Saturday, October 24, 2015

First Step: My Very First Art-Walk

Phew!  What a great couple of days at the Boca Park Art Walk!  The weather couldn't have been more perfect on this warm October Weekend in Las Vegas.

It has taken me a few years to show at an art walk, as most of my prints have lived in galleries.  But the desire has certainly persisted.  Thanks to the support, patience, and encouragement from my loving partner, I was able to overcome the hurdle of procrastination, and present some gorgeous fine art photographs to my Las Vegas community.

I was so honored and flattered by the comments and feedback I received from visitors to my display, and I met some very nice people who I hope to meet again.  


My portable fine art photography display, featuring some Limited Edition Signature Prints. 
Not knowing quite what types of customers I would meet, I decided to sweeten the deal a little with a raffle to win a print.  Which print?  The winner can choose from five 12"x6" limited edition prints.  The raffle turned out to be a great idea, and fortunately, the winner didn't need to be present.  Here's a video of lovely Olivia drawing the winning raffle ticket:


video

AND THE WINNER IS: Judy!  Congratulations Judy (ticket number 8448780)!  You've won your choice of a Daydream Vignette Limited Edition print.  Thank you so much to everyone who participated in the raffle.  As a thank you for participating, I would like to offer you a special discount on your next purchase of one of my prints from www.navandale.com.  Make sure to contact me for your special discount code!


The raffle winner has their choice of one of the 12"x6" Daydream Vignettes Collection.  Congratulations Judy!
A lot of people asked me how I make my images, and how nice they look on metal!  I smile at that, because these images are actually printed on premium photo paper, so they are not only archival, but have superior depth of color over metal prints.  In preparation for the art walk, I created a poster that describes my image creation process, which you can see as a jpeg below.  If you're REALLY interested in the method of image creation I employ, I invite you to read my early blog posts on HDR creation, starting here.



One aspect of the show that I am very grateful to have experienced, was seeing the work and displays of the other photographers.  I am pretty happy with my current display, as I only bring limited edition prints, so I don't have much overhead, where I feel the typical M.O. among photographers is to make a whole lot of prints in different sizes and bank on familiar images (images that you've seen in magazines and advertisements).  I certainly have a number of images of those familiar locations (Maroon Bells, Mesa Arch, Horseshoe Bend, etc), but I often feel more satisfied with images that I create that can't be confused with someone else's work... images that tell a new story.  We'll see how it works out.  Beauty is beauty, and people like what they like.  I am just very glad that I didn't bring any of my "familiar" southwest images (specifically from Zion), because the images I would have chosen were essentially mirrored in the photography display across from mine.  

That being said, I wouldn't mind having more walls, and more various prints on hand... 
Sigh.
One step at a time, I suppose.  

In the meantime, please enjoy the current limited edition prints that are available.  Not all of these are able to be shown at the art walk, but they are all available for delivery.  If you mention the art walk for your order, I will extend the "Free shipping" promotion I am extending to the visitors of my display.  Ordering limited edition, signed prints is currently limited to direct communication with me via email (nathan@navandale.com).  Of course, you can always purchase unlimited editions of my work, with the convenience of size and material selection, at www.navandale.com.


Wednesday, September 30, 2015

Musica Animam Tangens - Catching Storms and Stars - Time Lapse Photography presented in 4k

Music touching:
Exhaling its breathless oceans of life currents
that free hearts giving love to all that open
the sounds that fill the mountain of my existence
and overflow my soul to touch
God. 

Musica animam tangens
Maria vitae effundens
Flumina cor liberantia omnes amore amantia
Musica sonans resonans
Implens meam essentiam
Meam inundat animam
Velut flunctibus montem submersum ut tangam 
Deum.

This video was three-years in the making.  I had the initial concept for it when I sang "Musica Animam Tangens" with the UNLV Chamber Chorale; the song painted images in my mind of the continual creation of the universe.  I was inspired by the imagery of Ron Fricke (Baraka and Samsara), and even the time-lapse imagery by District 7 Media (House of Cards intro). I wanted to bring the same level of image quality to my time-lapse photography as I do with my fine art photography (www.navandale.com), and so I present this video in 4k resolution.  Best viewed on a large screen with a good internet connection, and good speakers.



