WORKING ON PHOTOGRAPHS

ARCATA MARSH SUNSET

It is true and thus easy for me to say that I really enjoy working photographs that I allowed to "ferment" for awhile. This image for example is one that I took a couple of months ago, and I worked it then, but was not ready to "like" it. I have about four varriations on this particular photograph, including a black and white copy.

ARCATA MARSH SUNSET IN BLACK AND WHITE

This image does not have as much post processing as the color photo above, but it should convey the basic idea of how it looks as a monochromatic photograph. I admit that I am not really much of a sunset photographer. There are those out there that have either the knack and/or the drive to make eye-catching images of our star as it puts on it finery, and my hat goes off to them.

Feeling Spring Fever

THE SLIM PRINCESS AT LAWS, CALIFORNIA, 2008

It is fun for me to go back through some of my earlier images and see what I can do with them. I am going to make a print of this train, and donate it for a fund raising silent auction event. As usual, I cannot decide between the black and white or the color image. By-the-way, it is called the Slim Princess because it is narrow gauge engine and train. Laws is near Bishop, California, and is not all that far from the ghost town of Bodie.

THE SLIM PRINCESS IN COLOR

STRIPES

Nature reclaiming an old road.

I just now reworked this image. I took it back in 2010 with the Sony R1. I utilized my increased skill set for working in Lightroom to enhance and reinterpret this image. The changes over what I did to it two years ago are subtle, yet significant. It may seem like a contradiction, but I find that when working on a fine-art piece that there is a point where subtle changes make all the difference.

The first version of this photograph.

In looking at the two photographs you may be able to discern a difference in the color and luminance of the pavement and of the green stripes. I think it is valid to prefer one over the other.

MORE ARCATA

THE EVOLUTION OF A CLASSIC ARCATA BUSINESS AND BUILDING

I attempted to photograph this building for several months before I finally caught it without motor vehicles parked in front. I took this photograph on June 30, 2010. I am pleased that most of  its old character still was still there at that time.

KNEELAND SHRINE

KNEELAND SHRINE

This photograph is hanging in the C Street Hall Gallery in Eureka. It is still a photograph that I like it even though it has been around now for several years. This old International truck was located on private property, and thus fairly well concealed from the public.

SELF ACTUALIZATION?

FREEING OF THE SELF, A SELF PORTRAIT

I took a class in ancient art history years ago. One of the requirements was that we students were to write a report on a piece of ancient art. I chose to write about a Greek amphora. I really got into studying the photographs of the work, and in my writing I interpreted by reactions to the work. I wrote about what I felt the artist was trying to express. I was slammed by the instructor. I was informed that I was to write about the facts of the art, focusing on technique, style, materials and function while ignoring my emotional responses to the work.

I get what the instructor was attempting to convey to me and the rest of the class, but I found very little joy in the subsequent works we studied that semester. Nowadays, when I view art, I react with my emotions first and foremost. Often, I do indulge in attempting to understand what techniques the artist used, and with photography I almost always consider the craft behind the print. I still assert that the viewer's emotional or spiritual response is the most important aspect of the process of viewing and understanding art.

I took the above photograph this morning. I made it because a self-portrait project is due for the camera club tomorrow. I sort of resisted the project until today. Now I am pleased that I took it on. The print I just made looks very nice. This photo was inspired by my former professor, Don Anton, and is dedicated to my friend Carol Jantz. Her soul now soars with the angels.

LESSONS OF THE ARTIST'S EGO

ARCATA MARSH SKY

I am really having fun with these images from the marsh. I get opportunities there that I don't get at home. We live in the forest, and we just do not get to see much of the dawn or dusk sky. I am often surprised when I go down the hill by the brightness and colors. Perhaps you see these skies all the time, but I do not, so I immerse myself into their vastness and colors.

I am still working on my issues of the ego. I understand that I am a good photographer, and that my work is appreciated by many. But I still become mired in self-doubt and I listen to the critic within whenever my work is not chosen for a juried show. I realize that I "win some and lose some", and that it all balances out, but I still want to be valued by others as a worthy artist.

The good news is that I am aware of this, and that I just keep on placing myself in situations where I get to practice my detachment from my ego. I have no idea how long it will take, but I am cautiously optimistic that  my learning from the lessons is becoming easier with each one.

PHOTO OF THE DAY

Loleta Buildings

I first photographed these structures back in the eighties with my four-by-five Korona. Not much has changed with the buildings, nor with my vision of them. I do wish I had a scanner so that I could post the photograph from way back then.

CONTINUING THE EUREKA PROJECT

A couple of classic Eureka establishments on a weekday afternoon

I took this photograph last month during the afternoon. I seldom photograph in town at that time of the day, but I was there and I had my gear and the opportunity. One of the reasons I seldom do my Eureka and Arcata project work during the day is because of the parked cars and foot traffic. Photographers like Vivian Maier did/do their best work when people are involved in the composition, but not so for me.

This photograph is one that I almost rejected when I was reviewing and downloading that day's photographs. I did follow my rule of letting the images "steep" for awhile. Now that I returned to it, I find that it works for me.

SO, OK, IT REALLY IS NOT A SECRET ANY MORE

Perhaps this is actually a vernal pond, and not a lagoon - I don't know.

I cropped this tighter and tighter this morning, and I think I have the composition that I finally want. I am not totally content with the colors, and I have not yet come to terms with a decision regarding the issue black and white or color.

I hope I don't bore the viewer with the many variation of this image. I am attempting to share my process, and what I have posted over the past few days reflect that process.

SECRET LAGOON

A Color Variation of My Little "in Plain View" Secret Lagoon

I am not yet ready to print this image in color, but this particular interpertation is getting close. I will assess this by comparing it with last year's very similar image. I think that it is going to be very challenging for me to surpass the senior image.

I do think that what this image has going for it is the values of the reflected alder trees. I love their contrasted brightness against the darker background. I think the reflections work better overall than the upper parts of the composition. I will do some work to see if I can make it clearer as to what is the actual subject of this photograph. I recall that in last year's image the subject or main focal point, became the green line that divides the image.

I intend to come back to this image again to share what progress I make with its interpretation.

SUBJECT TO INTERPRETATION

NEAR FRESHWATER LAGOON

This image is one possible interpretation of yesterday's photograph. I think that I will work on it next in color, but I just had to look at it in tinted black and white. If you look back to my entry of four days ago, you can see that this photograph is of the same subject. I took this one from a slightly different location, but they are very close.

The reason I went back to this particular scene is that I want to be sure that I have fully done the scene justice. In the past, I thought that I mostly get the composition right the first time. I still beleive that, but I think I must see if there is a barrier that I need to overcome. The only way that I can think of to do so is try, and try again.

Part of the process of "trying again" is in the post production work. I feel that my skills in developing digital negatives is at the level that my old darkroom skills were when I was working on a regular basis. I think that in some aspects of photography that my "darkroom" skills surpass those of the "wet" darkroom days.

It is my intent to share one more version of this photograph in the next few days. Meanwhile I am going back up there today before the rains come back for an extended stay tomorrow.