Infrared

OK....here is what a scene, any scene, would more or less look like to us as observers in 'infrared' if we eliminated the visible light wavelengths.

Infrared Scene

The point I am trying to make is that when most people talk about infrared photography they are often under the mistaken impression that it represents what we would see if we (humans) could see the infrared portion of the electromagnetic spectrum. But, of course, we can't. So if we were relying on the infrared portion of the spectrum to see....well, we wouldn't see very much.

So what are we seeing when we look at infrared photographs? Well, we are looking at how the infrared film or the digital sensor reacts to the infrared portion of the spectrum. It is how the film or sensor 'sees' infrared because infrared can be detected by them. That is to say, both are sensitive to the infrared portion of the electromagnetic spectrum. Our eyes are not.

So when we look at an infrared photograph we are seeing the portion of the visible spectrum that the film or sensor has converted the infrared into. What we see is, by necessity, an interpretation. So what does infrared 'look like' to the several insects, snakes, and ferrets that can see this portion of the spectrum? Perhaps it gets philosophical, but I don't know and I'm not sure anyone truly can. These insects and animals were born with eyes that are sensitive to infrared so they probably don't think it is anything special! Perhaps it is like trying to explain to someone that has been blind from birth what 'yellow' is.

That said, here is an infrared digital image of Cucumber Falls at Ohiopyle State Park in Pennsylvania. At least this is how the digital sensor (with visible light filtered out) converts the scene to something that we can see.

Cucumber Falls In IR
Copyright Howard Grill

Reflections

It's always enjoyable to make photos of reflections. For one thing, many people who don't photograph never really see these types of details, and when people do take note of them it tends to be fleeting. It's only when such details are 'frozen' in time that they can be really appreciated. Most folks end up being amazed that a patch of water could really look as intensely colored as this.

There were several aspects of this particular image that made it enjoyable to capture:

First of all, to get these types of images one often has to bend and contort themselves in order to find the angle that best portrays the reflections. However, in this particular case, it was easy. The conditions were just perfect to get reflections in the water and I could just stand on the wooden deck overlooking Ohiopyle Falls with my 400mm f5.6 lens (long, but quite light) and pick out small patches of water that showed intense reflections from the trees. No bending over or twisting into painful positions at the water's edge.....nice!

Reflections I
Copyright Howard Grill

Second, usually one finds images like this made in the fall, when the autumn colors are reflected in the water. This was taken in the Spring. In fact, I took it just a few days ago. The bright green color is from the surrounding trees with their fresh 'flourescent' green leaves and the blue is simply color reflected from the bright blue sky. These are not 'Photoshop' colors.....they are real, though only present in small patches of the water. In fact, though I added a bit of contrast to bring out the detail in the water currents (to give it the same appearance as it had at the site), the color saturation was actually decreased because the real reflected colors were so intense that they looked 'unreal'.

Thirdly, I got to go photograph with my friend Linda, and, for me, it is always more fun to take pictures with someone who has the same passion for photographing than it is to go alone.

Seeing The Invisible

Part of the mystery, and joy, of photography is its ability to show us what our eyes can't see. Some of the sights that are normally 'invisible' to us that can be revealed with a camera include:

i) Motion over time - This, of course, can be revealed by photographing using a slow shutter speed. Not only can 'natural' motion be revealed in this way, but we can generate abstract images that can only be seen in the completed photograph by generating 'unnatural' motion by purposely moving the camera during exposure.

ii) Color - Our brain can 'neutralize' colors in order to achieve our own 'custom white balance'. For example, people are often amazed at the blue color cast seen in photographs that are taken in the shade or the color cast that results from photographing a white object located right next to a brightly colored one. The colors are there, it's just that our brains remove them for us. Sometimes these color casts are problematic for an image and, at other times, they can be used creatively to great benefit.

iii) Perspective - Changes in perspective that are related to the optics of a lens. OK, so this one really isn't something that is present in reality, but is related to the physics of the optics. Often these perspective changes can be used creatively, such as when making an object appear to be closer than it is by using a wide angle lens. These same lenses can introduce problematic distortions (like pincushion or barrel distortion). However, at times, even these types of distortions can be used creatively.

iv) Illumination- Only when it is truly 'pitch black' is there not enough light to make an image if you leave the shutter open long enough. Our eyes are only able to see non-additive 'real-time' photons while film or a digital sensor can keep capturing and adding photons to an image. More specifically, bright to us is a large number of photons at once while bright to film or a sensor can mean a large number of photons absorbed over a prolonged period of time. Thus, we are surprised when a long exposure taken in near darkness yields an image with far more subtle coloration, brightness, and detail than we could see with our bare eyes.