As for the technical aspects, most of the images in this video were captured with my Canon 60D, utilizing my tripod and shutter-release intervalometer.  As always, I shoot in RAW, and then convert the images to high resolution jpegs using Photoshop.  ...Well, some of the older sequenced images were captured as large jpegs, but that's because most time-lapse tutorials encourage capturing in jpeg to save space on the card.  The images in this video span over 3-years, over which time I've refined my technique to allow for full RAW capture of thousands of images.

My next project is to choreograph live music with time lapse and cymatic imagery.

Friday, May 10, 2013

Through the Lens of Mortality


As my two years as a Master's student comes to an end, I am excited to present my Master's Vocal Recital Thursday, May 16, 2013, with my collaborative pianist, Michelle Lee.  During the recital I will be presenting a video featuring my photography (both time-lapse, and fine-art landscapes). I will have a reception with light refreshments afterwards.  The cost is free, but I am happy to accept donations in cash, check, or credit card.


Please help me save money and paper-waste by either printing these Program Notes and Translations ahead of time, or viewing them on your mobile device at the recital:

Saturday, March 9, 2013

New York State of Mind

I was recently flown to New York to sing in the premiere performance of Virko Baley's modern opera, "Holodomor: Red Earth. Hunger." starring John Duykers, Laura Bohn, and my voice teacher, Tod Fitzpatrick.  The performance at the Gerald Lynch Theater at the John Jay School of Criminal Justice was very well-received with a very nearly packed house.  It was such an honor to be able to share the stage with such amazingly talented musicians.  Most of my time in the city was spent rehearsing, but I was able to steal a few hours here and there to have fun with photos.  

I wanted to photograph the oh-so-cliche view of the New York skyline from the Brooklyn Bridge, but I was unsure if I wanted to include the Manhattan Bridge or not.  I took a taxi from Times Square to the Manhattan Bridge (Bk side), figuring I could have it frame the City and the Brooklyn Bridge.  


No dice.

The sun was setting so far south, and I really wanted it in my composition, so I walked the short distance to the little park by the Brooklyn Bridge, and was rewarded with this lovely composition.  




The New York City Skyline at the Brooklyn Bridge during Sunset on a Cold February Evening. This is a Panoramic stitch of 5-HDR frames.  Each HDR frame was created from 3-RAW images using Photomatix Pro and Photoshop CS4.

After the sun descended below the horizon, I felt I should start heading back to the other side of the river.  I figured the Brooklyn Bridge had a foot-path, but wasn't sure.  After walking a short distance, my supposition was confirmed.  From atop the Brooklyn Bridge, I could see everything!  Manhattan, Brooklyn, the East River, The Stature of Liberty, the Manhattan Bridge... and I loved how the arches of the bridge complimented the city skyline.  This sunset was turning out to be exceptionally beautiful, with the gradient stretching across the city, headlights passing by underneath, city lights turning on, and the American Flag proudly raised straight ahead.  So, I set up my tripod (narrowly, so as to avoid passers-by), and captured this HDR panorama.  There were, as I said, passers-by, so I had to do some selective masking when it came to processing the bridge... But I decided to leave the tourist taking a picture of the American Flag (in between the Light pole and archway... easier to see when viewed large).  There are so many blue tones when photographing this city, the warmth of the sunset and streaking car lights added just enough red and white to give this image a distinctly American feel.  


This HDR Panorama of New York City from the Brooklyn Bridge consists of 7-horizontal HDR frames.  Each HDR frame was created from 3-RAW images using Photomatix Pro and Photoshop.










I had a limited amount of time to explore the city, due to an arduous rehearsal schedule.  The next time I was able to get out was the night before my performance.  My dear friends at the Metropolitan Opera were able to get me comp tickets to see Rigoletto that night, so I had to be at the Met by 7:00.  My rehearsal got out at 4:30... enough time?  The sun set was scheduled for 5:15, surely I had enough time to make it back to my hotel, grab my gear, and get to the top of the Rockefeller building.  There was, as expected, a bit of a line to get to the top.  I thought it was funny that normally when I chase sunsets it's through the wilderness, trying to get to an advantageous spot for compositions.  This time I was chasing the sunset, but rather than contending with wilderness, I was contending with civilization (my least favorite activity is waiting in lines).  I must say, 30 Rock is a pretty impressive place!  Lot's, and lot's of money went into this building!  

