAT353D.JPG" width="400" /></a></div><span style="font-size: xx-small;"><em>(click on image to enlarge)</em> <em> </em></span><span style="font-size: small;"><em>Life in Motion - Jamaica Station</em></span><br />
<div style="text-align: justify;">As seen in the story above, one of the great advantages of the iPhone camera is that it lives right on my belt clip. It is always right there, a quick reach and snap and I'm taking pictures. I put the app icon right on the main screen for quick access and on a couple of occasions have had the app loaded and ready to go on power-up. I can go from belt clip to shooting in just a few seconds. Even the Leica requires that I remove my pack, pull the camera out and then remove the lens cap, then switch the camera on, all before composing the image and all of which takes considerably longer than the iPhone. The result is that the iPhone gets used more and more because it is so easy and accessible.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The only down side is that the quality of the image files is extremely limited. A so-so camera coupled with heavy jpeg compression will only get you so far. I would love to see, at minimum, RAW capability added to the iPhone to avoid the biggest issue, and maybe a much better camera on future iterations of the iPhone, which excels on so many other fronts.<br />
<br />
But I digress.<br />
<br />
I have discovered that all the iPhone camera apps save the image files in the Camera Roll directory. Easy enough. I have also discovered that the Camera Genius app can access any jpeg file in the Camera Roll directory. This means I can use the Camera Genius App to edit/process any jpeg taken with any of the other camera apps on the iPhone, including the Hipstamatic. Just to see if it would work, I even emailed myself a large jpeg image and saved it on the iPhone. The Camera Genius even worked in this larger file, although it was no rocket. This opens yet more creative possibilities! If a Hipstamatic image is a bit 'off' for one reason or another, say contrast, I just open it up in Camera Genius and adjust it accordingly. </div><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-XuF3KTBNelM/Tm62ws7gR0I/AAAAAAAABBY/Q6X_qOhRvAA/s1600/photoCA20YZO3.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://2.bp.blogspot.com/-XuF3KTBNelM/Tm62ws7gR0I/AAAAAAAABBY/Q6X_qOhRvAA/s400/photoCA20YZO3.JPG" width="400" /></a></div><span style="color: black;"><span style="font-family: Helvetica, sans-serif;"><span style="font-family: Times New Roman; font-size: xx-small;"><em>(click on image to enlarge) </em><span style="font-size: small;"> </span></span></span></span><em>Gotham Perspective</em><br />
I have found myself walking down the sidewalk, snapping a quick shot with Hipstamatic, checking it out and deciding that "the 'Lomography' preset in Camera Genius is just what the image needs to really be cool, and that standard border treatment is getting pretty old hat - one of the borders from Camera Genius would really spruce this up a bit." I'm doing the processing while walking to work and I've done this on several occasions already. But I've become deeply concerned.<br />
<div style="text-align: justify;"><br />
</div><div style="text-align: justify;">I'm worried that somewhere on a Manhattan sidewalk there is a sign post with my name on it. I can really see myself so wrapped up in an image that I walk right into a post or, worse, out into Manhattan traffic. This, as they say, could be very bad for one's health. I think I'm in trouble here. Has anyone trademarked the 'Roadkill Photography' name yet?</div>Jim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.com0tag:blogger.com,1999:blog-9161218400542280623.post-40948139184096407272011-08-31T19:44:00.000-07:002011-08-31T19:44:57.251-07:00Don't forget to Have Fun!<div style="text-align: justify;">Occasionally even the dedicated photographer has to be reminded that we are supposed to be having fun. It is all to easy to get sucked up into the supposed 'seriousness' of the process of capturing the best possible photograph that we can forget why we first got involved in the medium. While I do not wish to lessen the importance of those efforts, it is equally important to remember that it is all too easy to start taking yourself too seriously.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">I was recently reminded of this when I discovered a photo app for my iPhone. I've perused the Apple App Store often, looking for interesting applications for the iPhone camera. Most fall into the 'serious' category and as I have far more powerful software on my main desktop, I tend to eschew these smaller dedicated programs. One exception is the Camera Genius app. This is a surprisingly capable little program. The feature I like most is the ability to separate and adjust the exposure and focus areas right on the touch screen. Very neat trick that. Just slide the exposure point to the area you want to meter and the focus box to the main point of interest and click. Very nice job designing that, guys. In addition are a series of effects and adjustment presets to add interest to the finished image. Another little detail I like is that the edited image is always saved as a new file and the original remains untouched. Well done. If you only buy one photo app, this one should get a hard look.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The program that really peaked my interest, however, was entirely unexpected. The app is called Hipstamatic. If you are old enough (no comments please!) to remember the really cheap, plastic, crappy Instamatic110 cameras of the 70's, you will relate to this program very quickly. The 110's used a little snap in film cartridge and made the family vacation snapshot all but ubiquitous. They were very inexpensive and very accessible and everyone seemed to have one. Most of those old family photos were very likely taken with one of these cameras or a similar model. We can all revisit these old memories because of them. So, in the end, the job that these cheap little plastic cameras did proves to be priceless.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The makers of the Hipstamatic app claim their little camera program emulates a small, cheap plastic camera marketed unsuccessfully in the early 80's. The original Hipstamatic camera is apparently apocryphal however, and the 'history' presented on the web page just clever marketing. While perhaps a bit disappointing in this respect, it detracts nothing from the functionality of the little camera program. It actually emulates the Instamatic, but it doesn't take much of a leap to imagine certain trademarking complications in using the Instamatic name.</div><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-VjaitdDwhLU/Tl7r1xJhdVI/AAAAAAAAAsQ/5lvB889oO8o/s1600/IMG_0484.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://2.bp.blogspot.com/-VjaitdDwhLU/Tl7r1xJhdVI/AAAAAAAAAsQ/5lvB889oO8o/s400/IMG_0484.JPG" width="400" xaa="true" /></a></div><div style="text-align: justify;"><em><span style="font-size: xx-small;">(click on image to enlarge) </span><span style="font-size: x-small;"><strong> 'You gonna share those chips or what?'</strong></span></em></div><div style="text-align: justify;">It really intrigues me that the poor quality of the photos from the Hipstamatic, as can be seen in the photo above, is what makes them so interesting. Bad color processing with terrible clarity and focus somehow combine to occasionally produce an odd and ultimately fun form of art. The iPhone app makes all this accessible to a generation that had never seen or heard of those lousy old cameras. I think this is a very good thing. We sometimes become so involved in the drive for perfection in a photograph, that we can sometimes miss the essence. There is a fun irony in that, by intentionally ruining the high quality capability of the hardware, the essence of the image can be captured instead of the technical detail, seemingly by accident.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Let's repeat that: 'Seemingly by accident'. I suspect that the fun lies right in that aspect of this entire idea. The Hipstamatic takes all the usual photographic choices away from us. It is a simple 'box' (OK, it actually an iPhone but you get the idea) with two buttons, shutter and flash. That's it. Period. Shut up and take the shot. Wow! The 'viewfinder' doesn't even show the whole scene or even center it accurately. This opens up a whole new world to the photographer. With such simplicity being the only option, you are forced to focus strictly on composition and the moment. As even the viewfinder is really badly limited and much guesswork is involved, you just point and shoot and hope for the best. How much fun is that! The resulting image is almost always a surprise – not always good mind you, but always a surprise.</div><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-YMB6zl-VKsY/Tl7r4fRp2qI/AAAAAAAAAsU/NZOHFn_7IC4/s1600/IMG_0596.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://2.bp.blogspot.com/-YMB6zl-VKsY/Tl7r4fRp2qI/AAAAAAAAAsU/NZOHFn_7IC4/s400/IMG_0596.JPG" width="400" xaa="true" /></a></div><div style="text-align: justify;"><span style="font-size: xx-small;"><em>(click on image to enlarge) <strong><span style="font-size: x-small;">'And then she said...'</span></strong></em></span></div>In one of those curious serendipities of life, the evening after I first purchased and downloaded the Hipstamatic app, I happened to stumble onto the Zeitgeist video production on Sally Mann and her unique photography on Youtube. In one of the opening scenes of this fascinating video, Ms. Mann is preparing one of her collodion glass plates and explains that she hopes that the plate is flawed, but flawed just enough to make the image interesting. This is the space that the Hipstamatic operates in. By intentionally distorting the otherwise decent quality of the iPhone camera, something truly interesting happens. The drift away from recording precisely accurate image detail towards a technically inferior image results in something more likely to engage one's imagination! We become engaged in a captured moment that would otherwise be rather ho-hum. As Mr. Spock would say: 'Fascinating!" <br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-4f77bwkWliw/Tl7r7GMtRlI/AAAAAAAAAsY/b2us37K_0vs/s1600/IMG_0604.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://4.bp.blogspot.com/-4f77bwkWliw/Tl7r7GMtRlI/AAAAAAAAAsY/b2us37K_0vs/s400/IMG_0604.JPG" width="400" xaa="true" /></a></div><div style="text-align: justify;"><span style="font-size: xx-small;"><em>(click on image to enlarge) <strong><span style="font-size: x-small;"> 'Santa's Summer Job'</span></strong></em></span></div><div style="text-align: justify;">My exploration into this world has only just begun. My new journey is literally barely 48 hours old as I write this. As with all new explorations, the vital quality of FUN is fully enjoined as we engage with the new concepts we discover and dance with. The creative sparks fly all around we experiment! I love this part of photography and life. Absolutely love it! </div>Jim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.com2tag:blogger.com,1999:blog-9161218400542280623.post-58659803337283936452011-07-26T19:47:00.000-07:002011-07-27T07:01:20.900-07:00Looking for Humanity<div style="text-align: justify;">I have long had an idea for a photo series that would study the relationship of man to his natural environment. This concept is an extension of my study of the human mind and consciousness, all related to my efforts and study to understand what it means to be 'human'. The photo project is waiting for me to come to some sort of creative conclusion as to precisely what I want to express and also how to convey that message through the photographic medium. My Street Photography Series is the beginning of this process.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">It must go much farther than the restrictive environment of man existing - for better or worse - within the self-constructed cocoon of concrete, glass and steel that urban street photography captures, however. Much of the Western world has developed an unfortunate - and potentially fatal - idea that man exists separately, above and independently from what we consider the 'natural' environment. The urban environment is the perfect construct of this reality. Too many of us consider the natural world - those parts that remain mostly unaffected by man's presence and mechanizations - as an alien thing. A thing to be avoided, at minimum, and preferably subjugated and cleaned up a bit at best. The real truth is that, even buried deep within our most impressive skyscrapers, we never exist completely apart from the external environment. We can temporarily alter parts of it to suit ourselves and our unfortunately misplaced and misdirected egos, but in spite of our best attempts the entropy inherent within the broader system always, inevitably catches up with us. This process is actively manifesting itself all around us even now, although most don't have a deep enough understanding of natural processes to recognize what is happening. Worse, many of those who do have an inkling, but an interest in maintaining the status quo, work to promote obfuscation and/or denial.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">One of the purposes of art is to open channels of communication not otherwise available to us. By sidestepping the more accustomed verbal channels of interaction and encouraging the viewer to pause and be exposed to a new perspective, art can sometimes deliver a message that might be otherwise missed or never considered.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">A friend of mine, Shane Steinkamp, has spent a good portion of his life trying to come to terms with this not always subtle reality. Among my broad group of friends, he is one who can speak clearly and at length to the general concepts touched upon in the paragraphs above. He has also been experimenting with photography and video as a way to convey some of what he has learned. He is, unsurprisingly, a naturist who eschews the artificial shell represented by clothing and prefers to shed that shell whenever a practical opportunity to do so presents itself. During a recent canoe trip with friends, he took a series of photographs which mark a new level of success for himself in the photographic medium, but also served to help clarify where I want to go with at least a part of my project. Of the photographs he posted for us to see, two were standouts in-so-far as what he was trying to accomplish. The two photographs posted below were taken by Shane and then processed by me.