Remembering the Experience...and Photography.

“Beaver Pond, Snowfall” is an image that exemplifies both the beauty that pulls me to mountain adventures, as well as the dramatic natural experience that I remember so vividly and moves me to carry big cameras and expose big sheets of film in insane conditions. On this particular day the snow was falling heavily. In the time it took me to set up my camera and expose my sheet of film (20-30 minutes), at least 4 inches of snow came down. As I looked out of my window just a couple of hours before, I had to laugh. It was a ridiculous idea to venture out, but I had “the mood” of an image in mind.

Needless to say, I layered up with warm under layers and Gore-tex outers, grabbed my camera pack and headed out into the storm. I wasn’t going far, but my anticipation was high. Now, while I had an image type in mind (intimate details close, soft hints of “foggy” background in the distance) I was open to the experience. I wandered through this quiet landscape taking in every detail. With the mountains shrouded in falling snow, the landscape became smaller. I literally felt within the landscape. That feeling is what I was envisioning for my image, and was reveling in as part of my life. That is what I call, the Fine Art of Nature!

That is what makes this image such a success. That, and a little artistic and technical follow up. Once I was in my happy place with the natural conditions and landscape, I was able to begin composing the scene in a way that represented what I was feeling. I knew that the whisper of large pines on the distant mountainside peaking through the blizzard would give depth and scale to my scene. Next I wanted to include subject matter that provided intimate detail of the beaver pond environment which made the viewer feel as though they could walk right in to the image. As I wandered I found this spot on the far side of the pond that made me stop. This was it. It was time to refine and compose.

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I was attracted to the leading line of the foreground log accompanied by the channel that the beavers swim through when leaving the pond to feed on Willows. The curved line of that channel was interesting, as were the snow covered grasses in the immediate foreground. I included the large boulder on the left, which added strength to an otherwise soft feeling scene. I positioned it in such a way that it both leads the eye to the center of the image, and creates a layering effect between foreground and background. The clarity of the texture and contrast on the granite adds strength to the composition. I used the clump of branches to the right side in the pond, along with their reflection to balance out the visual weight of the boulder and add further detail. As the far side of the pond (the beaver dam) was softened by the snow, it added a little middle ground detail that enabled a smooth transition into the delicate background. The silhouettes of the pine trees on the distant mountainside are what had brought me out into the storm to begin with. The background adds context and scale, while enabling the viewer to feel as though they are standing in a more intimate landscape. Due to the long exposure required (low light + slow film) to capture this scene on film, the falling snow is rendered as a fog, without detail. I believe that softens the mood of the scene and depicts the feeling of solitude I experienced and wanted to share.

“Beaver Pond, Snowfall” is one of those images that brings me a rush of quiet emotion when viewing it. I can feel the enveloping weather. I can hear the snowflakes landing on my hood. I remember standing on the edge of the pond as snow piled up on all of my gear. It was a black and white day, spent alone in a beautiful, peaceful place. I am pleased that I was able to translate all of that onto a 4x5 inch sheet of black and white film. And, I’m happy to be able to print this image, so you can experience this wonderful piece of nature on your wall.

Collectors Tip: Many collectors are intimidated by the idea of collecting black and white images if they don’t have a stark, modern space in which to hang them. The reality is, a piece of art on the wall stands on its own. It doesn’t have to blend. Furthermore, black and white photographs can be framed in numerous styles to fit your personal taste. They can even be printed on aluminum and hung without a frame! just ask one of our gallery representatives to help walk you through the possibilities!

Photographers Tip: Most often, when shooting black and white film, I will use “contrast filters”. These are colored filters placed in front of the lens that help produce tonal separation in a color landscape which we are trying to record on black and white film. However, when shooting in a blizzard where there are no color tones to separate, I use no filter at all in front of my lens. Given the low contrast nature of the scene, I will most often have to increase contrast while developing the film (n+1, n+2), and again later while working in either the traditional or modern (digital) darkroom. Capturing images while the snow falls gives us a relatively easy (narrow) exposure range to capture. We can then work on the straight forward contrast control at home.
Note: I am primarily a “cross platform” photographer. I shoot large format sheet film and then drum scan my film on my personal fluid mount drum scanner. This creates a massive (hundreds of megabytes) digital file which I them adjust in both Adobe Lightroom and Adobe Photoshop software. For black and white images, I am primarily using curves adjustment layers to set my whit point, black point and contrast levels, both globally and locally. I make my general / basic adjustments in Lightroom, and most of my local and very detailed adjustments in Photoshop.