The elevator ride up to the top was pretty cool... the ceiling of the lift was clear, and once the doors closed, the lights turned out and we could see up the shaft.  The shaft was lined with blue lights, and a neat video was projected on the clear ceiling, so the ride up looked like being launched on a raptor from a Battlestar.  

I made it!  It was 5:10, with the sun about a hand's width above the horizon.  

Up top it was COLD!  and Windy!  Fortunately, I was prepared for both.  Unfortunately, I wasn't prepared for the dust and smog in the atmosphere.  My eyes could do little more than squint without watering uncontrollably.  I patiently waited for the other tourists to move away from the wall so I could set up my tripod, then I claimed my spot (in my opinion, the one decent spot for sunset photography on the whole roof due to obstructions everywhere else).  In between blinks and eye-rubs, I was able to capture a few bird's eye shots.  


You can see the dust and debris in the atmosphere.  Notice the purple and green hues in the sky?
That's what we breath :-/
Most Intense Game of Tetris, Ever!
The New York City Skyline with the view of the Empire State Building, Statue of Liberty, Both Rivers, and a ton of buildings!  This is a panoramic stitch of 4-horizontal HDR images, each HDR images was created from 3-RAW images using Photomatix Pro and Photoshop CS4. 
Not only was I able to enjoy a beautiful sunset from the top of the Rock, and watch the city come alive with lights, but I made it to the Met in time for the performance.  And what a wonderful production it was!  I am so grateful to have such wonderful friends and opportunities!  

The next day was our performance of "Holodomor: Red Earth. Hunger."  It was fantastic!  The auditorium was packed, all of the musicians sounded wonderful!  It was really the best we'd sung since receiving the music three weeks earlier.  Afterwards we all celebrated.  A long-time friend of mine was able to attend the performance, so he joined us for the night too.  I chose not to drink too much, since I knew I had an early day the next day... but before I knew it it was nearly 3:30am, and I had so much energy.  So, I decided to take advantage of the opportunity, and I went on a little photo-walk.  There's nothing like walking through the streets of New York at 4:00am, because no one is out.  Where there would normally be crowds potentially tripping over my tripod, there was empty sidewalk.  So I was able to have some fun with compositions.


"Batman's Gotham"  This is an up-view of some Madison Ave buildings and corporate art. 


Find Your One Time.
This is a fisheye vertorama of Times Square from 43rd St at about 3:30am.


I managed to leave New York just before the huge snowstorm hit.  I've been back in Vegas now for over a month, incredibly busy with my Masters of Music studies.  Currently I'm performing as Dr. Dulcamara in Donizetti's Elixir of Love (March 15, 16, & 17 at UNLV).  I'm also slotted to perform at this year's Classical Singer Conference in Boston, in May, and will be performing with Sin City Opera at Vegas' Onyx Theater, too.  Soon I will have completed my studies, and will once again be able to visit more exquisite landscapes.  Until then, enjoy these Cityscapes, and be well! :-)  

Friday, August 24, 2012

"...That's when I knew I was being struck by lightning!"

The Confluence of the Colorado River and Green River in Canyonlands National Park, Utah.  
It's funny how sometimes when you end up in exactly the right/wrong place at the right/wrong time, you can look back and recount very accurately the series of events and decisions that brought you there.  My life is FULL of happy accidents, and divine "interventions".  I posted a little over a year ago about a time when I found myself living in South Lake Tahoe, and happened upon someone buried in a tree-well under feet of heavily falling snow.  You can read about that here.  I don't believe in coincidences... or rather, I believe that everything is connected, and nothing happens without causal reason.  I also feel a deep connection to the divine energy present throughout creation, and gratefully share its majesty.

