If interested, you may listen to our conversation here.

If I had to sum my own impressions of Michael’s work, it would be “visually intriguing”. Michael’s work is about meticulous composition, exploring and elevating subjects he personally cares about and studies. Unlike most, he does not seek to command attention from his audience by any means necessary but, rather, offers unique interpretations to consider. His visual vocabulary is as rich as any photographer I know, utilizing a variety of subtle effects and compositional tools to create long-lasting images, in the sense that the more you study them, the more you discover in them. I invite you to take the time to carefully study his work beyond a fleeting glance. To see more of Michael’s work, visit his web site.

~~~

Your work seems to defy common labels of style and methods. It is not quite “traditional” nor “modern”; it does not quite fit the definitions of either “straight” or “pictorial” photography, etc. If you had to define your own niche, what would it be?

Thank you for this keen observation, Guy. If there’s anything I aspire to with my work it is ‘to be unique’. That my photographs cannot be easily labeled is perfect. I’d much prefer to have a category or style named after my photographs than to have my work comfortably placed within a well-defined category. To be honest, I have not tried to define what it is that I do, and don’t know if I want to. I have a simple and abiding love for my subjects and the landscapes in which I work, and I love the art and craft of photography. And I love weaving the two together into engaging and unique photographs. I’d rather leave the labeling to others.

The American Dream

Like many, you started your photographic journey as a generalist working in 35mm color and pursuing any number of interesting natural subjects. In recent years your work seems to have gravitated towards B&W and deliberate compositions, creatively utilizing both sharp detail and blur to form a unique look. Describe this transition and how it aligns with other influences in your life over this same period.
Edward Weston said that “composition is the strongest way of seeing”. I try not to be so deliberate about composition and would like to think that my subjects guide and inform my camera position, but when my gut feeling is that ‘this’ is the right way to photograph this subject, that’s exactly how I do it. Compelling subjects, strong composition, and good light is a recipe for success and a method to engage viewers beyond a simple passing glance of my photographs. Black and white is where my best work occurs. It’s liberating and exciting to be able to distill a subject/scene into little more than line, form, tone, and light. What I love about the view camera is the upside down and laterally reversed image on the ground glass; if what I see reversed and upside down does not excite me, there’s little chance that a right side up interpretation will.

Another liberating moment occurred for me when I stopped caring about what photographers thought of my work. I began to explore view camera movements (deliberately altering the plane of focus and controlling adjacent sharp/soft elements); selective and soft focus; and shooting subjects in which many photographers would be hard pressed to find the “beauty” (as if “beauty” is the only thing that can or should be photographed). I sure wish there were more teachers of open-mindedness and non-conformism; instead we have a plethora of online photo forums; books; and e-books that virtually dictate the way landscape/nature photographs should be made and should look. I felt that after more than 80+ years of the f64 aesthetic in landscape photography, it was perfectly okay for me to break rules, ignore the status quo, and find my own way with *my* photography. I have achieved some of what I’ve wanted to; most importantly, the doors now feel wide open for me to take my photography in any direction I choose.

Joshua Trees, Indian Summer Sky

While many turn to digital tools and methods to achieve creative visual effects, you chose instead to explore the possibilities offered by optics and the flexibility of the view camera. Can you articulate the motivation behind your choice of tools?