</div><div style="text-align: justify;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: justify;">I immediately saw the potential in these two images and decided to see if I could help them along a bit to better communicate what I saw in them and what I thought would better reflect Shane's intent. The first image is of Shane balanced on a fallen tree in a remote section of the Mississippi's Black Creek. I am really attracted to the dynamic of this shot. The composition is spot on, with the shattered trunk anchoring and dominating the lower right and the flat diagonal of the fallen tree leading to and literally - as well as visually - supporting the obvious focus of interest, Shane himself. A case could be made that the figures presence is too small within the frame, but for this image to work as intended it requires the broad angle of view of that long, fallen tree trunk and the resulting void around the image only enhances the sense of place. The pose speaks directly to raw exposure and joy in this scene. The original is in color, but the photograph, to my eye, is far stronger in black and white as the conversion both removes the distracting element of color and forces the focus onto the parts of the image that are most relevant.</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-uvRyyUbQ70U/Ti95H3W4Y-I/AAAAAAAAArs/MWfXAZURxpw/s1600/balance-bw-720.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265px" src="http://1.bp.blogspot.com/-uvRyyUbQ70U/Ti95H3W4Y-I/AAAAAAAAArs/MWfXAZURxpw/s400/balance-bw-720.jpg" t$="true" width="400px" /></a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><span style="font-size: xx-small;"><em>(click on image to enlarge) </em></span>Release</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: justify;">The next image is actually my favorite of the pair and speaks more directly, if more subtly, to what we are trying to convey with these photographs. Shane set up for a long exposure and then positioned himself in Black Creek for the shot. The result was this photograph:</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-Ieaz5Oh3a5o/Ti95NRBt0tI/AAAAAAAAArw/ghU_UYGPMDo/s1600/riverspirits-1000.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="211px" src="http://1.bp.blogspot.com/-Ieaz5Oh3a5o/Ti95NRBt0tI/AAAAAAAAArw/ghU_UYGPMDo/s400/riverspirits-1000.jpg" t$="true" width="400px" /></a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><span style="font-size: xx-small;"><em>(click on image to enlarge) </em></span>Water Spirits</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="text-align: justify;">As with 'Release', the composition is excellent. The presence of the main subject is again a bit small within the frame, but the sense of place is critical and, accordingly, requires an enhanced place in the subject's background to effectively convey the moment. One of the most important aspects of this image is the tension in the subject which is communicated to the viewer within the subtleness of body language. This is not the quiet, immobile, zen-like moment it appears to be at first glance. Note the curve in the subjects back and the expression on his face. His eyes are closed, but he is not relaxed. He is forced to lean into the slow but steady current as the water flows by, implacable and unrelenting.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">These are parts of the message we need to deliver. The photograph 'Water Spirit' speaks directly to the metaphorical description of mankind's increasingly precarious position. It requires attention and careful balance to maintain ourselves in an ever moving and changing environment. Failure to achieve this balance will ultimately result in our being swept away with nary a trace.</div>Jim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.com0tag:blogger.com,1999:blog-9161218400542280623.post-87619891250506115212011-07-11T19:08:00.000-07:002011-07-16T05:29:19.236-07:00Static<div style="text-align: justify;">"Her eyes were a shade of gray between onyx and miscalculation." - Harlan Ellison</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The panoply of writers that I admire comprise a rather eclectic group, ranging in subject from philosophy through science and nature through psychology and even speculative science fiction to hit a few high points. Mr. Ellison holds a special place in my heart as the writer who possesses a searing ability to not only convey the dark side of human nature, but to dwell in and caress it in a way unique to himself. The above quote is from his short story "On The Downhill Side", published in the collection "Deathbird Stories". </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">I read this story recently, part of a long overdue revisit to Mr. Ellison's work. As much as I admire the writing and the story itself, the quoted sentence above stands on its own in a way that grabbed me and wouldn't let go.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">"between onyx and miscalculation."</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">On the surface of it, the conjunction of the words has no meaning. Yet, something deep inside is blasted by the phrase. A connection was made and I keep going back to the sentence and re-reading it, trying to identify the reason it hit. I actually highlighted it in my Kindle reader so it would be easier to find.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Here lies the reason that fixed print media, whether word or image, will never go away. Other media cannot be studied, examined, visited and revisited the same way: in quiet, leisurely privacy and contemplation. Yes, you can watch the same bit of video or listen to the same bit of music over and over again, but you are held captive to the pace of the media. At the very least, having to hit rewind and replay to cycle back through moving dynamic media certainly breaks the contemplative reverie.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The printed word and image, whether paper or digital, has that more important, timeless quality of allowing the viewer to set the pace of the meeting. I can slowly roll the words over in my mind at will, caressing them along with the implied, imagined meanings. Photography and other printed arts are the same in that they have the static quality that allows leisurely, focused contemplation. One of the elements which I try to bring into my photographic prints is the ability to not only survive this type of close, thoughtful examination, but to actively encourage it. It is necessary that the viewer be able to project themselves into the image, to make that direct connection to it. This quality, if properly achieved, is a fundamental characteristic of successful art, including photography.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The image below is very simple. There are very few visual elements within it, minimalism being something I really prefer if the subject allows: a bit of dune, the walkway winding away and fading in the fog. That's it. Yet, these simple elements draw the viewer directly into the image. Where is it? Where does it lead? Where am I going...</div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-ut8IjAqtxjg/Thuo-Vsn2LI/AAAAAAAAArM/8LHnuycGc30/s1600/IMG_4603.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" m$="true" src="http://3.bp.blogspot.com/-ut8IjAqtxjg/Thuo-Vsn2LI/AAAAAAAAArM/8LHnuycGc30/s400/IMG_4603.jpg" width="400" /></a></div><div style="text-align: justify;"><em><span style="font-size: xx-small;">(click on image to enlarge)</span></em> <strong>Destination Unknown</strong></div><div style="text-align: justify;">Imagination is a critical part of this process. We are all metaphorical creatures in the sense that we cannot think or communicate without the use of metaphor, although most of us do so without realizing it. Yet, who of us has not gazed into the eyes of another with whom we have an emotional connection and not been transported?</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">"Her eyes were a shade of gray between onyx and miscalculation."</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">It is in the familiarity of the emotion and the vagueness inherent in metaphorical communication that we find our room for personal interpretation. Our individual connection is found somewhere in that opening. The sentence makes no literal sense and yet we connect to the individual components in a way that bridges the irrationality of it. In the end, we <em>do</em> understand its meaning, but at a visceral, emotional level, not a literal one.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Photography can work on this way, but it is much more difficult than with most other visual arts. The photographer must take a bit of reality and distill the scene or image within the camera in such a way that the literal distractions are minimized, allowing the potential for the metaphorical connection to come to the surface. The ability of the viewer to study the image in their own space and time, to contemplate the emotion inherent in the elements of the photographers work, is often a necessary component of the process. This is where the value of the physical print comes into its own. Hung on the wall, the viewer can revisit it at there own pace and leisure.</div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-jz715XRjOA4/ThuqWwwLrrI/AAAAAAAAArQ/fA1efVzhUms/s1600/Greenport-0611_057.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" m$="true" src="http://1.bp.blogspot.com/-jz715XRjOA4/ThuqWwwLrrI/AAAAAAAAArQ/fA1efVzhUms/s400/Greenport-0611_057.jpg" width="266" /></a></div><div style="text-align: justify;"><em><span style="font-size: xx-small;">(click on image to enlarge)</span></em> <strong> Invitation</strong></div><div style="text-align: justify;">The nature of photography, based in the reality of physical objects and light, requires the photographer see the metaphorical potential of a subject in real time. When we are in this groove, we are moving through an imaginary reality, examining the material reality for these metaphorical constructs even as we move through them. The image above was taken right from the sidewalk, looking into the unlit restaurant. The carefully prepared table right up against the window sill and the rest of the space in dark shadow, except for the window at the far end of the room. I felt the space as I walked by and connected with it instantly. There was a curious energy and potential in this most mundane of scenes that could be brought out if the camera was used with sensitivity and care for the metaphor that it silently communicated.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Do these images work on this level? Only the viewer can say, as we are all different with varying likes, interests, sensitivities and degrees of ability to communicate in this mode. I've seen people make the connection with these two prints, enough so that several have been sold already, so I know that some do make that metaphorical leap of imagination with them.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Let's close with an architectural image:</div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-fUEiSSdWPjc/ThurP3EJlQI/AAAAAAAAArU/tHunxtxHpwk/s1600/Street-Scenes_023.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" m$="true" src="http://4.bp.blogspot.com/-fUEiSSdWPjc/ThurP3EJlQI/AAAAAAAAArU/tHunxtxHpwk/s400/Street-Scenes_023.jpg" width="265" /></a></div><div style="text-align: justify;"><em><span style="font-size: xx-small;">(click on image to enlarge)</span></em> <strong> The Shining Light of Reason</strong></div><div style="text-align: justify;">The title is a rather broad hint at my intent with this one. Take some time and contemplate it. Does it connect with you? If so, why and how? The static nature of the image allows you to come back and reconsider it or even rekindle the emotion it might ignite within you. This is the gift of photography to the world of the arts.</div>Jim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.com0tag:blogger.com,1999:blog-9161218400542280623.post-70359384709411364872011-06-08T18:36:00.000-07:002011-06-08T18:41:56.985-07:00Slices of Life<div style="text-align: justify;">I had the great pleasure, and very interesting experience, of meeting Thomas Leuthard last Friday evening. Thomas is the creator of the <a href="http://www.85mm.ch/">85mm Street Photography</a> web site and a rather fascinating collection of candid photographs of passerby that he has produced over the last few years. I highly recommend visiting his web page to study his work both for the quality of his photographs and his instructive commentary on the practice of street photography.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">I've been dabbling in street photography for a few months now and it is an exciting area to work in. Most of my photographs are the result of a contemplative, almost zen like process. I see a scene and process it mentally, considering angles, elements, quality of light and subject until I settle on the - hopefully - ideal image. This process can take a few minutes or repeated visits over a period of months to a particular place until the image I have in mind is produced. Street photography is exactly the opposite, which is one of the aspects of it that draws my interest. A photographic opportunity typically presents itself for a brief few seconds and if you aren't intimately familiar with your camera operation and can't compose the image almost automatically you will likely miss the shot.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The 85mm web site is an excellent resource if you are interested in street photography. Thomas provides not only a collection of terrific images, but a solid how-to commentary on equipment and technique. I was primarily interested in the latter, as my inherent respect for other peoples privacy was holding me back from progressing in this area. The chance to participate in a personal, live demonstration of Mr. Leuthard in action on the NYC streets was not to be missed. Per the invitation, we met at the 'pointy end' of the Flatiron Building at 5:00 pm. The group numbered six, and and after introductions all around, we went through a short discussion of the various cameras that were brought along and the advantages/disadvantages of each setup. Thomas, like myself, had already started shooting on the way to the meet and had a couple of interesting captures. He continued to shoot even as we were getting acquainted on the corner of Broadway and 23rd.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Once the introductions and camera discussion was completed, we started walking east on 23rd looking for opportunities. The trick to successful street photography is to capture your subject while they are completely unaware that you exist. This is an extraordinarily difficult thing to do with a wide prime lens. The range to your subject is typically about 8 feet and often much less. As several of our group quickly found out, New Yorkers are inherently very alert and difficult to sneak up on! Learning how not to draw attention to yourself is critical and no small trick when your camera is a bit of a monster, as my Canon 5DMkII is, especially with the 24-105mm general purpose lens on it. It can be done, however. There are a number of appearance and behavioral practices which help. Avoiding bright colored clothing, no fast moves, no direct eye contact with the subject, etc. One that worked very well for me was to pretend I was shooting another, more distant subject. I would switch to manual focus and preset to the focal plane of the real subject, all the while pretending to be interested in something else entirely. Once it was clear that the subject's guard was down, I would pan them into the frame and activate the shutter.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">One of the things to consider with street photography is your intent. Thomas Leuthard, for example, is mostly about the person. He goes for some close up detail, usually a portrait but there are interesting variations such as using feet or hands as the primary subject. My photography tends to be about places and and objects. Accordingly, when I started shooting with Thomas, I quickly found myself shooting in such a way as to incorporate the person into their immediate surroundings - man in his element, as it were. To me, for my style of photograph, this context is absolutely critical. Leuthard's images might be summarized as 'this is me at this moment'. Mine might be summarized as 'this is me in this place at this moment'. My goal is to tell the broader story of not only the person, but the person's immediate environment and how the two components of person and place interact.</div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-v5vgDm-FdA0/TfAfLLud76I/AAAAAAAAAq4/mGQvmJeIAC8/s1600/Street-Scenes_084.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://3.bp.blogspot.com/-v5vgDm-FdA0/TfAfLLud76I/AAAAAAAAAq4/mGQvmJeIAC8/s400/Street-Scenes_084.jpg" t8="true" width="313" /></a></div><em><span style="font-size: xx-small;">(click on image to enlarge)</span></em> "Cool Splash"<br />