The Journey

I was heading back to Las Vegas from Colorado, where I left my car while I was in Hawaii to avoid baking in the desert, and was planning on stopping in Canyonlands for a day or so, as is my modus operandi.  My intention was to capture a time-lapse series of the night sky over the canyons, and continue to Vegas.  I was quite successful in capturing the night sky at False Kiva (That will be a supplemental post).  The next day, however, my reason for returning to Vegas, a client who booked a portrait shoot, called and cancelled.  So I was faced with the decision to keep going to Vegas, or head down south to the Needles section of Canyonlands and explore new territory.  I looked at my map and saw that I could hike to the confluence of the Colorado and Green Rivers, or hike inside the Needles.  Both places looked pretty cool as per my google image search, but the Confluence was the only place I knew I could have an interesting foreground facing west, so I planned my route and went.  Vegas could wait an extra day.

According to what I read, the hike to the Confluence overlook was 10-miles round trip.  It was a clear, hot day.  My car thermometer read 107.  But I had plenty of water, food, and first aid... I had a feeling it would be a great day of rugged beauty.

I couldn't help but think of Aaron Ralston as I entered the southern canyonlands.  I met him at an event I sang for, where he was the speaker.  His story of being pinned by a rock for days and having to cut off his lower arm to escape has always motivated me to be a little more careful about letting someone know where I'm planning on hiking.

I stopped by the ranger station and informed the ranger on duty of my plans.  He made sure that I knew there wasn't much cover on the hike to the confluence, which I did.  It was early in the afternoon, and I figured it would take me about an hour to an hour-and-a-half to hike the 5-miles.  That would leave me plenty of time to explore the rim and set up the best angles.

Horseshoe Bend
Horse Shoe Bend, Page, AZ
After parking at the trail head I double-checked my supplies and headed towards the confluence.  The trail was actually pretty easy to follow.  Cairns were distanced pretty close throughout the journey, so I knew I could find my way back at night, since I wasn't planning on back-country camping (although I was prepared to).  Aside from a few little lizards and crows every now and then, the landscape was devoid of wildlife.  After about three miles I noticed thick clouds about 15 miles to the southeast.  Nothing overhead but sweltering sun.  I really hoped I would get an interesting composition for sunset... maybe if those clouds would head my way.  Every time I've ever visited Horse Shoe Bend in Page, AZ, a similar landscape, I end up with a pretty boring sky, or typical head-on composition.

Getting There

I arrived at the Confluence Overlook at about 5:00... about an hour and a half from my time of departure, but I still had about 3-hours before sunset.  After checking the time on my phone I turned my phone back off to save battery.  The overlook didn't offer much in the way of interesting compositions.  So, I hiked around the area looking for better compositions, careful not to hike on the cryptobiotic crust.  During my scouting I came across a couple of sound-capturing devices mounted on tripods.  I could only imagine what types of sounds they recorded.  I thought of this article that a friend shared with me about the sounds of different habitats over time.  Very cool stuff.

I found the perfect spot.  A flat area of rock a little south of the overlook had a great view of the confluence and the bend in the joined rivers.  In order to fit this tight scene from that angle, I would have to use my 15mm Canon fisheye and photograph a panorama.  I set up my camera and tripod and took some test shots.  A couple of clouds had formed in the sky creating shade from the hot sun.  It was a relief.

Satisfied with my composition, I covered my camera, stashed my gear under a rock overhang, and laid down for a little nap (camel backs make great pillows!).  I still had about three hours until sunset, and I was kind of beat.  I must have slept for a couple of hours, very comfortably I might add, when I was woken up with rain dropping on my face.  Nothing heavy, just big fat drops here and there, but the sky was filled with thick clouds, and I could see sheets of lightning and hear rumbling thunder.  I enjoyed the refreshing coolness of the rain for a moment before taking shelter under the rock overhang along with my gear.

The Storm

The rain picked up and became a deluge.  I was completely dry under the five-foot overhang of sandstone that created a natural shelter.  Fortunately for me, the wind was coming from behind the my alcove.  The rain turned into hail, and lightning was striking very near behind me.  I decided to put everything metal from my pockets in my camera bag, just in case.  It was quite the show... although I was a little worried that the wind might knock over my tripod.  I watched my camera, fifty yards away over boulders, exposed on the ledge of a cliff, covered in protective rain gear, sitting steady on its tripod, and internally kicked myself for not grabbing it and bringing it to the shelter with me.