Despite the fact that I spend an incredible amount of time in front of a computer scanning, working with, and printing my photographs, I prefer a somewhat ‘purist’ approach to my art and craft (no matter how confused this sounds!). I want it “right” in-camera so that my post-production efforts are minimized. The large format view camera offers extraordinary control over perspective, focus, and blur, and it allows me to visualize what the printed photograph will look like on my camera’s twenty square inches of ground glass; it’s like looking at LiveView, albeit with a twenty square inch viewfinder! Perspective distortion and sharp focus/blur is visible real-time, and this allows me to “shape” the final image while viewing it on the glass. Despite Photoshop’s computing power, there is simply no accurate digital simulation of vintage lenses, and no easy mimicry of shallow focus combined with camera movements. This just cannot be done in Photoshop (or with a LensBaby) in an authentic and convincing way. Even if it could, I’d still prefer to do it in-camera, not with Photoshop filters and near- impossible masking. Perhaps the biggest motivation for me is my background: I learned with film and the view camera. Using the most efficient tools to achieve my intentions seems to me the “right way” to work. The look of my photographs must be driven by my imagination and creativity, not by how skillfully I can use Photoshop or other post-production tools.

Water Apparitions

Your work is often grouped into personal projects rather than singular images. Can you talk about some of these projects, where they originated and how you arrived at the interpretive approach for each?

I realized early on the pitfalls of amassing a collection of what LensWork editor/publisher Brooks Jensen calls “greatest hits”. That is, a lot of expertly executed but singular photographs that individually look great but don’t hang together well as a collection. The ‘greatest hits’ approach to landscape photography can be an expensive trap. One can only shoot so many glorious sunrises and sunsets of mature iconic locations before burnout sets in or the work begins to look like most other competently crafted but pedestrian landscape photography. After analyzing my entire collection of works, several distinct themes emerged. I grouped these works into cohesive projects which have no likely terminus, so I can and will always shoot for and add to these portfolios. I may venture into the desert without clear photographic goals, yet in having three different desert-related series (and a fourth in the works), I could end up coming home with a Joshua Tree portrait; a Desert Palm Oasis photograph; or even a dilapidated dwelling – and any of them will fit my existing collections. Instead of aimlessly wandering for one’s photographs, projects/series can provide focus and inspiration. I’m currently working on a new series, and each time I return home, develop film, and see the results, I get excited about heading out and shooting more!

Dino

At what point did you begin treating your images as expressive art rather than purely a medium for capturing natural beauty? Was it the proverbial “lightbulb” moment or a more involved process? How did this decision/realization change your approach?

It was indeed the proverbial lightbulb moment, and it was some years back (while still working almost exclusively with color) when I became concerned that I was merely replicating the pantheon of nature and landscape photographs from the big names of our genre. While it’s clearly a ‘good enough’ approach for many, I had to do something completely different with my photography. I had only two goals: to eke an existence with my photographs (with no specified monetary goals) but more importantly to be recognized and respected for my work. A complete analysis of what I was doing – and the impending Digital Photography boom – made me realize that both would be difficult to obtain unless I was doing something distinct, unique, and honest.

I pay little attention today to what others are doing in my photographic genre. While there’s a ton of great work out there to look at and be moved by, I need to stay focused on what I am doing and follow my own inner compass. This means that I often produce work that is not very well received by my peers or other photographers, even though it is well received by collectors and non-photographers. I don’t need my work to be popular, well-liked, or conforming; it just needs to be the best I can do and it must come from my heart.

Calligraphy

If you could go back in time and provide just one piece of advice to a younger and less experienced you, what will it be?

Begin earlier! The guitar and music were my artistic tools during my earlier days. I invested in music and my band the same passion and energy that I invest in my photographs today. Which meant that there was little time for photography or anything else. While photographs and images have always been a big part of my life, I really didn’t begin using a camera until my early-20’s. I wish I had begun earlier, but I have no regrets about my path.

Daggers and Spears

Be sure to visit Roberta’s web site for more of her wonderful pictorial work.

