Here’s an image just for show. There’s no real story to this post other than I like it. It’s of Nubble Light – sometimes called Cape Neddick – a classic New England lighthouse located on the coast of southern Maine in York. I grabbed the opportunity to soak in the start of a new day, and as the sun slowly rose, I just loved the textures in the foreground rocks and the subtle gradient in the sky. The color version is nice, but I especially liked the mood generated by the silvery black and white rendition. Enjoy!
Lately I’ve been spending some time exploring my portfolio of landscape photographs. Though feeling physically and mentally much better between rounds of Chemo, I still haven’t quite mustered up the energy to spend much time outside, never mind having the oomph to be out early or late capturing any new good light on the landscape with the camera. That leaves me fondly reminiscing about some of the work I’ve already done, and as I do so, I get to spend a little time perusing my web site – and you know what that means… yes, tweaking.
As you can see from the screenshot above – http://www.acadiaandbeyond.com – I’ve abandoned (for now) my attachment to a single strong black and white coastal image in favor of a more eclectic, colorful, and assorted view of what is distinctly Acadia National Park – after all, there is so much to see in Acadia, why not show her off in all her glory?
We’ve had a lot of incredibly generous local support in response to our little medical emergency, and as a way to say thank you, Lori and I have been selecting prints that we think people might appreciate, and we’ve been ordering and delivering them as thank you gifts.
I’ve learned that it’s one thing to conceptualize, experience, and actually create any one of my photographs, but I have to admit, following the process through to where it physically gets printed and held in hand – whether it is printed on canvas, paper, or better yet, on metal – it is quite exhilarating to hold a piece, especially since many of these pieces to date have merely been images on the screen.
I’ve a couple of big pieces being printed on metal on the way as “thank you’s” to our friends, and I’ll be sure to grab a pic of what they look like “in-person” as it were when they arrive. In the meantime, if anyone is interested in purchasing from what I believe is a new and improved web site, please use the discount code “chemo” when in the shopping cart area – despite it’s not-so-nice meaning, it will get you 25% off any purchase 😉
*Taking a break from the Chemonotony 😉
Here’s a rare sighting of me in front of the camera! Not from recent times, this is from the fall of 2002… wait, let me go check that. Ayuh, seems like this was made by my friend Monty all the way back on 9/14/2002 – now that’s quite some time ago! This little vignette of a scene gives a good idea of what it takes for me to come away with a likable photograph.
Nice backdrop – check (The Beehive in Acadia National Park)
Nice light – check (I’m in the shadow of Great Head, and as the sun rises from behind it, the Beehive is slowly bathed in warm color)
Nice composition – here’s where the challenge begins! Those are my bare feet in the chilly Atlantic Ocean showing a definite willingness to do what it takes to get the photograph 😉
So… when attempting to create a pleasant composition, one of the first things I look for is an interesting foreground element. For some strange reason, I seem to be drawn to vertical compositions versus landscape oriented scenes. Don’t get me wrong… I always look for – and enjoy discovering – landscape compositions that showcase the width of particular scenes, but there’s something special about the effect that can be derived from using a wide-angle lens in portrait orientation. A wide-angle lens can make foreground elements seem larger than they actually are, and by making them appear closer to the camera than they really are, it can also help create depth from front to back within the scene.
Anyhoo… this is why – when composing a landscape photograph – you’ll likely find me (even in 2002) scouring the ground in search of something interesting that might help introduce the viewer to the scene and hopefully compel them to curiously explore my composition further. In the photograph above, you’ll notice my sturdy tripod plopped apparently randomly right in the middle of a bunch of jagged rocks that are littered across the edge of the shoreline. The boundary of where the ocean meets the land is eternally intriguing, one that uncovers and reveals infinite possibilities. In the shot below, hopefully I was able to unearth some of those wonderful possibilities?