As fast as it started, the hail let up to light rain.  The clouds continued on, and blue sky showed above me.  I watched the storm blow across the canyon, like a heavy metal concert in the sky.  I had no idea what time it was, or how long I had slept.  So, reflexively I pulled out my phone, which had been off most of the hike, and turned it on to check the time.

That's when I knew I was being struck by lighting.
This photo from a few years ago was
taken by Fred Morlege (photofm).
I reprocessed it to make it look
a little more "electric"

The air suddenly felt very warm and still.  My arm hairs stood on end, and I could smell the electricity.

Suddenly, a tremendous noise, as though from inside me, boomed as a power chord played on an over-amped bass guitar through an arena-sized subwoofer.  I was lifted off the ground... just a little jump, I'm not sure if from being startled, or from the concussion of air the sound made, but inside my torso felt like I was experiencing a few G's... like riding a roller coaster.

From my phone danced a white spark like a foot-long flame that traveled down my arm and through my body.  Everything flashed white!

It smelled kind of like metal tastes.

Immediately I turned off my phone and crouched underneath my overhang, quick to put my phone back in my camera bag.  I smiled out at the storm and replied, "Got the message... no phones."

The storm continued on.  I watched as it settled over the land on the other side of the canyon, and the sun started to dip below its far edge on the horizon.  I started to get excited.  This was going to be an AMAZING sunset!

I've photographed lightning before, but
was unable to get any this time.  This is
a scene from Graz, Austria.
As the sun continued to dip below the storm, the rain, hail, and clouds started to glow with shades of orange, red, and magenta, and the tops of the clouds were a rich blue.

I have often mentioned my enjoyment of the music of nature.  This sunset was one of the best songs ever!   Everything was in harmony: powerful, gentle, water, rock, sky, red, blue... this was a gift!

Gratefully, and cautiously, I stepped out of my alcove and headed down the rocks to my camera.  It was INCREDIBLY windy!  Behind me another set of storm clouds were a few miles away, but moving in.

Bathed in Light

Then the sun broke through and illuminated just the ledge I was standing on, and the wind died down.  Everything was fresh, warm, and vibrant.  I was bathed in light.  I felt so much gratitude to be taking part in this beautiful portion of creation.  The sun continued to move down and illuminate more of the ridge, including the overlook, which glowed red.

A view of Confluence Overlook, the confluence, Island in the Sky, and the sound-recorder.

I was smiling so big by this time!  "This is perfect," I thought, "Thank you!"  Then, realizing the light wasn't only shining on the rocks, out loud I whispered, "Where's the rainbow?"


 I ran on top of my shelter (about 20 feet of solid rock higher), and saw to the southeasteast the gift I was looking for.  A double, very red rainbow.  I laughed with joy, even as the wind returned in force.  I was much more exposed up on top than I was twenty feet lower.  So I hurriedly composed and captured a 7-frame panorama of the scene, and headed back down, where it was less windy, to capture more of the sunset.

The sun slowly slipped away, and the dusk crept softly in.  The wind calmed, and the sky opened up to the northeast (the direction I would have to hike back).  I collected my things and headed towards the trail.  I walked as long as I could without turning on my headlamp, but eventually turned it on to make sure I was on the trail.  The hike back didn't seem to take nearly as long as the hike out.  The entire time, the storm stayed behind me and to my right, occasionally flashing and rumbling.  Ahead was clear.  The entire time, I was filled with gratitude for the gift of life, and the knowledge to never to fear.


Both my phone and myself are in top working order.  Thanks for reading!

Be well!

If you like my work, please consider purchasing a print, puzzle, mousepad, or coffee mug.  There are tons of beautiful print options at my printshop.  Until the end of August, use the code BlueMoon to receive a 50% discount off all purchases of $25 or more.

Saturday, August 11, 2012

Travel, Magic, and the "S" Curve, Part 3.