One of the reasons that I enjoy this photograph taken during a workshop in Provincetown, Massachusetts with Nancy Rotenberg, Les Saucier, and Don McGowan is that it contains all four of the above elements presented in a subtle fashion, without any of them overwhelming the other.

Herring Beach
Copyright Howard Grill
30 seconds at f18
Click For Larger Image

More specifically:

i) the smoothing out of the ocean water because of the long 30 second exposure, blending all the waves that occurred over the course of the exposure into a smooth misty appearance.

ii) the cool blue coloration of the water and sand is real and is a result of reflections from the blue night sky. We automatically neutralize this when we are present at the scene, but the photograph shows us what was really there.

iii) the interesting perspective, making the foreground pebbles look closer and the background land look farther away than they 'really were'.

iv) the scene was actually quite dark when I made this photograph, which, as I mentioned, required a 30 second exposure. It was dark enough that when hiking back to the car after making the image I had to make sure that I didn't trip over something and was glad that I was able to walk back with a friend who had a flashlight.

Lots of pretty beaches up there on Cape Cod!

Don't Fight Mother Nature

When out photographing, I have always found working with the prevailing conditions to be a far better idea than stubbornly resisting what is going on around me. Let me be more specific by using an example. If I were to go out with the idea of photographing wildflowers and find that it is a windy day, I am much more likely to return with interesting images if I decide to shoot using long shutter speeds in order to create abstract images than if I decided to 'fight Mother Nature' and insist on trying to get tack sharp images using fast shutter speeds and waiting (and waiting and waiting) for the wind to die down briefly. Sure, I might come back with a sharp image or two after the fight, but I would not have enjoyed myself, would have a feeling of frustration, and would have robbed myself of the opportunity to have tried something new.

Nonetheless, I recently found myself 'fighting Mother Nature' without really knowing that's what I was doing. When I finally realized that I was resisting what nature was giving me I had a much more enjoyable time and came away with a reasonable image or two. Let me explain..... In a park near my house there is a group of three trees. They are special trees, though I don't know what species they are. They are quite short, but have an aged appearance with contorted and twisted limbs. Truth be told, I don't have a very good 'relationship' with these trees. I find them fascinating and intriguing......even a bit mysterious. For a year or two I have intermittently gone to see the trees with my camera but have never taken a single photograph of them! I have never been able to compose an image that I liked despite my feeling that there should be a hundred fascinating images among their twisted and contorted limbs. There has always been a bad background I can't eliminate (the trees are right near a busy street) or the composition doesn't really express what the trees make me feel etc. Sometimes, in situations like this, you are defeated before you even try......having tried so many times you go in with a losing attitude and an adversarial position (yes, I know those trees can't really think....but why won't they let me take their picture???).

Well, on Friday I went back again. There was snow on the ground and I thought that perhaps I could somehow use that as a 'clean' background. Of course, it turned out to be a bright day, something that is a rarity during a Pittsburgh winter (November through March is mostly gray.....if you don't have seasonal affective disorder before you move here you rapidly develop it). Because the sun was shining, there were strong shadows on the snow. I was trying to compose images of the twisted limbs, but every time I thought I was getting something interesting the trees' shadows would clutter the background.

After continuing to circle the trees in order to try to get an interesting composition without a distracting shadow in the background, it occurred to me that I was fighting this way too hard. Why not accept the fact that the sun was there and that unless I came back another time the shadows were simply not going away? Why not work with 'Mama' and use what 'she' was giving me? Why not try to incorporate the shadows into the composition? In fact, why not make the shadow the main subject of the image since, over time, I had been having so much difficulty making an image with the trees themselves as the main subject?

So that is exactly what I did! Once I started accepting the shadows as part of the image instead of trying to eliminate them, compositions became much easier.

Shadow Tree
Copyright Howard Grill

Is this an 'award winning' image?? I think not, but it is the only composition that I felt intrigued enough with to actually make me want to push the shutter button.

After liking the way my prior HDR bare tree image looked, I decided to use the same treatment for this image. The contrast range, given the bright snow and dark tree, lent itself to making an HDR composite of 6 images which was then converted to black and white and toned using SilverEfex Pro.

