A SLIGHT REVISION TO THE COMPOSITION

THE POWER OF THE "L" FACTOR, PORTOLA FIREHOUSE, 2012

I posted this image a few days ago. This morning I took a print of that image to the Redwood Camera Club's regular meeting. I shared it in the critique, and received some feedback - mostly positive. One thing mentioned was that it could be improved if I included some blue sky around the right edge. Viola, I had the sky in the original, and here it is. I think it works, but comments would be appreciated.

KORBEL II

NORTH FORK MAD RIVER BRIDGE AT KORBEL, 2012

I took this in January. I was on a little outing with brother Daniel. I was showing him some back roads in Humboldt County. Even though I photographed this bridge several times, I still think my first attempts with the Sony in 2006 were the most successful, but I keep on trying.

SUNRISE ON THE EEL RIVER AT FERNBRIDGE

EEL RIVER, NOVEMBER, 2012

This image is not at all ready to print, but I am sharing an interpretation of what the sunrise looked like last Friday. It may be that I do not have the details that I want in the raw files to create a look that I would print. Nonetheless, this is to me, a fun one to play with and to view.

PORTOLA CALIFORNIA

THE PORTOLA FIRE STATION, October 2012

Because I was stuck in Portola a couple weeks ago, I had plenty of time to photograph. I did spend most of my time photographing in the railroad museum, but I did have time to explore the town. What surprised me was how few buildings in the old downtown that appealed to my aesthetic sense. This is one of the few, and quite frankly, I think it is a good one.

NOTHING TO DO WITH TOMORROW'S ARTS ALIVE

A HILL ON BEAR RIVER RIDGE, November 2012

I went photographing with a friend today. I photographed at numerous sites, including Fernbridge, an this is the image that is talking to me.

I will be at the small gallery upstairs at the RAA tomorrow for Arts Alive. 

NOVEMBER ALREADY

Spirit Tree Series Redux

I just went through a stack of matted prints that I have stored in my studio. I still have copies of most     images from the Spirit Tree Series. Most of these images were printed in 2010. Some of them were in  New Mexico for a year. Those were subjected to extreme changes is humidity when they were returned here. I noticed some wrinkling of the prints. I think it was a direct result of the change from a very dry environment to a damp one. I also think that the nature of the paper that I used back then plays a contributing role in the deformation.

Last year I expanded  the series, and printed new images on the paper I now use. The new images benefited from the paper choice and from my improved editing skill set. I admit to being a slow learner. I easily get stuck into ruts on various aspects of my art. Even in my darkroom days I mostly stuck with a couple of film types (TMax 100 and Kodachrome), and I mostly printed on Seagull for black and white and Cibachrome for color.

It took me awhile to comprehend that the paper I was using in 2010 did not fulfill my needs. I was comfortable with the paper, but I lost sight of the fact that it did not fully translate my vision. I did try a couple other papers, but they were really bad, so I stuck it out. But when I saw the wrinkling on the prints that came back from Santa Fe, I knew that I had to come up with something else to print on. I did considerable research, and settled on the paper I have now been using for the past year - Canson Platine.

This paper does not wrinkle because it is made of very high quality materials, and because it is considerably heaver. The thing that really gets me is that the image quality is superb. It blows away the images from the old paper. It makes me want to reprint everything that I printed before, but I just cannot afford to do so (it costs four times as much as the old paper). That said, I am going through some of what I consider my very best, and reworking them. I will chose some to reprint.

The above image is on the short list.

BLUE AND WHITE

G E 44 TON LOCOMOTIVE, 2012

This locomotive is like the one that I sometimes operate. I took this at the Western Pacific Railroad Museum in Portola earlier this month. I have variations that I cropped out of this that I will place below.

A TIGHTER LOOK

A SQUARE COMPOSITION - MY FAVORITE

AN ADDITION TO MY COLLECTION OF DOORS, WINDOWS AND STAIRS

Chicken Coop, 2012

This is an image that I made last Sunday. As you can tell, I am currently drawn to scenes like this. I am in the middle of this experiment  What I find is that I can usually find something where ever I am working that fits within this context. I will be shortly changing the works in my little gallery to a body of work that consists of images like this one.

I printed two images today: The rail car that I featured here on the 18th, and the Bald Hills sunset from September 24th. Both are very satisfying to me.

HALLOWEEN CATS AND FALL COLORS

GHOULS, RED DEVILS, AND HALLOWEEN CATS TAKE A RIDE ON A WAGON, 2012

Sometimes it is really fun and rewarding to remove the camera from the tripod, and do some hand-held work. Yesterday's photograph and today's were both taken by hand. I use a high ISO, and have the image stabilization turned on when doing so. I usually turn off live view, and I use the SLR viewfinder. I really feel free.

JUPITER IN THE TRASH BIN

JUPITER, URANUS,  AND NEPTUNE WHEN NOBODY IS LOOKING, 2012

My understanding of the Cosmos is always evolving. I realize the science of astronomy is fluid, and that new understandings are always being revealed. I just watched a NASA video animation of the evolution of our galaxy. Well, this is my simulation of some of our neighboring planets. 

BROKEN WINDOWS AND FLAT WALLS

A SMALL SHED AT PORTOLA, 2012

I am learning to not print a photograph without first giving it a day or two to "simmer" on the back burner. I like the idea of coming back to the image later to see if I can improve it any more. I oftentimes do make changes that I think will lead to a stronger image.

The above image is a case-in-point. I thought I it was complete, but I just now made the following changes in my cropping. Now, I am unsure as to which to print.

Suggestions are welcome.

A SMALL SHED AT PORTOLA II, 2012

SHADES OF BLUE AND GREEN WITH SOME RUST IN THE MIX

DABS OF RUST ON A GREEN RAIL CAR,  OCTOBER 2012

I printed two copies of this image this morning. The print from the first attempt is where I had my first problem ever with my printer. There were a couple of blue splatters in the sky and on the margin. I did a thorough printer cleaning, and the second print came out clean. The sky in the first variation of this image was more violet. I made some changes to go more toward blue.

MY FIRST INTERPRETATION OF THIS PHOTOGRAPH

Lisa likes the violet sky more than the blue. I have to sit with them for awhile for me to know.

I usually process and print much like I take the images. That is, I tend to work the image in a routine that I have established up to a certain point. I sometimes then make a copy or two. I then compare the "proofs" in the "print" module. I much prefer looking at a possible print from that view. I can see the image as it will sit on the paper. I cannot explain why I prefer previewing the images in this manner, but it really help me determine what I will print. Thank goodness that I have a calibrated monitor.