"Snake Road" Waipi'o Road on the Big Island of Hawai'i.  
This is Waipi'o road, the mile long (or so) stretch of road that snakes down 2,000 ft into the Waipi'o Valley. I have the utmost respect for the people that built this road! In places it's pitch is more than 30 degrees, and it is posted that only 4WD vehicles are allowed to drive on it. It is fairly difficult to walk down, and quite a cardio to walk back up. But the scenery at the bottom, and the view from the top are both well worth the effort.

I took this image on my way back up. The cloud-covered late afternoon light provided nice soft shadows. And the lovely "S" curve of the guardrail gave me a nice excuse to pause and catch my breath.  It should be noted that the horizon line is at about the third support for the guardrail.  I captured this at f11 to give a sense of the length vs height of the road ahead.

This is a Vertorama created from 3-horizontal HDR frames using Photoshop CS4. Each frame was created from 3-RAW images using Photomatix Pro.

The "S" Curve

Part of what excites me about doing what I do is experiencing the music of nature.  That is why I will almost never include man-made objects in my images, unless they completely compliment the landscape.  This rugged, steep road and blue-steel guardrail certainly added a since of balance and respect for nature against the lush forest backdrop.  I have so much respect for the people that built and maintain this stretch of road.  (Honestly I have loads of respect for most people who build most things!  I just find natural landscapes to be more pleasing photographic subjects).

I started noticing a few years ago how most of my better landscape images all exhibited a common compositional feature... the "S" curve.  I find this curve incredibly pleasing!  It is feminine, strong, organic, and powerful, and allows the eye to easily wander across the scene.  Often times I see S curves over the field of a large scene with a really up-close foreground, which is why many of my images are panoramas or vertoramas.  The beautiful thing about finding the "S" curve is that it immediately creates a balance... a yin-yang effect, if you will.  Just know, sometimes the S is more implied than others... but that's where we get into composition.








If You're already familiar with the Golden Ratio and Rule of Thirds, you can skip this section.  

Rule of Thirds
But let's start from the beginning.  Basic photographic composition requires knowledge of the golden ratio, or so-called "rule of thirds".  The golden ratio is present in all life, down to our very DNA.  It is predictable, fractal, simple and complex.  By recognizing the balance in a scene--often times we are recognizing mathematical relationships between objects of matter, light/dark, and/or color--we are recognizing the golden ratio.  The thing is, we are not always aware that that's what we're recognizing.  And thus, often times when we pull over to the side of the road to photograph something pretty... pull out our camera phones for a quick snapshot... or even take the time to go hiking with a tripod, we get images that are lacking in some way.  That's when we say, "Well, the image doesn't do it justice"...or..."well, you really had to be there."  By learning to look for this golden ratio, every image you take will be better!     
The golden ratio. 
DaVinci: Vitruvian Man
Here's a VERY unartistic, boring, mathematical look at a few combinations of the golden ration one can employ while composing an image (note, these are just a few combinations).  You can begin to see how combinations of this nautilus pattern will create "S" curves.  


Here's the idea put to the test.  This is an image I took a couple of years ago while hiking to Coyote Buttes (The Waves) in between Arizona and Utah.  Because this is a reflective landscape, it should already be symmetrical.  

In order to obtain this image, I rested my camera about an inch off the ground, and focused on the reflection in the water, rather than on the physical peaks of the ancient dunes (although the dunes are compositionally the focal point).  The other aspects of the image that I wanted to include are the bush, the two peaks to the left, and the frame of clouds.  Clouds are SO important when capturing landscapes.  Empty blue skies are just boring, and considered dead space.  You will NEVER see a professional landscape painting without an interesting sky.  

You'll notice that this image leads the eye from the peaks of the dunes either up to the sky, or down to the water (both following the arch of the clouds), and then finishes at the twin peaks and the bush.  This scene is well balanced from the foreground to the background; the curve of the golden mean leads the eye comfortably around the image, and is thus "pleasing to the eye."  