~~~

How would you describe your art in your own terms?

I am a pictorialist, which means I am creating pictures. I’m using the camera to construct pictures as opposed to documenting what already exists. While the base for most of my images exists, I am manipulating the image to fit my parameters. That doesn’t mean I’m creating false landscapes adding in bits and pieces from other images though. There always has to be an underlying element of truth in my images.

I am making pictures. I’m not taking pictures.

If I had to sum up my art in one word I would say, Personal. It’s not about what’s happening “out there” in the world, to other people. It’s about what’s happening inside me. It’s about my interests, my thoughts, my dreams, my observations…….my passions.

I would like to frame my thoughts on Light & Land in context of other eBooks I have seen over the past year so please bear with me if I stray from the general “like/don’t like” review template. While it is hard to imagine large format coffee table books disappearing any time soon, I am convinced that eBooks will quickly overtake their printed brethren when it comes to instructional texts. Everything about the electronic format, from accessibility and portability to costs and profit model favors the eBook format for this purpose. The surge in offerings from many photographers suggests I’m not alone in that belief.

Still, as the market is still maturing it may be difficult to separate the wheat from the chaff. On one hand, I see many titles that were cobbled together for a quick buck with a selection of pretty pictures and a list of inane “tips” which in reality are neither helpful nor very educational. On the other hand, though, some writers go the extra mile to offer deeper and more meaningful insight. Michael’s eBook certainly falls within the latter category and I hope that more reviewers will make this same distinction when looking at this and other titles.

Light & Land continues the tradition of Michael’s previous instructional texts (his guide to Yosemite is another personal favorite). Whether you are a beginner or advanced photographer you will find both insight and useful techniques within its 36 pages, illustrated with Michael’s images, which are beautifully composed and presented. Where others rely on glitz and quick fixes, Michael seeks to enlighten and explain beyond the simple “here’s how you do X”. His approach to processing, based on original inspiration and custom-tailored to the image at hand is very much in line with my own. In Michael’s words: “I think the guiding force should be your original vision. What inspired you to press the shutter? What were you trying to convey? Every decision you make should be guided by that primary idea, and by the feeling you’re trying to convey. Communicating the drama of a stormy sky requires a different approach, and different settings, than portraying the delicate beauty of a flower”.

Beyond Michael’s personal insights, the technical lessons are very well explained and illustrated. They are also demonstrative rather than prescriptive, i.e. they leave room for you to customize and adapt them to your own taste. If you process your images in Adobe Lightroom, you will find lessons that can be readily incorporated into your own workflow and adjusted to fit your own style.

So, let me first congratulate Michael on putting together such a useful and cohesive guide. It is worth mentioning that you’ll be hard pressed to find a better Lightroom tutorial at such a bargain price. I highly recommend it. If you’d like to purchase your own copy, click on the book’s cover below.

Light and Land

Read Dave’s review of my Creative Landscape Photography eBook, as well as his thoughtful interview with me.

And, of course, take some time to admire Dave’s own beautiful work.

The passion doesn’t often stop at experiencing the wild and natural beauty. For many, it is also about forming deep friendships with fellow photographers and artists.

I learned of one such case this morning that touched me deeply. Louisiana photographer David Chauvin is paying tribute to his friend and mentor Ronnie Gaubert who suffers from ALS. Both are amazing photographers whose work introduced me to the immense beauty of their unique home. Together they are working to fund the printing and framing of a collection of Ronnie’s images to be donated to the MDA/ALS Center in Houston, TX.

David placed a selection of Ronnie’s images on his site, selling at bargain prices to help fund the project. Do yourself a favor and visit David’s site at the link below. If nothing else, you will be inspired and hopefully moved to help support a worthy cause.

David Chauvin’s web site

Ronnie Gaubert’s images on David’s site

Through a Window

Choosing a winner was a daunting task. Several entries in particular moved me deeply and I will contact their authors in the next few days for permission to share them on this blog.

Allow me just a bit of shameless self promotion as I mention my upcoming Creative Writing for the Nature Photographer online class, in collaboration with the Nature Photographers Network.

Without further ado, it is my great pleasure to announce the winners:

• Samuel Losee for his winning essay: My Experience / Discovering Beauty and Passion
• Joe Campbell for his runner-up essay: Body and Soul