<div style="text-align: justify;">I was actually setting up to shot another subject when I spotted this man cooling himself in the fountain behind my subject. I had about 20 seconds to get into position, setup and shoot. I caught three frames before he turned and walked away. I love the moment I was very lucky to capture here. It is a very human moment in a public place that very few people even noticed as it happened. This is an excellent example of the power of street photography - the ability to capture a completely natural, unscripted moment in a person's life and to record the human beauty of it. This is the defining characteristic of street photography: humanity. Capturing little slices of unscripted life as it happens. An intimate, real moment captured in time. </div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-w32OdobJ1NQ/TfAf9n36i-I/AAAAAAAAAq8/6N8iccqr_QY/s1600/Street-Scenes_048.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://4.bp.blogspot.com/-w32OdobJ1NQ/TfAf9n36i-I/AAAAAAAAAq8/6N8iccqr_QY/s400/Street-Scenes_048.jpg" t8="true" width="400" /></a></div><em><span style="font-size: xx-small;">(click on image to enlarge)</span></em> "Distant Relations"<br />
<div style="text-align: justify;">Here, I spotted what appeared to be a mother/daughter team interacting, unaware they were being observed. I took two frames from a kneeling perspective and turned away before they saw me. There is an interesting, complex dynamic conveyed in the body language in this tableau, while the mother is completely absorbed in her cell phone, that inspired the image title.</div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-BODreJ-9vIo/TfAig_A8LTI/AAAAAAAAArE/-TQ1-9TLUeY/s1600/Street-Scenes_058.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="313" src="http://3.bp.blogspot.com/-BODreJ-9vIo/TfAig_A8LTI/AAAAAAAAArE/-TQ1-9TLUeY/s400/Street-Scenes_058.jpg" t8="true" width="400" /></a></div><em><span style="font-size: xx-small;">(click on image to enlarge)</span></em> "An Offer of Piano Instruction"<br />
<div style="text-align: justify;">This guy held my attention for a long time, sitting on the sidewalk near the entrance of a subway entrance. He was very alert and I had difficulty getting an unguarded shot. I finally moved behind a column about 10 feet away and tried to set up a shot from there. He then got up to walk away, hesitating for just a moment. That moment was all I needed to the unguarded exposure. The bright sun, deep shadows and, finally, the little random piano instruction advert pulled all together.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">I will be doing more work like this. It was an exciting, intriguing and perhaps a bit risky process. The results can be fascinating, however, and it is the only way to capture such natural photographic imagery if you want to incorporate the unaffected human element into your photography. I can't wait to see what develops!</div>Jim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.com1tag:blogger.com,1999:blog-9161218400542280623.post-89530508394466043572011-05-02T12:40:00.000-07:002011-05-02T12:40:19.394-07:00On Little Cat FeetUp and out with the camera gear hours before dawn this morning. We have had thick fog every morning for the last several days and today I have a chance to get out in it. First stop, the Bay Shore train station. The fog was thick and gave that haunting, blurred, atmospheric light reminiscent of the old black and white movie scenes. I shot a few different angles and then moved on to St. Patrick’s Church, the big Roman Catholic church in the middle of town.<br />
<br />
This massive pile of brick is an unmistakable and imposing presence. I suspect most people don't realize just how massive the structure is, as the sight lines are broken up enough that you have to actually stop and look from the odd angle to appreciate the real bulk of the thing. I have wanted to shoot this building for some time now, but could never settle on the right way to capture its real presence. I suspected the fog would offer some opportunities and this was my main target for the early morning shoot. I wasn't disappointed. The fog picked up the glow of the well lit Main Street, giving just the right amount of background light in the thick mist. A twenty second exposure did the trick. There are only a few angles that give a clear view of the church to get a good feel for it, and I walked around shot a few other perspectives while I was set up, but it was the three-quarter view from the rear that gave the best overall angle, just as I expected.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-FbUIB6bLn1U/Tb8HvgcsFqI/AAAAAAAAAqg/JW1e1OygWE4/s1600/IMG_4553.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267px" j8="true" src="http://2.bp.blogspot.com/-FbUIB6bLn1U/Tb8HvgcsFqI/AAAAAAAAAqg/JW1e1OygWE4/s400/IMG_4553.jpg" width="400px" /></a></div><span style="font-size: xx-small;"><em>(click on image to enlarge)</em></span><br />
The next stop was my favorite easy beach walk - the walk to the Fire Island Lighthouse from the parking field at Robert Moses State Park. I had wanted to get some updated images of the lighthouse itself, but the fog was far too dense. Instead, I went searching for interesting details in the dark, but gradually lightening mist. It was a marvelous morning. Cool and damp in that predawn way that you have to personally experience to appreciate. There is no way to effectively describe it as the physical presence of the low-lying cloud plays so much a part.<br />
<br />
Really thick fog such as this brings on an odd and unique quiet. On the boardwalk, well into the densest part of the swale, I could hear the ever-present Atlantic surf pounding on the nearby shoreline, but even the dunes were out of sight in the gray mist. The omnipresent roar was punctuated by the mating calls of several redwing blackbirds, invisible in the tall grass and dense thickets of pine and scrub. If I stood still and listened, even with this serenely evocative background medley, the muffled silence was still deep enough to hear the drops of condensed fog drip from branches and <em>pat-pat-pat</em> onto the sandy ground. As I wandered the walkways alone within my own thoughts, I wondered at the mystery of the walkways disappearing around blind curves into the gray cloud. A barely discernible rustle revealed a doe with a yearling fawn browsing in the scrub for breakfast. Moving ever so slowly and quietly, I setup for several freehand shots as the pair moved quietly and slowly about their morning business, less than ten feet away from my crouching position at one point. The pair moved unhurriedly, gradually deeper into the tall grass and finally out of sight. The redwings continued their calls uninterrupted – adding such serene beauty on this solitary moment. For the first time in recent memory, I felt myself slowing down.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-dkVi6gr4sJw/Tb8Hzs_6XhI/AAAAAAAAAqk/-oGaTQfj95Q/s1600/IMG_4603.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266px" j8="true" src="http://4.bp.blogspot.com/-dkVi6gr4sJw/Tb8Hzs_6XhI/AAAAAAAAAqk/-oGaTQfj95Q/s400/IMG_4603.jpg" width="400px" /></a></div><span style="font-size: xx-small;"><em>(click on image to enlarge)</em></span><br />
The sun had risen by now, but this was evidenced only in a very gradual brightening of the thick mist. The fog was full of light, making exposures tricky, especially in the subtle variations according to angle and soft shadow of each shot. I found a groove and made it work, tending to underexpose rather than blow out the increasing glow of the sky. I finally made it to the lighthouse, but as I anticipated, the fog was far too dense. I was within a hundred and fifty feet or so before the base of the column was visible at all and even then it was just a vague hint of a vertical shadow. The fog shrouded pathways and other details would remain my main subjects for this morning. I continued on to the beach to see what surprises might be there, but the dense cloud hid almost everything, getting even thicker as I approached the primary dune line and the Atlantic itself.<br />
This made for perfect conditions to shoot the walkways. I love the implied mystery of these scenes and how they invite the imagination to open up and wonder. What is about the fog that calls to me in this way? I am not much of a fan of poetry, with the notable exception of haiku, but Carl Sandburg's short poem 'Fog' has stuck with me for most of my life. He captured the essence of fog’s quiet mystery with such simple precision I cannot walk out into a misty day without the words popping into my head:<br />
<br />
The fog comes<br />
on little cat feet.<br />
<br />
It sits looking<br />
over harbor and city<br />
on silent haunches<br />
and then moves on.Jim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.com0tag:blogger.com,1999:blog-9161218400542280623.post-22779066133121874212011-04-17T16:47:00.000-07:002011-04-17T16:48:23.965-07:00Intersections<div style="text-align: justify;">To some degree, we all lead insular lives. We have our daily routine, our family, our circle of friends and, finally, our workmates. A radiating circle with distinct and finite edges that we rarely venture out of. This is generally the norm and makes for a comfortable, secure and relatively predictable life. Most people consider surprises and the unpredictable a bad thing. Yet, what we think of as security is at best pleasant illusion.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">This is one of the primary traits where my wife Nancy and I were polar opposites when we first met. She was a planner. Invite her to an event and the day planner came out of her purse to verify availability and to record the commitment. I, on the other hand, knew that if the event was beyond the next 24 hour window, I was likely to be free. When Nancy planned a trip, on Tuesday she would be scheduled for this, on Thursday for that. I introduced her to the pleasures of serendipity and chance when I planned a return trip to the Scottish Highlands for our tenth wedding anniversary and second honeymoon, the first being spent in Edinburgh. My planning consisted entirely of purchasing round trip airfare to and from Glasgow and a rental car to be waiting at the Glasgow airport. In between the flights was a two week window wide open to possibilities. The general idea was simply to drive north and west towards the coast and see what might happen. We didn't even know where we were to stay the first night.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Each day was a surprise. We had no idea where we might be sleeping, where we were going or what we would eat. Nancy still describes that trip as the best two weeks of her life. There is an old truism that in order to truly experience the highs of life, one must also experience the lows. This trip illustrated that concept in a very real way - the most dramatic being near the end of our stay. We were driving south as we started to close the circle on our return from the Isle of Skye, where we had discovered a delightful bed and breakfast overlooking the Portree harbor. One of the surprises was the lack of civilization in the stretch south from the Skye Bridge. We had taken the ferry to Skye from Mallaig and had not been in this particular part of the Highlands previously. The countryside was spectacular in its rugged, Highland beauty, but by the time we arrived back in Fort William late in the day, there were no vacancies to be found. We continued south for hours, finally into the night as we approached Oban. At this point, we had already resolved that we were likely to spend the night sleeping in the car and were looking for a place to have dinner. In Oban, quite by chance, we discovered hidden on an obscure single track a bed and breakfast on a hill overlooking the old city. They had a single vacancy.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">It turned out that the proprietor was a retired Queens chef who owned and ran this small but exquisite gem. The room had a window view of the city below and, much to our delight, served dinner as well as breakfast, but only to his guests. Nancy and I then proceeded to enjoy two of the finest meals of our lives.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">If we had planned our trip in advance in the normal fashion, we would of had a very different experience. When planning trips, people tend towards the known. There is certainly sound logic to this, of course - surprises are not always good. The price of this security is a certain isolation from the potential of getting a real flavor of the people and places you visit. A Marriot is a Marriot is a Marriot, regardless of the state or country it happens to be in. The very intent of these hotels is to provide a consistent, predictable, known environment for their guests. In the process, they remove all but the most highly distilled local flavor. This is why Nancy and I never stay at a major chain hotel if there are other options. The experiences we want are to be had in the local bed and breakfast, and the small diner or pub where the locals congregate - like that wonderful off-the-track pub near Loch Fyne just north of Argyle Forest that served a wondrous steak pie and local beer. We spent that night in Minard Castle, the only guests in the newly renovated castle that wasn't yet in the tourist listings.