Here's another one of my older images.  This one was taken in Green Mountain Falls, Colorado about 4 years ago... before I really began to study composition.  This is one of those scenes that you walk by and can't help but be struck by its beauty.  The mix of autumn colors with silky water and frosty ice make for a beautiful image.  I feel like it's pretty easy to see gentle nautilus curve of the golden ratio in this image... but just in case, I went ahead and overlayed the nautilus. My focal plane includes the frosty tree and patch of moss on the right side of the image.  In this case you'll notice both how the golden mean is important in composing depth within an image, and how the lines of the nautilus curve and the rule of thirds can serve to frame internal aspects of the scene.  
See how the different sections of the overlay
correspond to individual scenes within the scene
"Hazy Shade of Winter" Green Mountain Falls, CO
In both sets of images straight, diagonal lines create a sense of movement through the image, leading the eye from one node to another.  You'll notice how in both cases the diagonal lines also coincide nicely with the arch of the nautilus curve.  

Earlier I mentioned that the golden ratio is both simple and complex.  It's easy enough to see how simple it is on a 2 dimensional plane.  But nature is NOT 2-D!  The golden ratio is present in everything, everywhere, all at once... and everything is ALWAYS changing... Super complex!!! Recognizing the pattern often just requires a shift of perspective, a different focal-length, a different lens (Don't bring the camera up to your eye... bring your camera into the scene, then bring your eye to the camera).  

To compose with the golden mean, usually finding a diagonal line that leads from one interesting area of the scene to another, and spans the length of the frame (at least implicitly), will do the trick.  That diagonal line will help lead your eye from the main point of interest (which will usually be an extreme foreground object and focal point), to the secondary point of interest further in the background.  You'll notice that most of my images have a focal object that is roughly equidistant from the edge of the frame to the edge of the diagonal.  Keeping the focal object away from the edge of the frame, and away from the center of the frame (rule of thirds) will heighten your chances of creating a dynamically composed landscape image.  This busy overlay shows how there are many leading lines of composition, and that each focal point in the scene begins a new nautilus curve that leads the eye to the next focal point, and then back again.  The shiny, metallic reflector on the lower left invites the eye to examine the metal guardrail, which leads up the leafy, cracked road to the next reflector.  The eye is then lead up to the top of the road to the power lines, and then descends down towards the large fern branch, which pours the eye back into the beginning of the scene.

The "S" curve

The "S" Curve Continued

That brings me to the "S" curve (finally).  Having an object, or a series of objects, create an "S" shape (often similar to Superman's Emblem) will automatically make your photograph conform to the "math of beauty" without you needing to actually do any math.  I don't think it's necessary to look solely for an "S" curve while out in the field, because that would be incredibly limiting.  But, it IS necessary to look for balance while composing a photograph.  Don't let the term "S" curve confuse you either... not always will the curve look exactly like the letter "S!"  Often times the curve is implied from the relationships of other compositional variables (i.e. foreground object, mid-ground object, background object, areas of light vs. dark, etc), and is in the shape of a question mark, or W, rather than an S.  The "S" is not necessarily a 2 dimensional (x and y axis) shape, but conversely often reaches from the front to the back of the scene along the z axis, leading the eye around the image.

Thanks for reading.  This concludes part 3 of my three-part series Travel, Magic, and the Letter "S."  If any of the concepts I discuss are confusing or new, please visit previous posts for clarification, or feel free to drop me an e-mail :-)

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All the best!  Be Well! :-)

Tuesday, August 7, 2012

Travel, Magic, and the Letter "S," part 2

Honu Magic at Punalu'u Beach, Hawaii



This morning at Punalu'u beach I was a bit distraught! The previous morning my camera lost all of its electrical functions... no LCD, no autofocus, no white-balance, no changing of ISO, no AEB! All I had use of were its mechanical functions, i.e. changing the aperture and shutter-speed, and depressing the shutter. I had no idea if the images I captured were actually being captured and recorded on my CF card. Fortunaltely, I could still determine the exposure, and adjust my settings accordingly. What made it all the more difficult is that as I increased my f-stop, my view-finder darkened, making it near impossible to focus on anything above f13. So, I had to dial my aperture down, manually focus (a huge challenge for me since I wear strong corrective lenses), and then dial the aperture back up. Without an auto-bracket funciton, I had to manually adjust my exposure +2 and -2 for HDR images.