Just A Few Minutes

One of the intriguing aspects of nature photography is the constant realization of how things change. This is most easily apparent when returning to favorite nearby locations at various times of year. But very frequently, things change much faster than that, and perhaps no time demonstrates that more than sunrise and sunset. The rapid change in light levels, temperature and subsequent wind makes a scene change so rapidly that photos that were taken just minutes apart can look as if they were taken on totally different days.

Such was the case when I was photographing in Oregon a few years ago. I had previously written a post about this image, taken at Haceda Beach:

Sea Stacks I
Copyright Howard Grill

A short while later the sun had dropped lower in the sky, offering this composition, with the orb of the sun placed squarely between the two sea stacks.

Sea Stacks II
Copyright Howard Grill

Finally, only minutes later, the sun had sunk completely below the horizon. The warm yellow/orange coloration of the sky and water was now gone, but the clouds began rolling in and the sky became a deep blue with the clouds painted red/pink by the sun below the horizon.

Sea Stacks III
Copyright Howard Grill

Changes. All in a matter of just a few minutes. Nothing like photographing sunrise and sunset to make you cognizent of the passage of time!

Quick Quotes - Daryl Benson

"The moment you take the leap of understanding to realize you are not photographing a subject but are photographing light is when you have control over the medium."

Daryl Benson

Isn't it quite amazing how the same scene can look wonderful if the light is just right, but quite plain if it isn't?

Foggy Morning
Copyright Howard Grill

Daryl Benson's quote vividly reminded me of taking this photograph. This particular location can look quite amazing with mist and the right light. On this particular autumn morning the fog was just breaking up as the warm rays of sunrise started illuminating the scene. I had bever seen this location in Moraine State Park look quite like this. I really enjoyed photographing this as an 'intimate landscape'. However, if the light isn't right you would just walk right by and not give the spot a second look!

Cuyahoga

A few weeks back I went with my friend, lets call him Bob (mainly because that is his name), for a weekend of photographing at Cuyahoga National Park in Ohio, about two hours from my home. We had the 'photo ops' chosen because Photograph America had published an article on Cuyahoga (great publication, but that is a topic for another post). However, as it turned out we were a bit beyond the peak fall color we had come to photograph and, in addition, the weather was quite lousy.

The first day (Friday) it rained the whole time we were there, so we took the opportunity to scout out most of the sites we were thinking of going to. That actually was very helpful as it gave us an opportunity to prioritize where we wanted to shoot and gave us a sense of what areas would be best to photograph in different weather conditions.

We continued to have miserable conditions Saturday morning, as well as late afternoon and evening. However.....for a several hour window early on Saturday afternoon conditions were excellent. It was overcast (great for the waterfalls) and wet (great for saturating the colors,) and because of the rain the waterfalls had plenty of water to 'fall'.

"Blue Hen Falls"
Copyright Howard Grill

I consider getting even one or two of what I feel are good shots a great success on a short weekend trip like this, especially to a place I hadn't been to before and so, without question, the trip was a definite hit. We plan to return to Cuyahoga in the spring.

Botanical Blends: Rudbeckia I

I have completed the second image in my "Botanical Blends" project and thus have accomplished half of my goal for the month. Of course, the goal does not merely reflect the number of images completed, as the images need to be of the appropriate quality as well. Artistic quality, however, is for the viewer to decide.

This particular image was made with a LensBaby.

Unfortunately, the small image size that Blogger displays makes it difficult to see the underlying blended texture in photographs where the texture is subtle. However, there is not much that I can do about that!

Rudbeckia I
Copyright Howard Grill

Goals And Deadlines

In my last post, I mentioned that I was going to specifically answer the questions I thought were important to consider when planning a photography project as they relate to my recently initiated "Botanical Blends" series.

However, before I do so I would like to add one more important concept to the planning stage of my project. This is likely important for anyone planning a project, but is particularly apropo for me, as I tend to spend too much time on any one image, making changes that I am sure no viewer will likely notice. This concept has to do with deadlines. I believe it is important to set a reasonable and achievable schedule for producing the project. This schedule will be different for everyone depending on their 'life circumstances' and available time to devote to the project. However, it does need to be achievable while allowing for completion of the project within a reasonable time period.

With that said, here are my personal answers, goals, and deadlines for "Botanical Blends":

Who is the intended audience?

For this project, given the subject matter, I define my audience widely. I believe it would include anyone with an interest in flowers and horticulture as well as nature. In addition, as a secondary audience I would include people that I work with and/or my patients, as I will likely have an opportunity to display prints at work and in my office.