The depths of winter have me reminiscing about a warmer place… Death Valley National Park in California couldn’t be any more different from Acadia, and probably because of that, I am very much drawn to it. When it comes to raw beauty, it certainly gives my favorite and more intimate national park here in Maine a run for its money. Sam and I visited this vast and wonderful national park a few years ago, and when looking back at our travels, I think it’s safe to say that we had ourselves the trip of a lifetime. In rather unusual conditions – it had rained in the desert about a week before we arrived – we experienced, among other things, the depths of the desolate salt-pan area known as Badwater, the iconic beauty of Zabriskie Point, and the incredible Mesquite sand dunes near Stovepipe Wells. And yes… that’s Sam silhouetted in the first photograph below.
The recent rains had made some of the more desirable and remote locations within Death Valley inaccessible, so to make up for our disappointment and add to the adventure, we took a two-day detour out of the desert and cruised up CA 395 in the shadow of the Eastern Sierra. We marveled at the imposing height of a snow-capped Mount Whitney, we explored the unique the surreal landscape of the Alabama Hills, and we shared the incredibly still and tranquil area of Mono Lake with a pack of yelping coyotes. I, of course, made some landscape photographs along the way… as did Sam. Like I said… this is an area rich in opportunity for any landscape photographer, and it’s another area I would one day love to return to. Enjoy the original Jack-created soundtrack to the video 🙂
…where we reflect on the year that was, and choose our favorite images from the past twelve months. Our family welcomed a new puppy this year, and although Oliver has consumed much of my recreational time, I still managed to spend some time in Acadia with the camera. I enjoy the process of reflection. I also enjoy taking a moment to reminisce about places I’ve been, and sights I’ve seen. I never tire of spending time in my favorite national park, and along the way throughout the year, I made a photograph or two to remind me of what were often personal and intimate experiences. Not as prolific as in past years, I didn’t make the quantity of images I usually do. Maybe there’s a New Year’s resolution to be made which might ensure a more productive 2014? Though there aren’t many iconic and instantly recognizable picture postcard views this year, hopefully my favorite 13 images from 2013 are still distinctively Acadia? Oh yeah, and other than the golden-colored Oliver, my favorites from this year are all in black and white. If interested in seeing some high-quality landscape photography, check out the annual Jim Goldstein curation of imagery – here’s a link to the 2012 edition where you’ll be able to browse some seriously awesome work. Happy holidays!
This is a neat spot I found last weekend as I scampered down and across the granite ledges along the Loop Road in Acadia National Park. I was in search of a landscape composition that would get me a) rocks that would glow in the early light, b) a glimpse of the ocean, and c) an interesting foreground, especially since the cloudless sky on this particular morning wasn’t going to be holding anyone’s interest. Though a cool spot, I’m not so sure if these compositions work? In the landscape oriented image above, I’m thinking that there might be too much rock, making the composition a little left-heavy.
I believe I like the portrait oriented version better, but I’m still not sold. Maybe this is just one of those instances where it was better to have been there in person – walk off that ledge in front and there’s a drop of about 50 feet, so there weren’t many options to move around and make adjustments. Then there was the biting winter wind, the smells of low tide, and the cry of the gulls overhead… all in all, I’d say this was a good place to be, regardless of whether or not I was able to cobble a composition together. For those of you familiar with the area – to give you a more precise idea of where I am – that thin sliver of rock laying off shore in Newport Cove is Old Soaker. And again… there’s black and white. This time, although I do like the foreground rocks in black and white, I think these images actually benefit from the warm/cool color contrasts within the scene. Any thoughts?
Morning light moves fast. Right before I made the image above, I was shooting in the opposite direction, focusing on trying to create a composition that showcased the rugged, granite ledges along the Acadia National Park Loop Road. As I was doing so, I remembered to pause and take a quick glance over my shoulder to see if the high clouds rushing in ahead of an approaching front had caught any color… and as you can see… they had.
I love how the granite in Acadia takes on the color of the pre-dawn light. On different occasions I’ve seen it glow anywhere from red to orange to pink… sometimes it’s subtle, and sometimes it’s much more than that. On this particular morning, the sunrise over the ocean was mostly a yellow event, but for one fleeting moment overhead, we were treated to a palette of soft, pink light – only for a moment mind you – and as you can see, once again the Acadia granite didn’t disappoint.