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">This has not been a one way relationship, however. Nancy's gift to me is her natural gregariousness. She has a way about her that makes her incredibly approachable and outgoing. I can't count the number of times that I've found her somewhere catching up with an old friend only to learn that she had known the person for all of 10 minutes. It amazes me and I can't help but be in awe of it in some ways. The good news is that I have picked up on some of this and am far more open to approaching total strangers than before we met. Obviously, these two traits make for a happy combination when traveling, opening doors to people and experiences that most will miss.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">I have found that both can also be applied to photography, specifically photography of strangers in public places. I have great respect for peoples privacy and act accordingly. Unfortunately, this otherwise virtuous trait can be a negative when working on images such as those in my Street Scenes series. Most are candid shots of people and places and these require a strong dose of unobtrusive practices. The idea is to get the image without the subject realizing I am even there in order to capture unaffected human behavior. I want the natural moment to shine through.</div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-IBzXt_UfAg8/Tat7M_YdTKI/AAAAAAAAAqY/2JojNMcbHOU/s1600/NYC-3-2011_022.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="233" r6="true" src="http://4.bp.blogspot.com/-IBzXt_UfAg8/Tat7M_YdTKI/AAAAAAAAAqY/2JojNMcbHOU/s320/NYC-3-2011_022.jpg" width="320" /></a></div><div style="text-align: justify;"><em><span style="font-size: xx-small;">(click on image to enlarge)</span></em></div><div style="text-align: justify;">There is another type of image, however, and these require at least the knowledge on the part of the subject that I am there, if not actual, active participation in the process on their part. An actual interaction must take place between the photographer and the subject. Here is where we depart from the known and comfortable. The photographer must be willing to reach out to a total stranger with an invitation to join in the creative process. This is not the sort of thing that intrudes into the daily routine very often - but serendipity and chance open the door to wonderful creative opportunity if we are willing to step outside of our own shell.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">By the very nature of the required interaction, these images tend to be far more intimate, as the relationship between the photographer and the subject is unavoidably more close, both locked in a subtle dance. For the process to even begin, I must speak to my potential subject and broach the topic of my intent. Photography of this nature is still quite new to me, but has so far proven to be a pleasant experience. I find that my subjects tend to be fascinated by the process and are generally perfectly willing, even eager, to participate. the result is what is proving to be the beginning of a series of images with enormous potential. I will provide one example, an interaction which took place quite unexpectedly on the commute home recently.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">I had just settled in for the train ride home when this guy sits in the seat facing me. I've never seen him before. Tattooed, a little dusty, definitely rough around the edges. Stocky build, but not real big - but real solid. Not a bit of fancy or soft about him. Big strong, workingman arms. These arms radiated life, emanating strength even in their relaxed repose. These were the arms of a man who relied on strength and muscle to get through his day. I had to take a photograph. I introduced myself and explained my interest. He was a really nice guy. He assumed the relaxed pose that had initially caught my attention and I quickly set up for the shot. He was completely natural - no tenseness in him at all. I exposed three frames - one was a keeper. I gave him a card and invited him to my show opening a couple of days later. Hopefully I will see him again so he can see the result of our meeting.</div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/--5Bj28aWZ4M/Tat7OkuumFI/AAAAAAAAAqc/ZIV7Oc6bhUA/s1600/L1000594.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" r6="true" src="http://3.bp.blogspot.com/--5Bj28aWZ4M/Tat7OkuumFI/AAAAAAAAAqc/ZIV7Oc6bhUA/s320/L1000594.jpg" width="320" /></a></div><div style="text-align: justify;"><em><span style="font-size: xx-small;">(click on image to enlarge)</span></em></div><div style="text-align: justify;">By exercising the willingness to expose myself and an artistic impulse to a stranger, art was created in a space where the otherwise natural social impulse is to maintain the protective shell of personal space. So much is lost in this self imposed closure. I can't help but think that humanity as a whole suffers from this internal and artificial isolation when the chance meeting of strangers is not fully acted upon. The result is that we remain strangers in a crowded room.</div><div style="text-align: justify;"><br />
</div>Jim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.com0tag:blogger.com,1999:blog-9161218400542280623.post-48417206006548848492011-03-29T10:22:00.000-07:002011-03-29T10:22:53.639-07:00New York City Graphics<div style="text-align: justify;">One of the things that continues to really fascinate me about photography is how it requires me to constantly re-evaluate how I perceive the world around me.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The play of light is everywhere and ever changing from moment to moment. Most of us move through our days entirely unaware of this often delicate, sometimes (literally) glaringly brash symphony taking place around us. Light does not often call attention to itself the way sound and sensation do. It takes intent and awareness on our part to look beyond the details of our normal realm of perception.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">So it has been with the new series of photographic images I started experimenting with for my New York City Graphic collection. As I mentioned in the previous blog post, I began with a new understanding of Arthur Stiegletz's approach of evaluating the overall light and shadow effects of the New York buildings around him. The architectural revolution that led to the creation of the modern high-rise building had only just begun at the end of the period where Stiegletz was actively photographing these scenes. As a result, we can see his images of such creations as the newly erected GE Buildings (both of them) standing in clear air, well above the surrounding, smaller structures of the day. Once distinct, solitary towers, these iconic structures are now lost in a crowd of modern glass, concrete and steel.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">This opens up opportunities and challenges for the modern photographer that Stiegletz never had. I realized this immediately once I changed the way I looked at these massive structures which I walk among everyday going to and from work. When we see something so frequently, we become desensitized to the presence and impact of these objects. This applies even to massive skyscrapers. Most New Yorkers only perceive the first floor/sidewalk level of their surroundings. One of the surest signs of a tourist in the city is the simple fact that the person has stopped in the middle of a busy sidewalk and is actually looking UP! This behavior is actually considered a bit gauche by native New York City residents and even 'bad form'. Yet most of the truly interesting architecture exists well above street level.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">It isn't the architectural detail that is pulling at me right now, however. The change in perspective has opened a new world of visual acuity. Lately, I seem to have just enough attention at street level to avoid tripping over pedestrians or getting flattened by a bus, but sometimes just barely. My attention is now constantly among the high glass towers as I seek out the potential for graphic patterns on a truly massive scale, literally hundreds of feet up. I have made several excursions into New York City with this specific purpose in mind, walking miles and miles of mid-town sidewalks seeking out sight lines and glass panels. There is the promise of potential around every corner. The results have been truly exciting, with dozens of images the result. Even still, I have barely scratched the surface of the available potential here.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Here are several examples of some of the photographs that are a direct result of this exercise. The first image, 'Cubism', is an unabashed exercise in pure graphics. There are none of the typical architectural details that would normally pull in a viewer's attention. Instead, what we have is a very structured visual of clearly defined light and shadow, all expressed in sharp, straight lines. The overall feel is one of firm and massive, if slightly confused, stability as the repeating pattern of stacked cubes seems to find no real pattern or rhythm.</div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: justify;"><a href="http://1.bp.blogspot.com/-IgDuHZK8-Xw/TZISuchiOPI/AAAAAAAAAqM/7UXhlfItjLY/s1600/NYC-2-2011_102-crop.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" r6="true" src="http://1.bp.blogspot.com/-IgDuHZK8-Xw/TZISuchiOPI/AAAAAAAAAqM/7UXhlfItjLY/s400/NYC-2-2011_102-crop.jpg" width="400" /></a></div><div style="text-align: justify;"><em><span style="font-size: xx-small;">(click on image to enlarge)</span></em></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Next is 'The Monoliths'. As with the previous photograph, this image was shot in hard midday light to emphasize the sharp, hard lines delineating light and shadow. A massive stability also reigns in this photograph, but the character is driven by the unavoidable clarity of the repeating vertical lines marching towards the horizon, accentuated by the deep, unsettling shadows.</div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: justify;"><a href="http://2.bp.blogspot.com/-NPl0g5jj_W8/TZIS1aA4b1I/AAAAAAAAAqQ/-mG3vxIVHJo/s1600/NYC-3-2011_138.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" r6="true" src="http://2.bp.blogspot.com/-NPl0g5jj_W8/TZIS1aA4b1I/AAAAAAAAAqQ/-mG3vxIVHJo/s400/NYC-3-2011_138.jpg" width="400" /></a></div><div style="text-align: justify;"><em><span style="font-size: xx-small;">(click on image to enlarge)</span></em></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Our last example, as yet untitled, takes a slightly different turn. The modern, steel and glass structures are ideal subjects for this exercise due to their inherently clean, direct and often unbroken lines. Older structures, while almost certainly more attractive in their architectural detailing, don't quite work as well in this exercise as the very details that make them attractive tend to break up the clean lines I am looking for. That said, I found the contrast between the two styles intriguing in this image. In the foreground is 101 Park, a very distinctive angular slab of a structure. Behind it, mostly hidden, is the spire of one of New York City's most recognizable classic structures, the Chrysler Building. Even with the modern building's presence mostly obscuring the older classic, there is no hiding the distinctive identity, or the uniqueness, of the latter.</div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: justify;"><a href="http://4.bp.blogspot.com/-iZpfGkZgdi8/TZIS5l37lXI/AAAAAAAAAqU/xw_-m2Nh-ZY/s1600/photo.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" r6="true" src="http://4.bp.blogspot.com/-iZpfGkZgdi8/TZIS5l37lXI/AAAAAAAAAqU/xw_-m2Nh-ZY/s400/photo.JPG" width="385" /></a></div><div style="text-align: justify;"><em><span style="font-size: xx-small;">(click on image to enlarge)</span></em></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The project is ongoing and I will likely continue it indefinitely as I continue to search out new sight lines and the massive glass panels rising high into the sky.</div><div style="text-align: justify;"><br />
</div>Jim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.com0tag:blogger.com,1999:blog-9161218400542280623.post-74193571854780359192011-02-22T19:21:00.000-08:002011-02-22T19:31:35.979-08:00On Learning, Stiegletz and Photography as Art<div style="text-align: justify;">I am frequently asked about my training as a photographer. Where did I go to school? Under whom did I study? Most are surprised to learn that I am completely self-taught. I have never taken a photography course, or for that matter, even an art course – not counting that required one we all took in 8th Grade.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The fact is, there are many resources available to the individual who has an intense desire to learn and I take full advantage of them. I started with books, then moved on to video tutorials on the web and the many quality blogs maintained by some very good photographers who are willing to share their hard earned knowledge. I pay this generosity forward by freely sharing what I’ve learned with anyone who has a sincere interest. I am reminded of a very polite young man I met recently at the C2 Gallery reception of the Annual Long Island Artist Invitational who had several questions about my compositional methods and processing techniques. After a brief discussion, he flattered me with the compliment that he learned more from me in ten minutes than anyone else he had ever discussed photography with. But, as the saying goes, I stand on the shoulders of giants.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">No artist can proceed completely from a blank page. We are at some point inspired by another’s work that moves us deeply enough to want to try our hand at it. As I’ve mentioned in prior posts, was initially moved by the works of Maxfield Parrish and Andrew Wyeth. I still keep Wyeth’s book on my desk for frequent reference. For photographic inspiration, I peruse the various and numerous publications for ideas and techniques, but I’ve taken a different route in searching for the real core of the photographic medium. I’ve gone back to the beginning, studying the works of those who put photography on the map as an art form. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">In America, it is impossible to do this without running full into the body of work assembled by Arthur Stiegletz. More than any other individual, Arthur Stiegletz moved photography away from its representational roots towards the more ethereal world as an artistic medium. I did not immediately grasp how he did this. My initial studies of his work did not give me an overt sense of why they should be considered art, although the images were often stunning. As my education has progressed, this has become abundantly clear, however. Part of the matter is that my initial considerations of Stiegetz’ photography made some erroneous assumptions:</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">What I initially thought were limitations of the early technology turned out to be the results of intentional choices on the part of Mr. Stiegletz to achieve an artistic end. This was driven home with unwavering certainty when I had the rare pleasure of seeing 39 of Stiegletz’ actual prints at a recent showing in New York City. Along with the prints, the curators also provided various commentaries on Stiegletz’ methods. The real center, however, was the inclusion of several of his original un-enlarged prints, run right from the original plates. What became immediately apparent is that the impressionistic ‘softness’ of the final prints was not at all a limitation of the medium, but a desired effect. The images on the original plates were razor sharp! This observation was timely, as I am currently reading the ‘The Key Set’, the massive publication of all Stiegletz’ 1,682 favored prints, as assembled after his death by his wife, Georgia O’Keefe. Here we learn of the use by Stiegletz, not so much of photographic detail, but rather broader considerations of light and form within the frame. Stiegletz was sharply aware of the current movements within the arts and how they might be applied to photography. Much of this approach is reflected in his New York city images.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">So where does this lead me, the student? The primary effect was to cause me to reconsider how I examine and consider the photographic potential of my subjects. Photography, by its very nature, tends towards literal representation – but we must find a way past this if we are to produce photographic art. What I have learned is to see beyond the superficial detailed representation to the broader forms and relationship of light and dark within those forms. The direct result is a recent series of photographs taken in midtown Manhattan which have opened an entirely new visual world for me. The realization of the power within this approach hit upon me quite suddenly and unexpectedly while doing a series of shots of one of my favorite skyscrapers – the original GE Building on the corner of 51st and Lexington.</div><div style="text-align: justify;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: justify;">I had long wanted to get a properly atmospheric image of this amazing architectural masterpiece and this particular day had just the right conditions: mostly clear with thin passing clouds, and a low, midwinter afternoon sun combining for dramatic shadows and strong contrast. Playing to the stark difference between the deep, broad shadows and contrasting sunlight, I wanted to bring out the uniquely modern gothic character of the structure. The resulting mood is carried by the massive, shadowed presence in the frames, but the definition is carried by the highly contrasting lighted details.</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-c4rzEDAsYT0/TWR_NKj0zOI/AAAAAAAAApw/MorjLHbhzeY/s1600/NYC-2-2011_061.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" j6="true" src="http://1.bp.blogspot.com/-c4rzEDAsYT0/TWR_NKj0zOI/AAAAAAAAApw/MorjLHbhzeY/s400/NYC-2-2011_061.jpg" width="266" /></a></div><span style="font-size: xx-small;"><em>(Click on image to enlarge)</em></span></div><div class="separator" style="clear: both; text-align: justify;">Pleased with the result, I wondered if the effect could be carried even farther with modern, glass-sided buildings with their virtual elimination of ornamentation. I walked through midtown looking for potential subjects. The first was this study of the Citicorp building, viewed from across the street from the Seagrams Building on Park Avenue. The result is quite dramatic! The resulting photograph takes on a poster-like graphic directness.</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-NG93g9KUcJ0/TWR5XqTpfQI/AAAAAAAAApk/KWnlm-Z_wBs/s1600/NYC-2-2011_088.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" j6="true" src="http://1.bp.blogspot.com/-NG93g9KUcJ0/TWR5XqTpfQI/AAAAAAAAApk/KWnlm-Z_wBs/s400/NYC-2-2011_088.jpg" width="265" /></a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><span style="font-size: xx-small;"><em>(Click on image to enlarge)</em></span></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: justify;">I continued the exercise as I walked through mid-town and finally took the concept another step farther by searching out more interesting shapes, particularly ones with a strong geometric presence. The result was this shot:</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-5bKWB6x8YI4/TWR5dBHHOqI/AAAAAAAAApo/8jrt89ClpCk/s1600/NYC-2-2011_102.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" j6="true" src="http://2.bp.blogspot.com/-5bKWB6x8YI4/TWR5dBHHOqI/AAAAAAAAApo/8jrt89ClpCk/s400/NYC-2-2011_102.jpg" width="258" /></a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><span style="font-size: xx-small;"><em>(Click on image to enlarge)</em></span></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: justify;">Almost cubist in its impact, the pure geometrical shapes highlighted by the extreme light and dark details drive this image to an unexpected place – visually more graphic than representational in effect,. This is especially ironic in that both of the latter two images have very minimal processing – just fine-tuned contrast and sharpness. As photographs, they ARE representational, but the careful composition and use of light changes that aspect utterly for the viewer.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">I like the results of this experiment enough that I may start a new dedicated series.</div>Jim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.com4tag:blogger.com,1999:blog-9161218400542280623.post-17284052181714683072011-01-30T19:32:00.000-08:002011-01-30T19:38:12.278-08:00Just passing through...Man alive, where did the time go!?! It seems the the Holiday Season hit like a frieght train and left us swirling and bouncing in its passing wake. So much to do packed into so little time. I figured I better get a post up before the whole month of January blew by. Looks like I will just make it.<br />
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Aside from the mad rush of the Holidays, we get mixed in the additional logistics of my son Paull's graduation from college, picking up his sister to bring her home, setting up the Holiday display at the BJ Spoke Gallery, etc., etc. As the end of January sneaks up on me, we've had the reception at the C2 Gallery in Patchogue, as I was awarded one of the eleven artist slots for the Annual Artist Invitational. It was one of the best show receptions I've had the pleasure of attending. Some serious talent was present and on display. Planning is well under way for the grand opening of the new, expanded Gallery in March. I will be one of three artists, all photographers, whose work will be presented. It should be an interesting presentation of the various possibilities within the photographic medium. Meanwhile, today we hung eighteen prints in the new gallery space in the Bay Shore/Brightwaters public Library. People were lining up to look over the work even as we were hanging it. The reception has already been a good one!<br />
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One of January's highlights for me was the rare opportunity to see original prints of Alfred Stiegletz's photography. Thirty-nine original prints of his work centering on the city of New York were on display at the South Street Seaport Museum. I will post a more detailed report later, but it was an inspiring and educational day. I have been studying Stiegletz's work for some time now, and to see the original work itself was a revelation. My favorite gift was from my ever encouraging wife, Nancy, who bought me a copy of 'The Key Set', the massive tome of Stiegletz's work. This will keep me busy for a long time to come, as the depth of the research is outstanding.<br />
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My research into Stiegletz's techniques have been having an influence on my work for many months now. He was one of the first and foremost proponents of photography as an art form and not a mere recording medium. This shows deeply in his work. I have been trying to sort out how to capture some of the feel of his work, as the technology is so much different today - as should be expected of course. This relates in large part to my earlier post regarding the 'impressionistic' quality inherent in images when the resolution is reduced. Of course, the process of acheiving an properly artistic image is far more complex than just reducing the resolution of the image. That is just one part of a many layered process to acheive what the photographer has in mind. I only recently acheived something of what I was trying for in this learning process. <br />
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The camera used was my trusty and heavily used Canon G9, set to RAW image capture. The moment, a snowy morning walking to work in New York City. The place, Herald Square. As usual, I was scanning for interesting light, form and contrast as I walked to work. I had taken a few shots, testing the light, when I noticed it, the line of small round bistro style tables so common on Broadway now. A row had been pushed aside to allow pedestrians a clear walking path and the light snow had settled on their smooth, round tops, making a natural broken line pulling your eye towards the backdrop of the Square, and farther along past the iron fencing and arched gate, Broadway fading in the distance. The final element needed were the pedestrians, so I waited a bit watching and prepared for the right moment. <br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_Hx6VIi0zaQE/TUYqi9ExsYI/AAAAAAAAApE/GG0sJUuqxl0/s1600/NYC-1-2011_006.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" s5="true" src="http://1.bp.blogspot.com/_Hx6VIi0zaQE/TUYqi9ExsYI/AAAAAAAAApE/GG0sJUuqxl0/s400/NYC-1-2011_006.jpg" width="287" /></a></div><span style="font-size: xx-small;"><em>(click on image to enlarge)</em></span><br />
Here was the modern vision of Stiegletz's New York as seen in his early work, just at the turn end of the nineteenth century and the beginning of the twentieth. Taken at street level, capturing in the every day moments of the city and in doing so, capturing something of the life and spirit of the great city.Jim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.com0tag:blogger.com,1999:blog-9161218400542280623.post-53630389776100669452010-12-12T16:53:00.000-08:002010-12-12T17:19:07.364-08:00What do you see?<div style="text-align: justify;">What do you see? Seems a simple question at first glance, doesn't it? </div><div style="text-align: justify;">As a photographer, this is obviously a question present in my mind almost constantly. It happened to come to the fore recently when someone was looking at a photograph I had just taken of the Great South Bay. After gazing at the image for a few moments, they wanted to know what the location of the subject was. I responded by describing where the photograph was taken from and the specific area covered within the frame. But, being me, the exchange prompted a new train of thought.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Was this persons perception limited to the physical reality of the photograph? Could they only see the wonderful color of the reflected light off the breeze kissed water, the strip of land in the distance? I will never know in this particular instance, but it is all but certain that this is the case for some people. All they see is the immediate reality before them. I suppose in some ways this is a good thing as it insures, at least to some degree, that they are engaged in the moment.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The photograph can still work on this level, but if it doesn't trigger more in the mind of the viewer it probably isn't working as the photographer intended. Photography suffers a bit on this front due to the very nature of the medium. The camera, at it's most fundamental level, is a recording device. It allows the user to record some event, place or thing in the present moment for future reference. All other artistic mediums are used in the opposite direction. The artist takes an unformed medium - paint, clay, stone, etc. - that has no inherent representational reality and manipulates it to communicate a message. Photography starts with a representational reality, and must be manipulated to convey a message. For the photographer, this is where the question of 'what do you see?' takes flight.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">When I saw this particular sunrise, with it's wonderful and unusual soft, brassy light reflected off the silky smooth, quiet water of the Bay, my initial reaction was much like anyone else, frozen to momentary immobility by the serene beauty of the scene. Having my Canon 5D MKII under my arm, the next thoughts were strictly technical, within seconds the camera was up and I rattled through the process of selecting aperture, shutter speed, focal point, etc. and started shooting. Somewhere in this transient moment of seconds is where we separate the artist from the 'taker of pictures'.</div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: justify;"><a href="http://4.bp.blogspot.com/_Hx6VIi0zaQE/TQVvKMPZxdI/AAAAAAAAAoU/0T5c5Jos8oc/s1600/Far-Horizon_008.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="162" n4="true" src="http://4.bp.blogspot.com/_Hx6VIi0zaQE/TQVvKMPZxdI/AAAAAAAAAoU/0T5c5Jos8oc/s400/Far-Horizon_008.jpg" width="400" /></a></div><div style="text-align: justify;"><span style="font-size: xx-small;"><em>(click on image to enlarge)</em></span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Most people in that moment see the water, the color of the light, the island in the far distance. The observant will also notice the cloud formations and the really observant (or sailor!) will notice the reflections and patterns of the breeze touching the surface of the water. The photographer sees all these things and more. The aspect that makes the difference - What do you SEE? - lies within the power of metaphor, the potential for broader interpretation within the scene.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">One of the aspects of a truly effective image is its ability to trigger the imagination. The body of water and islands in this photograph are intimately familiar to me, having sailed, kayaked and walked these places since my youth. Even still, when I look at this image, the composition and various elements of color and hints of form evoke the wanderlust within me. Recognizable features and details fade away in the distance and my imagination brings forth thoughts of far away places and exotic cultures. The ever curious explorer in me wants to go there, to discover new wonders and experiences that may lie in the mysterious islands just visible on that far, golden horizon.