Please join me in congratulating them and in reading their excellent entries below.

~~~

My Experience

Discovering Beauty and Passion

By Samuel Losee

Wonders can be made of how one moves upon the earth in search of beauty. Some find it in the simplest of moments; may it be the song birds singing for joy in a new day, laughter shared in the company of friends, or nights spent looking up at the stars. For others it could be a stroke of the pen, a note of music, or in my case the click of a shutter. Photography is my love, it’s a place where beauty finds me; on the beach, next to rivers and streams, on old country roads, under stormy skies and sunsets, and on the tops of mountains.

Dreams couldn’t stop me from waking at 2am from the excitement of going on one of my first hikes of the summer. After just 3 hours of sleep I drove 2 hours to the trailhead of Rattlesnake Ridge. I was the first person to arrive (truly a first as I am not normally.). I quickly gathered my pack and turned on the head lamp to shine a pathway in the night.  A zigzag of switchbacks took me up through the dark woods. I was alone and a bit scared as quick shadows played games with my eyes. My imagination took over and heightened my anxiety with every encounter. To ease my troubled mind I listened to my iPod on the way up. Even though it was a few miles, I arrived at my destination earlier than expected (imagine that!). I had skipped breakfast, so I decided to get a sandwich in me to replenish and energize my system.

As I sat at the top of this ridge all I could see was the cloud cover blanketing the land, holding back the morning sunrise that I was so eager to witness. Thank the Lord for patience; I was on this ridge for 2 and ½ hours! Never before had I been in a situation where the clouds all around me would roll in and out with little glimpses of what lay hidden from my sight. Acknowledging this new wonder brought new ideas to my mind, and filled me with excitement! Scouting across the ridge I came upon some gorgeous pink flowers popping with color! Combine that with the little visibility of the forest and I knew I had an opportunity to capture something breathtakingly beautiful. Who knew that the longer I was up there the better it would get! At one moment I was just relaxing, taking it easy, then the clouds parted for maybe a minute and I was blessed with the view of a waterfall off into the distance! My heart was thumping; it felt as if it were going to jump right on out of my body. I was waiting for a break in the clouds, but never did I imagine that I would see a waterfall! Thankfully, I was prepared with the camera already on, pointed in the right direction and on a tripod. I quickly jumped to my feet and pressed the shutter to hear a click, and then the scene disappeared.

Sometimes, it’s a little crazy when you think of the things you do out of joy and passion. You hear about adventures and things that happen and you wonder, “What they were thinking getting up at that time of the morning, hiking in the dark, and alone!?” My answer is simple, we are living! We get excited and caught up in the idea that we will come back home with a small piece of earth’s beauty. When it’s just you and nature, the world that consumes your normally busy life passes on by without concern, time slows, and a spiritual connection fills your mind and soul, giving you a moment of peace.

~~~

Body and Soul

By Joe Campbell

I’ve been pedaling hard these last five miles along an old farming road, loosely packed with sand and dirt. Racing against the setting sun, my legs are getting really tired. The hot, humid August air is thick, really thick, and the sweat is pouring down my face. I want to stop for a drink, but I can see my final destination a quarter mile ahead. Earlier in the week I discovered a very photogenic tree that I wanted to capture with my camera; I knew I needed to return when the light was right. Now I am back with the “sweet light” in my eyes. I step off my bike, pull the gear off my back and take a deep breath; I have arrived.

Before me lay the magnificent Chesapeake Bay, the largest estuary in the United States; a timeless stretch of beauty intimately known as “The Bay”. Over 400 years ago Captain John Smith sailed right past these shores exploring this “new” land in search of riches. This evening I am in search of a different treasure. The lone tree that I came to explore is quietly nestled between the Bay and a small pond. If I can frame it just right I’ll get the tree’s reflection in the still waters of the shallow pond. For nature photography, this is where the land and the skies collide. For those of us that live on the East Coast of the United States, the opportunity to witness the sunset over a large body of water is always a treat; the Bay seldom disappoints.

I have finally caught my breath from the bike trek, and as I wait for the perfect light, I begin to relax. The gentle rolling waters of the Bay are hypnotic.  My camera is framed and ready to go; let the light show begin. I snap a few shots waiting patiently for the sun to light up the clouds. As time passes, I slowly realize that the low-lying clouds that help create those iconic Chesapeake Bay sunsets have been blown off to sea by a storm that passed through earlier in the day. I was in such a hurry to go out and shoot this evening I didn’t even pay attention to the weather. It seems my hopes of capturing the countless colors of the typical Bay sunset may be gone.