Would you like to go out in the field and look through the lens with me? Would you like to take your photography to the next level, capture a particular location with your camera or simply tour the locations of some of my most iconic images? Take a private workshop / tour in your favorite season!

Details:
Camera: Canham 5x7 Metal Field Camera with 4x5 Film Back
Lens: 90mm
Film: Ilford FP4 plus 4x5 inch Black and White film
Developer: Diafine
Filter: N/A
Tripod: Gitzo 1325 Carbon Fiber
Tripod Head: Really Right Stuff BH55 Ball Head
 

DON'T MISS OUT ON WHAT I HAVE TO SHARE. HERE ARE SOME HELPFUL LINKS:

My FREE Fine Art of Nature Insider : https://www.jonpaulgallery.com/newsletter/
My website: https://www.jonpaulgallery.com/
Photography Workshops / Tours: https://www.jonpaulgallery.com/tours/
My Blog: https://www.jonpaulgallery.com/blog/
Subscribe to My YouTube Channel: https://goo.gl/dJXMUQ

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Sunset Evolution, Sand Harbor, Lake Tahoe

Sand Harbor is a world class photo destination. Crystal clear water, granite boulders, pine trees and mountains looming above. This is a location I’ve visited and photographed many times. It is also one of the locations that my photography workshop / tour clients enjoy the most. So, approaching this location can be interesting. In general, as I did here, I had to let Mother Nature take the lead in choosing a specific location and composition. From there, the artistic approach was all up to me.

Traditionally, I would have been facing the opposite direction, toward the sun, during sunset, standing amongst the boulders on the far shore. However, the sky had very little interest to the west and, obviously, the monumental cloud to the northeast grabbed my attention. So, I positioned myself in an elevated location that enabled me to face the cloud, include interesting parts of the landscape in the middle ground (which are unique to this area) and highlight the clear azure water in the foreground. Then I had to wait for the light. Now, let me share my thought process about each of these elements.

To begin with, I wanted to make the massive cloud the main subject. So I chose a vertical composition and a wide angle lens (90mm on my 4x5). Second, I chose a slice of landscape and mountain (middle ground) that added a sense of this unique place and didn’t feel chopped off at either end. It needed to remain balanced. It also happened to create an overlapping pattern with the cloud and sky that added depth. Third, I included enough of the clear water to show off this amazing aspect of the location, but not so much as to create a big empty space in the image. The light reflections and boulders under the water also added interest, as well as patterns (leading lines) that draw the eye into the scene. With the composition chosen, there were a couple of items remaining.

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Now that I was set up and waiting for the light, I had some artistic decisions to make. I didn’t want a standard sunset shot. I wanted to convey a greater sense of drama than I am accustomed to seeing here. I wanted to imbue the emotion of an entire sunset in this place onto one sheet of film. To do this I chose to place a 10-stop neutral density filter ( This is a dark filter, neutral in color, that blocks the light entering the lens. No color is added with this filter. ) in front of my lens. This enabled me to leave my shutter open for 6 whole minutes, capturing a blend of the color that painted this scene during the entire peak of the sunset. This extreme exposure time also softened the edges of the cloud and surface of the water, as any motion was blurred away into a painterly silk.

I began my exposure with just a hint of warm sunset light remaining on the middle ground. As the sun sank below the mountains to the west, the light left the landscape and lit the cloud in an amazing progression of pastel colors that ranged from yellow to pink and red. These colors reflected down onto the foreground landscape, painting the entire scene into a dreamscape. This image not only captured an iconic location, but it encapsulates the wave of emotions I experienced throughout this 6 minute long natural light show. And, thanks to my big sheet of film, I am able to share “The Fine Art of Nature” with you to experience for yourself.

If you are going to be in the Lake Tahoe and are considering becoming a collector, or adding to your collection, I’d love to meet you personally at the Marcus Ashley Gallery in South Lake Tahoe and give you a personal tour of my my work they have on display. They are one of the top galleries in the country, and I’m proud to be the exclusive photographer represented here, amongst another 40 or so fine artists. You can visit their website HERE as well.

Collectors Tip:
After 14 years in my own gallery and 5 years in Marcus Ashley Gallery with many art shows, I have heard the question, “Is it ok for me to buy this piece I love even though I’ve never been there?” the answer, invariably has been, yes. To begin with, if a piece of art makes you feel something, it’s right for you. Another benefit of collecting a piece like this is, as many of my collectors have shared, that it becomes motivation to visit a place you’ve never been, and may very well change your life forever.