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The camera becomes so much more than a recording device, it has the potential to become a key to other worlds and places, even other times. The photograph opens a door to the place of dreams and fantastic imaginings. This is what I see when I look through the lens. What do you see?</div>Jim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.com1tag:blogger.com,1999:blog-9161218400542280623.post-66744590207553332462010-11-14T18:16:00.000-08:002010-11-15T08:56:42.834-08:00New Perceptions<div style="text-align: justify;">I was watching the news a few weeks back and had a minor revelation. The news show was reporting on an extreme local weather event, a tornado, that went through the local neighborhood of Forest Hills. In what has become an increasingly common occurrence in the modern electronic age, the regular news report was augmented by a a series of images taken with a cell phone camera.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">This is nothing new or even unusual anymore, as cell phones are now ubiquitous - even Grandma has one - and they all seem to have cameras these days. I usually lament the abysmal quality of the images taken with these little 'chip based' cameras, and rightfully so. The images suffer from heavy jpeg compression, and terrible lenses. I've played with the 5 megapixel version in my Samsung Omnia and had some success as long as my expectations weren't too high and I remained fully aware of the limitations of the little thing. On the other hand, as I always have the cell phone with me, I always have a camera too, so there are some advantages.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">This opinion just went through a fundamental change.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">As I watched the news report and the terrible quality cell phone images flashed by, I noticed something. The images <em>were </em>of terrible quality. The details were badly blurred by the jpeg compression algorithms and suffered mightily. One image in particular jumped out at me, however. It was no better than the rest from the technical standpoint, but some quality in the light and detail made something else evident - it was beautifully impressionistic. The scene didn't matter in this case, but the quality of the detail that was retained reminded me very strongly of the paintings of the early Impressionist painters. Wonder of wonders!</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The photo in question was on the screen for about 10 or 15 seconds, tops, but that was enough for me to get the idea that the little crappy camera may offer some potential I had not considered before. The creative urge had been ignited!</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The normal trend in processing is to go for the highest possible levels of detail and sharpness. Painters, of course, know better. The next time you have the opportunity to see a realistic painting up close, get your nose right up in it and see what the artist has done. What you will see is that the carefully applied pigments and strokes cease to resemble anything at all as you get in close. It isn't until you back away that your brain starts to assemble those strokes and colors into an image. The talented artist knows just how to fool your eye. Photography does the opposite, using the light reflected off the actual image to record the actual detail as seen, within the constraints of the current technology, of course.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">In the early years of photography, there were limits to the level of resolution obtainable and the result is that those images incorporate a kind of impressionistic quality, although it probably was't intentional, just a by-product of the early technology. It is this latter characteristic that has fascinated me for a long time. I have a great deal of time invested in trying to capture something of this quality in certain of my images. A good example of a successful photograph in this regard is '<a href="http://www.essentiallightphotography.com/#goto=man-nature&viewimage=41">Harbor House</a>'. It is a bit ironic in that the original Image is captured with high resolution equipment and I then work to remove much of the inherent detail with the goal of conveying a certain idea or 'sense of place' rather than the overly detailed specifics of the scene.</div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: justify;"></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: justify;">I am in the early stages of sorting the possibilities here, but I have made some progress with the technique. Here are two examples, one dug up from a trial shot for a future project idea and another just a quick snap of a scene that caught my eye one morning last spring. First is a test shot of the newly renovated and expanded Jamaica Station in Jamaica, NY. I really like the combination of strong diagonals combined with the old and new elements of the scene, but a straight shot would not convey the sense of the place I am looking for. The bad quality cell phone image provided a surprise in that I saw the seed of what I really wanted in it. A black and white conversion and some subtle applications of Photoshop filters get me really close to what I wanted.</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: justify;"><br />
<a href="http://2.bp.blogspot.com/_Hx6VIi0zaQE/TOCTl_PhJVI/AAAAAAAAAoM/TIufY89VdYQ/s1600/The-Waystation.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" px="true" src="http://2.bp.blogspot.com/_Hx6VIi0zaQE/TOCTl_PhJVI/AAAAAAAAAoM/TIufY89VdYQ/s400/The-Waystation.jpg" width="400" /></a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: justify;"><em><span style="font-size: xx-small;">(click on image to enlarge)</span></em></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: justify;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: justify;">This is not the final image, but it is a good precursor of what the final image will look like. Next, is the little snapshot of some orchids in a flower vendor's stand on 37th Street in Manhattan. The color in the original jpeg was too garish and aside from a Facebook post, I figured it was't worth much. Just the same, it had a quality that held my interest enough that I saved it in my archives for future reference. I thought it would be an ideal subject for this new process and it seems to have been a good choice.</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: justify;"><a href="http://2.bp.blogspot.com/_Hx6VIi0zaQE/TOCUXOhcOPI/AAAAAAAAAoQ/BrgOOhLB9M8/s1600/37th-St-Orchids.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="313" px="true" src="http://2.bp.blogspot.com/_Hx6VIi0zaQE/TOCUXOhcOPI/AAAAAAAAAoQ/BrgOOhLB9M8/s400/37th-St-Orchids.jpg" width="400" /></a></div><div style="text-align: justify;"><em><span style="font-size: xx-small;">(Click on image to enlarge)</span></em></div><div style="text-align: justify;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: justify;">I am still experimenting and refining the filter processing to achieve just the right combination of retained detail and that subtle impressionistic quality. It will be interesting to see where else this concept takes me.</div>Jim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.com0tag:blogger.com,1999:blog-9161218400542280623.post-63181717884523912822010-09-28T19:10:00.000-07:002010-09-28T19:10:59.819-07:00The Time Traveler<div style="text-align: justify;">One of the aspects of photography that few consider is the dimension of time. I'm not speaking to the fairly straightforward matter of shutter speed vs aperture here. As specialized technologies can extend human sight to the extremes of the electromagnetic spectrum – think x-ray and infrared imaging as common examples - photography has the ability to extend our vision to include the dimension of time.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Most photographic images are, in one form or another, created by recording a specific and finite moment, typically measured within some very small fraction of a second. This is desirable, as this gives a very clear, detailed image for whatever purpose the photographer has in mind, be it posterity or art. We are 'freezing a moment in time', as it is frequently described. Most photographers never depart from this standard approach. Time, as an element in the image, is usually no more involved than a quick calculation in concert with the aperture opening to compose the subject in a particular way.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">There is a whole other world out there, however, existing in the intersection of light and motion. It is possible to step back a bit and actually reconsider time as an integral part of the moving world. It is also possible, with a bit of thought and creativity, to include time as an integral part of the photograph. The results can be quite stunning and bring an entirely new perspective to the viewer.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Most of the time, movement is the enemy of the photographer. Movement blurs details and can ruin an otherwise good photograph. Thus we have faster lenses, more sensitive sensors and film combined with the requisite blazing fast shutter speeds. My Canon 5D MkII is capable of shutter speeds as fast as 1/8000 of a second. It is difficult to even comprehend how short a span of time that is. In some circumstances, such as sports and action shots, or trying to freeze the motion of a hummingbird wing, these capabilities are not only desirable, but necessary. To introduce the element of time into an image, we need to go in the other direction, however. A sports photographer may want a bit of blurring in order to convey movement and action, so will use a slightly slower shutter speed to do so. A nature photographer commonly uses a slightly slower shutter speed to the same end. This is most commonly seen in water shots, where the movement of a stream or waterfall is intentionally allowed to blur slightly. This has the effect of both softening the look of the water and brings an element of life to the scene by highlighting the movement of the water in the stream or waterfall. The results can be quite beautiful. Still, in these shots we are typically using small fractions of a second. Most of my images of this sort use a shutter speed in the area of ¼ second or much less. Time is used sparingly and discreetly.</div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_Hx6VIi0zaQE/TKKc-m3LoYI/AAAAAAAAAoA/z225VWBX18I/s1600/Stony-Brook-Light-II.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" px="true" src="http://2.bp.blogspot.com/_Hx6VIi0zaQE/TKKc-m3LoYI/AAAAAAAAAoA/z225VWBX18I/s400/Stony-Brook-Light-II.jpg" width="400" /></a></div><div style="text-align: justify;"><span style="font-size: xx-small;"><em>(click image to enlarge)</em></span></div><div style="text-align: justify;">It is possible to use much larger chunks of time. When this is done, the resulting images change utterly and with them our view of our world. We suddenly begin to see things as part of a continuum rather than a single, unique instant. One of my more popular photographs is of an abandoned and deteriorating dock on the Wicomico River in Maryland. It took over a year and several attempts to get this shot. The dock had fascinated me and I longed to capture the subtle character of it that intrigued me. Dozens of shots were taken and discarded. They just lacked that certain something I saw there, but couldn't quite translate to the image. Finally, one morning I was out before dawn (again!) to try and shoot a bald eagle known to spend the night in a local tree and I found what I was looking for. The morning was windy with intermittent rain, what most people would describe as 'miserable', and accurately so I suppose! The eagle shot did not work out, but walking back along the river I passed the old dock again and was struck by the conditions. For how many years had this old dock weathered such storms, and yet here it still remained? It was showing the years and mileage for sure, but still standing.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">I quickly rearranged my entire concept of of what I had been trying to do with this subject. I set the camera up on its tripod, being extra careful to ensure it was planted solidly on the grassy shoreline of the river. I then installed a polarizer and four stops worth of neutral density filters, cutting down the light coming into the camera lens by a total of six stops. It was still overcast and dark. If the sun had risen it was impossible to tell, but I needed the low light in combination with the neutral density filters for my intended shot. Once set up, I attached the remote shutter release – it was imperative that the camera remain absolutely motionless. The shutter speed was set to 25 seconds.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">I clicked the shutter and waited what seemed an hour while the seconds ticked away. I then took some bracketing shots at slightly different settings as insurance, but the 25 second exposure was the best in these conditions. I stayed out and took a few more shots, but none really panned out after the dock shoot, as the rain became heavy and the lens was getting too wet. I packed up and walked back to the bed & breakfast where a hot cup of coffee and my ever patient wife were waiting. I eagerly loaded the files into the computer and, finally, there it was, the image I had wanted all along.</div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_Hx6VIi0zaQE/TKKe49R7XTI/AAAAAAAAAoE/Dx_fmLKoqiA/s1600/Whitehaven-Dock169.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="273" px="true" src="http://1.bp.blogspot.com/_Hx6VIi0zaQE/TKKe49R7XTI/AAAAAAAAAoE/Dx_fmLKoqiA/s400/Whitehaven-Dock169.jpg" width="400" /></a></div><div style="text-align: justify;"><span style="font-size: xx-small;"><em>(click on image to enlarge)</em></span></div><div style="text-align: justify;">The long exposure blurs the choppy, windblown waves into a smooth gradient. The rain disappears into a smooth gray mist. The far shoreline a hint of another place. But the dock stands fixed and sharp, as the elements pass around and over it, the dock seemingly permanent and immutable by comparison. But we know the opposite to be true. The dock is already clearly past its prime and the slow, steady wear of the elements will continue to take its toll. If we could extend the exposure long enough, over many decades, we would see that it is the old dock that is the ephemeral element here. The river and wind will remain as elements long after the dock has gradually faded away.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Everything is in motion relative to everything around it. If there exists any constant in the universe, this seems to be it. With a little thought, creativity and patience, the camera can allow a small glimpse into this rarely seen or considered world.