HDR Pano of  stair-step falls captured during my
camera's haitus.
Here's a macro HDR of a Red Tower Ginger,
Captured by my dysfunctioning camera.  
A wall of jungle!  An HDR of Beautiful Parakeet Heliconias.
Also captured while my camera was being uncooperative.
I had just arrived in Hawaii, and would be there for over a month. I couldn't send my camera in to Canon, because then I would be without it for the duration of my stay. I decided to look at this as a challenge, and utilize my photography knowledge. After shooting with my defunct camera for a day, I was able to at least find power, lug my computer in, and check my CF card.  Pfew!  Fortunately the images were being written to my CF card... albeit they were all rotated 90 degrees from their correct orientation... but they were being written!

So, this morning I was walking the black sand/black rock coast, looking for interesting compositions for the soon-to-be sunrise, and I came upon this honu (sea-turtle), resting on the rocks. It is illegal to touch or disturb sea-turtles in any way, so I made sure to keep a comfortable distance... but I couldn't ignore the compositional opportunity. I quietly asked the gentle reptile if I could photograph it, and slowly it turned and looked at me with ancient eyes, blinked, and rested its head back where it was... just then, my camera beeped five times (a sound I've never heard it make), and all of the sudden the electrical components were restored! Nearly overcome with joy, I photographed this sea-turtle, thanked it, and continued on my way!

This is an HDR panorama from 2 HDR images, each created from 3-RAW images using Photomatix Pro and Photoshop CS4

A Note on Composition:

I suppose it's tempting, when encountering an animal in the wild, to focus just on the animal.  That is, to fill the frame with the animal, or try to get a photo with it looking at the camera.  Granted, I've certainly taken my fair share of photos of animals looking directly at me, where the surroundings are somewhat ancillary.  But I usually try to at least photograph the animal(s) as part of the landscape.  This scene, however, spoke to me in a much different way.  The turtle was looking into the sunrise, which was shaping up quite beautifully... explosively even.  If I were to photograph this turtle head-on, I would be missing out on the beautiful sunrise.  Also, were I to photograph this scene with a single exposure, either the turtle would have been very dark, or the sky would have been blown-out.  Granted, usually when photographing wildlife it's a good idea to employ a zoom lens, low aperture, and relatively fast shutter speed.  However, since the turtle was so still I could use my 18mm wide-angle lens and get pretty close, allowing for the inclusion of the shore, surf, and sky.

The beautiful sky had two components that I wanted to capture, the rising smoke from Kilawea (on the left), and the sunburst (on the right).  What isn't as apparent is that I am backed up to a wall of gnarly rocks, so I don't have much room to maneuver.  So, in order to make angles on the turtle, the smoke, and the sunburst (at 18mm) proportionally and compositionally pleasing, I had to shoot for a panorama. This would be an easy pano, though.  Only 2-vertical frames that overlapped about 60% of each other.  I lined up the turtle's gaze to coincide with the "S" curve from the tidewater to the sunburst.

So happy that I could again access my AEB (Auto Exposure Bracketing), with my camera on its tripod and using my shutter-release, I auto-focussed - :-D - on the edge of the turtle's shell, then turned the autofocus off.  At that point I fired my bracketed shots at f20.  I then recomposed on the same horizontal plane a little to the left to include the volcanic smoke, and took my bracketed images at the same exposure levels.  

I decided to use the turtle's gaze as a compositional tool, leading the eye to the tidewaters, and then to the sunrise.  That way we're looking at what the turtle is looking at, AND, as a photographer, I'm not getting in the animal's way.  

It's very important, in my opinion, to always ask the animal's permission to photograph it, and then thank it when finished.  Granted, the animal can't verbally acquiesce, but I feel like communicating that intention with the animal generates a sense of mutual respect.  Never EVER feed wild animals, or try to touch them... not even chipmunks... animals may be cute, but treating wild animals like pets can be very detrimental to their health... but ALWAYS lovingly respect the animals.  I am very grateful to be able to experience nature and share its splendor by creating artistic photographs, and leaving only footprints.  

That's all for today.  Thanks for reading.  Make sure to check out part 3 of Travel, Magic, and the Letter "S," where I talk about discovering the S curve in landscape composition.  

Be well!

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