The sun slowly shrinks back below the horizon and the mosquitos (Virginia’s state bird) are in full force. I begin to pace around contemplating my next move. Should I stick it out to see what happens or head back to the campground?  I look out at the Bay, look back at my camera, all the while slapping my arms, neck and legs to keep the bugs from biting me. My photographic journey has taken me here before: I have hiked up mountains, walked along rocky shores, been trapped in torrential rains, so I could catch that once in a lifetime shot. It’s times like this I am gently reminded what matters most is the experience of being surrounded by nature; it’s not all about the images. Mark Twain wrote that golf is a good walk spoiled. Certainly my golf game has spoiled some walks, but in this slow-paced world of nature photography it’s a bit different. Every hike I’ve ever taken, even the ones where I didn’t fire a single shot with my camera, have always been very rewarding; both physically and spiritually.

Staring out at the waters of the Chesapeake, I begin to sense the magic in the air. Over the course of my soliloquy the colors of the sky have slowly changed; the hues have moved from red to purple. The few clouds that are hanging over the horizon begin to light up. The sky has come alive! For the next thirty minutes I fire off shot after shot working quickly to capture every subtle change in the Western sky. My patience has paid off.

It’s now time to head back to the campground. I load up my backpack and hop on my bike. I have my tripod in one hand, the handlebar in the other. With my headlamp lighting up the way, I retrace my tire tracks that I made two hours earlier. I will never forget this quiet August evening I spent along the Chesapeake. I walk away with more than just images on a memory card; I leave with a greater appreciation for this fragile ecosystem. I look over my right shoulder to get one more glance of these tranquil waters. The sun has gently set, but with it comes the promise of a new day.

Hall of Spirits

Ansel Adams is one of my greatest inspirations. And, though it may amount to sacrilege, I must confess: it is not because of his photographs. Having come to creative photography in my own way and with little reference to other photographers’ work along the path, I was exposed to the color work of modern photographers before ever seeing Adams’ images. By the time I have, they struck me as romantic and interesting, but I was still more enamored with the likes of Galen Rowell and the exotic locales featured in National Geographic Magazine.

It wasn’t until I moved to the American West and developed a consuming love affair with the land, and came to see my own photography as creative and artistic, that I discovered the “real” Adams: the relentless activist, prolific writer, passionate technical expert, thinker, environmentalist, and visionary. In an era where more people are realizing the subjectivity of the finished image, Adams emerges as one of the most moral photographers, and humans, to ever live; his intentions and methods clearly stated and eloquently documented. His images entwined with his life’s mission, inseparate from the mind that conceived them. In a word: art! These realizations came to me not through his images, but through his writings. It is with this understanding that I revisited his photographic work and, now knowing more about the man and the landscape behind them, realized their true genius.

These days, it seems, Ansel Adams’ name is invoked all too frequently and without regard to his legacy. Any one of you had likely encountered some article in recent publication proclaiming to teach you how to “shoot like Ansel Adams,” “use a tilt/shift lens like Ansel Adams,” or even “tweak like Ansel Adams”. Forgive my bluntness, but not only do these completely miss the point of Adams’ work and teachings, they are downright disrespectful to the man whose shoulders we all stand on and to the values he spent his life promoting and defending.

In order to photograph “like Ansel Adams,” one would need to BE Ansel Adams. Over-simplified glossy articles may offer a small glimpse into his techniques, or proclaim to guess what his techniques might have been had he lived to use today’s technology, yet these are but a single dimension to his work, and not even the most important one. In fact, one could possess every last bit of technical knowledge Adams ever had, and still not come close to producing work of similar importance. That’s the way it should be!

Technique is technique. Your work, if it is indeed to be considered YOUR work, should be your own and not “like Ansel Adams” or anyone else’s.

So, enough of this nonsense. There is certainly value in teaching technique for what it is but spare me the lesson on how to read a histogram like Ansel Adams. A good teacher should show you how to photograph like YOU!

Paul Grecian wrote: If a Painting Falls in the Woods…

and Carl Donohue followed with: The art of nature

Great reading and brain-starters for the day. Thanks to both!

Guy