</div>Jim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.com3tag:blogger.com,1999:blog-9161218400542280623.post-1660274662884412262010-09-19T18:49:00.000-07:002010-09-19T18:49:15.623-07:00Hey! Meter THIS, buddy!<div style="text-align: justify;">Last post we took a look at exposure compensation on the family point-n-shoot camera. Today we will look at a different way to control the camera's automatic exposure mechanism that doesn't require fussing with all the controls.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Whenever you point your automatic camera at a subject, the camera's light meter adjusts the aperture and shutter speed to what it 'thinks' is the best combination of settings to give the best photograph. Modern cameras have gotten very good at this. As long as there is sufficient light and the level does not exceed the dynamic range of the sensor, it is quite easy to end up with very respectable images from a technical point of view - sharp focus with a decently balanced exposure. As we covered last time, adjusting the exposure compensation moves the 'center point' that the camera uses for averaging the exposure either up or down as desired. This works quite well, but once set you have to live with those settings unless you go back to the menu and change the setting yourself. No big deal really, but it is just one more thing to forget when you are supposed to be having fun.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">There is another easier, faster way to achieve the same result, and it does not require accessing any menus that you have to remember to go back and reset. All you have to do is point the camera at a spot that is lighter or darker than your subject, push the shutter button half way down to set the exposure and focus, swing the camera back to the actual subject you are interested in and push the shutter all the way down to complete the shot. It's that easy and fast.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">One of the great advantages of the modern family camera is that the image on the sensor is shown on the rear lcd screen. It is this feature that makes our little trick workable. Lets try a little exercise:</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Take your camera somewhere where there is a significant variation in light range. This can be inside near a lamp or outside in an area with mixed sun and shade. Turn on the camera and slowly sweep it across the scene such that you cross both dark and light areas during the sweep. Watch the lcd to see what happens to the different light and dark areas as you sweep across the scene. What you are seeing is the camera constantly adjusting to the light conditions as you move it. These changes are reflected right on the lcd! You can actually see the averaging being done in real-time.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Now, do the same sweep again, but this time at some point pick a fixed target, say the brightest spot in view, and push the shutter button down half way. You will see (and probably hear) the camera set the exposure and focus for that particular scene. This happens very quickly, usually in about one second. Once locked, continue the sweep while continueing to hold the shutter button in place at the half depressed point. Notice that the camera is no longer adjusting for the changing light conditions! Once the shutter button is partially depressed, the camera locks its settings until either the button is released or you push it down all the way and activate the shutter, taking a photograph. You can use this characteristic to your advantage.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The idea here is to simply use the natural automatic meter function of the camera to do the hard work for you, but to still have the camera take a picture that is quite different from what the automatic settings would give. I have included two images below for examples. Both images are of the same stairway outside the Morgan Library in Manhattan. I selected this spot as it had some interesting detail and textures and, most of all, some great reflected dawn sunlight shining right on it. The photographs are taken within seconds of each other, so the conditions are identical in both frames. Notice the dramatic change in the images, however!</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The first shot is taken 'straight'. I placed the camera between two upright columns, framed the details I wanted and then activated the shutter. The camera did all the work. The reflected lighting is fairly soft, so the entire scene is within range and we end up with a good detailed image. While the camera did a great job of recording the actual scene, the image is otherwise rather uninspiring and the brightest areas are actually a bit 'hot'.</div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_Hx6VIi0zaQE/TJa3fWI6NMI/AAAAAAAAAns/Orki-KXqT3I/s1600/Westhampton_043.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" qx="true" src="http://4.bp.blogspot.com/_Hx6VIi0zaQE/TJa3fWI6NMI/AAAAAAAAAns/Orki-KXqT3I/s400/Westhampton_043.jpg" width="300" /></a></div><span style="font-size: xx-small;"><em>(click on image to enlarge)</em></span><br />
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<div style="text-align: justify;">Next, I took the camera and pointed it at the bright blue sky and pressed the shutter down halfway. Once the camera audibly registered the exposure, I turned back to the stairs and tried to repeat the composition from the first shot <em>- all the while holding the shutter button in the halfway position</em>. Remember, this prevents the camera from readjusting the exposure to the darker stair scene. Once in position, I activated the shutter. Notice the dramatic difference between the two images.</div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_Hx6VIi0zaQE/TJa3hky-huI/AAAAAAAAAn0/GZARLpC3K5U/s1600/Westhampton_044.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" qx="true" src="http://1.bp.blogspot.com/_Hx6VIi0zaQE/TJa3hky-huI/AAAAAAAAAn0/GZARLpC3K5U/s400/Westhampton_044.jpg" width="300" /></a></div><em><span style="font-size: xx-small;">(click on image to enlarge)</span></em><br />
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<div style="text-align: justify;">This image is probably a little too dark, depending on exactly what I was going for, but notice how much more dramatic the light is! This shot illustrates one of the two main drawbacks of this method of adjusting the camera metering: the inherent lack of precision. The good news is, assuming you have the time to try different settings, is that you can see the effect right on the lcd and quickly meter to a different lighter or darker target as needed. With practice, you can get fast, consistent results. The second drawback is the potential impact on sharp focus. The camera sets the focus on your target at the same time it sets the exposure. If the difference is extreme enough, your shot can be noticeably out of focus. The trick is to try to find a metering target that is roughly the same distance as your final target. This is potentially more of an issue with closeup shots. The small lenses in these cameras are actually pretty forgiving on this point, but it pays to be aware of the issue so you are less likely to be surprised by it.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">So there you go! Quick and easy 'manual' exposure control of your automatic camera. <picture 2=""></div>Jim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.com0tag:blogger.com,1999:blog-9161218400542280623.post-59250952601272137812010-09-06T18:03:00.000-07:002010-09-07T19:00:18.142-07:00If I had a camera like that...<div style="text-align: justify;">A slight change in direction for this week. I was going to post about more extensive processing techniques, but it occurred to me that there was a topic that might have more immediate benefits for some of you. I will take up the processing discussion on a later date. Instead, I will discuss how to use the more common point-n-shoot camera to obtain better photographs.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">A frequent comment I hear at the shows is “if I had your camera, I could take those good photographs, too.'</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Well, maybe yes, and then again maybe no. The fact that they are making that statement tells me that they don't really understand photography, so its probably 'no'. Does pro grade equipment take better images? Of course it does, why else would we spend $1,500 on a prime lens or far more on a pro grade dslr body if it didn't improve the quality of the photographs we take? But, in truth, it is only part of the answer. That good glass and pro dslr combine to give some amazing potential for the photographer. But there is the key word: potential. Higher resolution, better quality pixels in larger sensors and world class glass are going to contribute something to the final product, but it is the photographer that determines the results. The main advantage of the higher grade equipment is this: control. The photographer simply has much more control over what the camera is doing. The typical consumer camera is largely an automatic device, removing all the decision making from the photographic process. For the average user, this is actually a good thing, allowing them to take far better photos than would otherwise be likely. The problem for the more capable photographer is that the averaging software that makes these cameras work tend to produce 'average' photographs. Good photography requires that the photographer put something of themselves into the image. In short, this means the photographer must control what the camera is doing. This, in turn, means the photographer has to understand how the camera works. This means much more than pointing the camera at your subject and pushing the big button. A real measure of a good photographer is one who can take great photographs with less than ideal equipment. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">I will touch on some of the options available and cover a few of the simple tricks to help you along with those all-to-common automatic point-n-shoots to get better images. The first thing to do is familiarize yourself with the equipment you happen to have. We will assume for this exercise that the camera is a typical, completely automatic consumer camera. I will be using a Canon sd550, a pretty typical example of the type: decent build quality and feature set, 3X zoom, auto everything with some optional style and environment adjustments. This camera is a few years old now and has provided good service as the basic go to camera for family photo album type shots.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The good news is that new cameras are offering more and more manual control options. Even this 'older' camera has some things we can adjust. A quick look at the rear of the camera and I see a dial that lets me switch to one of several modes, fully auto, Manual , Scenes and video. The Manual setting is the one we are most interested in. This opens up several control options which are very useful, if a bit limited. The first and most important is Exposure Compensation, right at the top of the menu on the little Canon. Exposure compensation is a tremendously useful feature that allows you to adjust the scale on which the camera averages the image exposure. The adjusting range is usually plus or minus two stops of exposure (this is a significant amount). Adjusting increments are in 1/3 stop increments, giving thirteen setpoints.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">In a full sun shot with some shadows, the camera will average the exposure such that it gets what it considers the best overall balance. The result is that the brightest spots will be 'blown out', that is, that part of the image will be pure white. This is because the amount of light will actually exceed the range of the sensor's ability to record it. At the other end of the range, the deep shadows will probably lack detail and may even be completely black.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">I took the sd550 out in the yard and took three shots of one of our young cats. The shots were taken in the exact same conditions: Full, bright mid-afternoon sun. I took a shot at the two extreme ends of the adjustment range and the center (normal) setting. We will start with the first shot, with the exposure compensation set to -2 stops:</div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_Hx6VIi0zaQE/TIWLaqNoM-I/AAAAAAAAAnE/0V0m7VuDoSs/s1600/Blog_002-ex.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267" ox="true" src="http://2.bp.blogspot.com/_Hx6VIi0zaQE/TIWLaqNoM-I/AAAAAAAAAnE/0V0m7VuDoSs/s400/Blog_002-ex.jpg" width="400" /></a></div><em><span style="font-size: xx-small;">(click on image to enlarge)</span></em> Photo #1: Exposure Compensation= -2<br />
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<div style="text-align: justify;">Note the overall shot seems a bit dark. The mid range of the photo has been dropped down significantly, but most of the image retains good detail. Look at the shadows and you will see that the shadows are completely black, showing no detail at all. On the other hand, the whites of the fur retain full detail and color. This is the tradeoff at the low setting. Now, watch what happens when we restore the exposure compensation to '0' , the normal default setting (bearing in mind the furball model refused to sit still for the shoot!):</div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_Hx6VIi0zaQE/TIWLeDdlyiI/AAAAAAAAAnM/k_y7eZjNmRE/s1600/Blog_004-ex.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267" ox="true" src="http://1.bp.blogspot.com/_Hx6VIi0zaQE/TIWLeDdlyiI/AAAAAAAAAnM/k_y7eZjNmRE/s400/Blog_004-ex.jpg" width="400" /></a></div><span style="font-size: xx-small;"><em>(click on image to enlarge)</em></span> Photo #2: Exposure Compensation= 0<br />
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<div style="text-align: justify;">This is the normal image you would get under the full automatic setting. Note the light and dark extremes have been averaged. The result is that the shadows now show good detail. The small bit of white fur is actually blown out to pure white, but the area is so small that I does not detract from the image. If the white patch was larger, the camera might have sacrificed some of the shadow detail to pull down the whites a bit.</div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_Hx6VIi0zaQE/TIWLhBdxRhI/AAAAAAAAAnU/AXMTNoHLRLU/s1600/Blog_005-ex.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267" ox="true" src="http://1.bp.blogspot.com/_Hx6VIi0zaQE/TIWLhBdxRhI/AAAAAAAAAnU/AXMTNoHLRLU/s400/Blog_005-ex.jpg" width="400" /></a></div><span style="font-size: xx-small;"><em>(click on image to enlarge)</em></span> Photo #2: Exposure Compensation= +2<br />