Photographers Tip:
Landscape photography is an art. As photographers we have many tools at our disposal. As I did with this new image “Sunset Evolution, Sand Harbor, Lake Tahoe” (above) I chose to use my 10-stop ND filter to capture the image creatively in camera, as opposed to making happen in photoshop. While I use Lightroom and Photoshop to fine tune my images after I drum scan my film, I like to “do my art” in the field. In general, you’ll end up with a higher quality image as an end result. Take your time, envision the final image your composing in the field and be thoughtful with the process of “taking pictures”.
Would you like to go out in the field and look through the lens with me? Would you like to take your photography to the next level, capture a particular location with your camera or simply tour the locations of some of my most iconic images? Take a private workshop / tour in your favorite season!

If you’d like to improve your images captured with Provia 100F film,
get my FREE Provia 100F Cheat Sheet

Details:
Camera: Canham 5x7 Metal Field Camera with 4x5 Film Back
Lens: 90mm
Film: Fuji Provia 100F 4x5 inch transparency film
Filter: Lee Big Stopper (10-stop Neutral Density)
Tripod: Gitzo 1325 Carbon Fiber
Tripod Head: Really Right Stuff BH55 Ball Head
 

DON'T MISS OUT ON WHAT I HAVE TO SHARE. HERE ARE SOME HELPFUL LINKS:

My FREE Fine Art of Nature Insider : https://www.jonpaulgallery.com/newsletter/
My website: https://www.jonpaulgallery.com/
Photography Workshops / Tours: https://www.jonpaulgallery.com/tours/
My Blog: https://www.jonpaulgallery.com/blog/
Subscribe to My YouTube Channel: https://goo.gl/dJXMUQ

Fall, On the Rocks

Fall, On the Rocks, Carson River

December 10, 2019

Fall is an amazing time of year in the mountains. Temperatures cool, weather becomes a bit more dramatic, the fly fishing improves and, of course, the colors begin to change. This brings me back to where my photography career began 20 years ago.

I began this photo excursion by scouting…fly rod in hand. I worked my way along a little more difficult section of canyon, rock hopping and fishing small pools amongst the boulders. I relaxed, let the business world behind, landed a couple trout and settled in to that feeling that originally brought me to landscape photography. I was surrounded by rugged, mostly vertical terrain. Boulders were strewn everywhere. The water rushed roared as it worked its way through the canyon. And there, amongst the rocks, was an aspen tree. A lone survivor in this inhospitable place. Beautiful.

I had found my subject and began my own transformation from angler to photographer. I traded my fly rod for my tripod and large format film camera. With calm excitement I set up my composition. One tripod leg fully extended down into the river, one compressed as short as possible on top of a boulder where I crouched, the third on the sand. It never seams to be easy, but it is always worth the pursuit of that passion I feel when composing. Whether or not my image is successful, that creators feeling in nature is a prize. The realization that I see, feel and experience such moments in nature is amazing. And when I nail the shot and am able to share it with the world, that’s ok too.

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As I loaded my film, and waited for the last warm rays of light, I took a moment to soak it in. The sounds, smells and entire surroundings. Just before the sun dipped below the mountains I metered my scene and exposed one sheet of film. The light then disappeared, the canyon cooled, and I packed my gear. As I hiked back to my car I reflected on the experience, the process and whether or not I got it right. Fortunately, I did. And i think it’s a good one.

That is “The fine Art of Nature”.

 Click Here for assistance in adding this new release to your collection. Fall, On the Rocks, Carson River is available in several sizes on both photographic paper, as well as aluminum.

Collectors Tip:
Occasionally collectors will share that they love a piece but, “ it isn’t what we were expecting to buy”. Art is an important part of your home experience every single day. Most often it makes sense to go with a piece that makes you feel something special. There is no right or wrong in choosing art. It should make every day a little better. Go with your emotions.

Photographers Tip:
I am someone that doesn’t use filters often, but i keep them handy for when they are needed. The image above had shiny wet surfaces (rocks, leaves and water surface). I used a circular polarizer to eliminate surface glare and reflection, which enabled me to capture the richness of colors throughout the scene. This also gave a little more depth to the darker water. A final benefit was the need for a longer exposure time, as the filter blocks about 2-stops of light from entering the lens. The longer exposure gave a slight blurring effect to the moving water, softening the scene and giving a greater sense of motion.