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<div style="text-align: justify;">Last is the +2 setting. The change here is very dramatic, with almost the entire frame overexposed. Even the wood surfaces facing the sun have blown out to full white, retaining no detail at all. But look into the shadow areas, especially beyond the bench, which were pure black in the first image and only retained moderate detail in the second image.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">This exercise illustrates one of the fundamental controls available to the photographer. I typically use exposure compensation in brightly lit situations to lower the exposure by about 2/3 to a full stop. I shoot in full manual, so I make this adjustment on the fly. An automatic camera will make the adjustment for you if you use the option. The main advantage of this ability, as I most frequently use it, is that I can offset the exposure of highly reflective surfaces to retain detail in those areas of an image. I can refine the exposure in the body of the image later on the computer if desired. With high-end post processing software, I can adjust the light and dark areas individually to retain full detail across the entire image, compensating for the limitations of the camera sensor. Ideally, the user of a point-n-shoot camera can use this to further refine the images a bit better than the camera will, left to its automatic settings.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">For the next entry, we will study a technique for 'fooling' the camera sensor to change the exposure setting to were YOU want it to be. See you then!</div>Jim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.com0tag:blogger.com,1999:blog-9161218400542280623.post-58541108494816568172010-08-24T19:10:00.000-07:002010-08-24T19:47:33.396-07:00Reality, What A Concept<div style="text-align: justify;">One of the most frequent questions I hear as a photographer is ”Did you Photoshop that?</div><div align="justify"><br />
</div><div align="justify">The answer is invariably “Yes”, but I can never let it go at that. The persons asking the question seem to have a mindset that any really good image must be 'photoshopped', ie: fake. I make it my task to set them straight.</div><div align="justify"><br />
</div><div align="justify">Let's get something right out in front first: Photoshop is an amazingly powerful program. In the hands of a really talented user, images can be produced that are nothing less than mind blowing and often have little or no relationship to reality. It really has become a medium unto itself. The resulting images should be appreciated as art in their own right, if they qualify for that ethereal status, but they are no longer photography in any practical sense. Here lies the problem for the typical photographer and the resulting guilt by association. Photography is unique in the arts in that it began as, and for the most part remains, a mechanical/technical medium for recording 'reality', ie: realistic depictions of scenes that actually existed. Photojournalism is the most obvious example of this practical and common application of photography.</div><div align="justify"><br />
</div><div align="justify">Next, we have to address Photoshop's place in the modern world of photography in relation to most pro photographers. Photoshop is the modern 'darkroom'. Digital technology has allowed us to eliminate the need for all the cost, chemicals and complications of the traditional darkroom. This is precisely the role that Photoshop fills for the vast majority of photographers. Traditionally, film development included adjustments to color, contrast, brightness, etc. More sophisticated processors would use treatments to dodge (lighten) some details and burn (darken) others. Ansel Adams was a master at this process and this his how he produced many of his most outstanding images, by way of a well known example.</div><div align="justify"><br />
</div><div align="justify">Aside from the physical advantages mentioned above, the additional benefits are the ease of the various adjustments. Most common adjustments can be made with sliding scales and the results are seen immediately on your monitor. The vast majority of photographers operate at or near this level. Photoshop has simply replaced the darkroom and is used in essentially the same way. The biggest change is that this technology has made the once very esoteric and complex developing process accessible to so many more people.</div><div align="justify"><br />
</div><div align="justify">An example of typical processing is provided below. I took the original image during a March walk on Fire Island, looking to catch the last of the winter's snow on the primary dunes in the vicinity of the Fire Island Lighthouse. The first image is the untouched file straight from the camera, converted to jpeg format for posting here. Directly below it is the processed image. </div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_Hx6VIi0zaQE/THR6OSzp7KI/AAAAAAAAAms/tt_LOLaGgVs/s1600/FI-Light-I.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267" ox="true" src="http://1.bp.blogspot.com/_Hx6VIi0zaQE/THR6OSzp7KI/AAAAAAAAAms/tt_LOLaGgVs/s400/FI-Light-I.jpg" width="400" /></a></div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_Hx6VIi0zaQE/THR6Q5f8c-I/AAAAAAAAAm0/aa8AdFMr1Sg/s1600/FI-Light-II.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="263" ox="true" src="http://2.bp.blogspot.com/_Hx6VIi0zaQE/THR6Q5f8c-I/AAAAAAAAAm0/aa8AdFMr1Sg/s400/FI-Light-II.jpg" width="400" /></a></div><br />
<span style="font-size: xx-small;"><em>(click on images to enlarge)</em></span><span style="font-size: xx-small;"><em><br />
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<div align="justify">A quick look at the file shows that the processing included these adjustments:</div><div align="justify"><br />
</div><div align="justify">1 – A sharp eye will notice a very slight counterclockwise rotation (1.5 degrees) and very slight trimming crop to square the frame after the rotation. </div><div align="justify">2 – Minor sharpening to enhance detail. Digital photos retain a bit of softness carried over from the sensor and some sharpening is often used to correct for this. </div><div align="justify">3 – Contrast is increased slightly to further enhance detail.</div><div align="justify"><br />
</div><div align="justify">That's it! Very little is done but, as you can see, the results are fairly dramatic. The image is clearer and the details practically leap off the image. The real work was done in taking the original shot, getting the exposure and composition right to achieve the intended image. The steps outlined above just complete the process.</div><div align="justify"><br />
</div><div align="justify">Lets take things just a little bit farther. A really sharp eye will pick up a couple of very, very subtle alterations. Look at the top, unprocessed image. Just to the right of the base of the lighthouse you may see a small object – the top of the flag pole near the lighthouse. Directly below that, on the lower dune line, there is a bit of irregular grass, with another bit to the left and farther up the sweep of the lower dune. These three details interfered with the clean, graphic sweep of the image I wanted. Accordingly, I used Photoshop to remove them. The result is something of a very small step closer to an artists representation than a truly representational photograph, but the changes are so subtle that without being pointed out, no one would ever realize the slight changes were made. You can see the improvement in the clean lines of the dunes as they bring your eye to the center of attention – the lighthouse - without distraction.</div><div align="justify"><br />
</div><div align="justify">The next blog entry will take a look at the next step: using some of the more sophisticated features of Photoshop to move photography from strictly representational to art. See you then!</div>Jim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.com0tag:blogger.com,1999:blog-9161218400542280623.post-20359820144074473452010-08-08T19:47:00.000-07:002010-08-08T19:47:18.503-07:00Visiting with the PastMy wife Nancy and I just returned from a visit to Nova Scotia. I should probably mention that , being of Scottish descent, I am likely to find anything Scottish at least a little bit interesting. That minor caveat aside, we were both deeply taken with the beauty of this part of the world, both natural and man made. The natural terrain bears a strong kinship to that of Scotland, with its rugged, rocky coastlines and deep, dark spruce forests. The polished granites of Peggy's Cove speak directly to a far distant geological past, much like that of the Scottish landscape. A little research indicates that this particular stone mates with similar from northern Africa, though, and not Europe! So much for first impressions. The northern coastal climate is the real source of the biological similarities, favoring spruce over the deciduous forests found farther south. The proximity of the sea accounts for the rest, with its inevitable impact on the local sea oriented culture.<br />
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It is the overlay of man made history that drives our interest today. Like much of North America, the incoming Europeans displaced the Native Americans, who have left little more than place names to remind us that they predated the present residents. We Europeans have all but obliterated any other trace of their presence, a direct result of our greater (and still increasing) numbers and tendency to build more extensive and relatively permanent structures. The expansion has occurred over some several centuries now and, where the earlier European settlements remain, they call to the more attentive visitor about our history, relatively brief though it is.<br />
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Our main focus on this trip was such a place, a rather well known tourist stop: Peggy's Cove. Traveling as much as we do, Nancy and I are all too familiar with the commercialization which tends to destroy the heart of many of these historic places, leaving a thin shadow of the former reality. Fortunately, Peggy's Cove is largely spared this ignominy. While there is a fairly constant flow of tourists, fed by a series of large tourist buses, the accommodations for the buses and tourists are all kept outside of the small village. If you want to see Peggy's Cove up close, it is necessary to get off the bus and walk through the little village, which is still an occupied and functional fishing village. It remains 'the real thing', not some gussied up caricature of a recently deceased community. The changes are limited to a parking lot just outside the village and a rather large gift shop and additional parking at the highpoint just above and beyond the opposite side of the village, near the well known lighthouse. This seems to have worked well to keep the village relatively untouched from the more typical effects of the tourist invasion, with the hardscrabble nature of a thin existence by the sea evident in the ubiquitous peeling paint and mossy, rotting, but still functional, and functioning, structures.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_Hx6VIi0zaQE/TF9rgOVWsxI/AAAAAAAAAmY/6SzBD835wm8/s1600/Nova-Scotia-5D_431.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" bx="true" height="267" src="http://4.bp.blogspot.com/_Hx6VIi0zaQE/TF9rgOVWsxI/AAAAAAAAAmY/6SzBD835wm8/s400/Nova-Scotia-5D_431.jpg" width="400" /></a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><span style="font-size: xx-small;"><em>(click on image to enlarge)</em></span><span style="font-size: xx-small;"><em><br />
</em></span><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">These places were once the norm on the extensive New England coastline and are hardly considered 'romantic' or beautiful by the occupants. As with many occupations, the hard, bare lifestyle was made untenable by the introduction of large scale commercial fishing and the resulting reduction of many of the fish species that these communities depended on. The pattern is echoed in our own local fisheries. The South Shore of Long Island was such a place until fairly recently. The once common fishing boats are now gone, and there is virtually no trace of their former existence, as even their old haunts have been filled with condos and restaurants.</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_Hx6VIi0zaQE/TF9rjXMNrHI/AAAAAAAAAmg/B-DJjTH5v_E/s1600/Nova-Scotia-5D_436.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" bx="true" height="267" src="http://4.bp.blogspot.com/_Hx6VIi0zaQE/TF9rjXMNrHI/AAAAAAAAAmg/B-DJjTH5v_E/s400/Nova-Scotia-5D_436.jpg" width="400" /></a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><span style="font-size: xx-small;"><em>(click on image to enlarge)</em></span></div>Visiting places such as Peggy's Cove calls to us, as it reminds us of a recently lost history and way of living. It is interesting that we now find beauty in the spare, plain structures placed so precariously exposed to the elements. There is nothing to be found here that is not functional in some respect, the rare dalliance with the unnecessary restricted to a coat of brightly colored paint on a window frame or a boat hull. All else is unadorned in its pristine directness, built to a purpose. As the bulk of the tourists moved ahead, Nancy and I lagged behind to more closely examine the intimate details of this wonderful place: surprisingly bright colored mosses growing through the peeling paint on the base and foundation of a small wooden outbuilding, the moldy details of a hidden stairway between two buildings, a haphazard pile of bright orange trap floats and rust. Rust was everywhere, ever present. No item of steel escapes, as evidenced by the rusty streaks marking the presence of steel nails in the buildings. Here were the trace details of an active seafaring life grown in place for many, many years. <br />
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Why do such places speak to us so strongly? It must be more than simple 'quaintness' of a type of life since past. Do we yearn for the simple directness of such an existence rather than the fast moving complexities of the present? Do some of feel that we have lost something important, even vital in the transition? When I look out on our own Great South Bay, and see not a single individual remainder of the once omnipresent clammers and oyster boats, I know we have lost something important in the local community. The Bay can no longer support the oysters, clams and scallops that once put Bluepoint and the Great South Bay on the map, a victim of overfishing and pollution runoff from expanding suburbia.<br />
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It is one of my few regrets that these things, taken so for granted at the time, were passing away even as I watched. My recognition of what was happening came far too late, too late to record all but a few scattered remnants. But I look and find the bits and pieces where I can. Not all has yet been erased and built over, not yet.</div>Jim Sabistonhttp://www.blogger.com/profile/18128614396558369112noreply@blogger.com0