If you’d like to improve your images captured with Provia 100F film,
get my FREE Provia 100F Cheat Sheet

Details:
Camera: Canham 5x7 Metal Field Camera with 4x5 Film Back
Lens: 150mm
Film: Fuji Provia 100F 4x5 inch transparency film
Filter: Circular Polarizer
Tripod: Gitzo 1325 Carbon Fiber
Tripod Head: Really Right Stuff BH55 Ball Head
 

DON'T MISS OUT ON WHAT I HAVE TO SHARE. HERE ARE SOME HELPFUL LINKS:

My FREE Fine Art of Nature Insider : https://www.jonpaulgallery.com/newsletter/
My website: https://www.jonpaulgallery.com/
Photography Workshops / Tours: https://www.jonpaulgallery.com/tours/
My Blog: https://www.jonpaulgallery.com/blog/
Subscribe to My YouTube Channel: https://goo.gl/dJXMUQ

Seeing the Composition

Todays mindset is one of impatience, immediacy and reaction. It seams to be required in order to be "successful". This is perpetuated in the world of photography by the ease with which digital images can be captured. Fast to set up, automatic if we choose, cost per shot = $0. This flows over into large format photography as well. While on location in a beautiful place it is easy to think, "This is taking a long time", "I'll crop that later" or "I'll fix that later". This has led to a plethora of good images, but few that we are actually proud of.

From very early on in my photography life I have taken a care-full approach. While I can justify this with the cost of film, developing, scanning, etc., I lean toward the reality that an image that motivates me to take out my big cameras moves me to proceed with respect to my art. Being in the outdoors and experiencing beautiful, idyllic natural moments makes my life better. It makes me healthy and happy. When I choose to compose an image to share with the world (with my name on it), I want to be particular with the composition. When I am in the field seeing and experiencing a special moment, I want to create my composition based upon what is moving IN THAT MOMENT. The art happens then and there. Not later in the darkroom / digital darkroom.

In order to stay true to this aspect of my art, I carry both traditionally shaped and panoramic film formats. My smaller setup is a 5x7 metal field camera, for which I carry both a 4x5 film back, as well as a 6x17cm roll film panoramic back. My larger camera setup is an 8x10 metal field camera with which I shoot full frame 8x10 film, as well as 4x10 inch frames with an adapted (cut) dark slide. When I see a scene in a particular way, I shoot what I envision, as I envision it. Rarely will I crop a sheet of film after the fact. This enables me to move into the darkroom / digital darkroom with the composition I was moved to compose. I retain my vision, and merely need to attend to color correction and contrast control after the fact.

My home made composition cards for each of the four film formats I carry. 

One tool I use while out in the field with my large format cameras is a composition / viewing card. With my big, cumbersome camera gear safely in my backpack I keep the two composition cards (one panoramic and one traditional) that correspond to the film formats I have with me connected to the chest strap of my pack. With the cards readily at hand, I can easily assess the compositional possibilities of a scene that grabs my attention. I first react a subject that catches my eye. I then use the cards to see how this main subject might fit into a composition relative to the environment surrounding it. If this flows and I truly feel excited about it, I assess the light and consider setting up my camera. At this point, I have already decided that "If it's worth doing, it's worth doing right / well". There is no thought to cropping it better later, or fixing it at home. In the field, while composing and exposing, is where "The Fine Art of Nature" happens. There is a mix of natural beauty and personal connection. The effort is worth it, and the image (often times) is worthy of sharing with my collectors.

This proved to be worth doing right! After scouting for a composition (using my composition cards) I liked on the first, and only, sunny morning of my trip to Iceland, I chose to set up the 8x10 film camera. No easy feat at 0 degrees Fahrenheit. Given the excitement I felt for the image, I then chose to go the extra mile and shoot the image as a panorama. This took more time (and physical suffering), but the image was worth it!

To sum things up, I believe there is a loss of art within the landscape photography world today. This is not due to alack of talent or ability, or even camera type. We are caught in a world of volume and speed. Even when going outdoors to pursue our passion of nature photography, we are constantly doing battle, whether we know it or not, with the technological world we are immersed in. We need to consciously remind ourselves why we are pulled to outdoor photography. We need to slow down and allow ourselves to compose art that truly moves us. The world doesn't need another 40,000 average "captures". The world, or at least I need singular moments that transport me to the simple beauty of nature.

Thank you for taking the time to follow along here. Please feel free to share constructive comments below.

Don't miss out on what I have to share. Here are some helpful links"

Subscribe to My YouTube Channel: https://goo.gl/dJXMUQ

My Free Fine Art of Nature Newsletter: https://www.jonpaulgallery.com/newsletter/

My website: https://www.jonpaulgallery.com/

Photography Workshops / Tours: https://www.jonpaulgallery.com/tours/

My Blog: https://www.jonpaulgallery.com/blog/