How do I primarily intend to reach that audience?

The primary goal I hope to achieve is to have a display at a local botanical conservatory. Obviously, I can not be sure that the goal will be achieved as the decision to hang prints there is not one that I make. Thus, I need additional viable methods for getting the work seen. For this project, that would include hanging prints at work/office. In terms of other distribution methods for the project, I am considering a pdf publication (though I have not used InDesign or Acrobat before and thus this will have a fairly steep learning curve and will probably not be coincident in time with other distribution methods), as well as possibly making some 'give away' promotional type prints.

Are prints needed? How many? What size?

Since my primary, and at least one of my secondary methods of distributing the work is via display, prints will clearly be needed in larger sizes. My plan is to have prints matted and framed to 20x26 inches. Why that size? As I have made some flower images in the past, this size just looks right for display to me and I already have some frames in this size as well. It is also an efficient size, as it allows me to obtain two mats and backing boards from standard sized 32x40 matboard and foamboard. Given that I hope for a formal display in a conservatory, standard white matting might be best, but I still have not ruled out the possibility of black matting. The frames will be simple and relatively inexpensive standard, thin black metal.

The number of images needed is difficult to be certain of and obviously depends on how many worthy photographs I make. However, as an approximate goal I am contemplating 20-30.

What is my deadline?

This is a difficult question but, knowing myself, a very important one. As I mentioned above, the goal needs to be attainable but the project also needs to be completed in a reasonable period of time. In addition, I anticipate working on some other prints during this time and I suspect there may be some periods when I have very little time to spare because of work constraints.

I have come up with a deadline goal of four finished prints every month. I plan to aim for one print a week, but I know that there will be times when I am unable to work on the project and times when I will be able to devote more time than usual.....so it seems to me that a monthly goal will be more reasonable. If I keep to that deadline, I should have the project well in hand by 6 months.

I should add that I have many, many flower pictures that I have taken and not 'developed'. So the primary focus of project completion will be on the computer as opposed to actually taking the photographs. That said, it does take a good bit of time and experimentation to find a texture that works well with an image. Clearly, the starting point is an excellent botanical photograph, but that alone is not enough for what I am trying to do.

I decided to put this goal in writing in order to help me keep to it, and I will post images and my progress as I go along. Because the next month is going to be quite busy for me at work I am going to give myself a bit of leeway at the start and declare today as the formal start of the project even though I already have 1 1/2 images processed. By September 27th I therefore need to have completed four images.

Flower Images

In my last post, entitled 'Too Many Choices', I mentioned that I was going to post a recent image that was a result of using experimentation to try to achieve a particular result that I already had in mind.

Rudbeckia I
Copyright Howard Grill

I have enjoyed taking flower photographs for quite some time, but have not printed too many of them as it is hard to do original work when it comes to this subject. For some time, I have been struggling to figure out how to portray the simple form and shape that I see in flowers in a way that I find satisfying.

After thinking about it for some time, I realized that I wanted to emphasize the flower's form and so thought about a pure black and white portrayal. But this didn't seem to instill in the images the sense of life that I was looking for. I decided to try toning the monochrome image, and this moved the final photograph closer to what I was looking for, but it still fell short. Ultimately, I tried experimenting with adding textures to the image and this seemed to bring out what I was looking for.

I am curious as to what people think about this appearance, as I am considering embarking on a series using this approach.

Shutterbug Image

OK, I know it's not exactly LensWork, but I do have to mention something when I get a photo published. The last few months I picked up a subscription to Shutterbug to read some of the software reviews etc and noticed their "Picture This!" monthly themed feature. So I sent in images for two months in a row since I happen to have had photos that fit the themes. The first theme for which I submitted an image was "Monochrome". I got my issue yesterday and there it was, along with the others they had chosen. Not the worlds biggest deal, but it is nice to see one's image in print!

Reaching Out
Copyright Howard Grill

More Abstract Rock Patterns

I continue to be intrigues by the abstract patterns in Jasper rock samples. This one looked like an erupting volcano to me!

Volcano
Copyright Howard Grill

Reality

I love when I run across a scene in which the camera records a truth that our minds simply can not believe. Such scenes force you to reassess what is real and how our minds are able to change reality. I find this idea fascinating and have previously written about it on Uwe Steinmueller's Digital Outback Photo.

When I first photographed this waterfall, I thought I was just taking a picture of the flowing water. But when I looked at the image on the LCD screen on the back of my camera I was truly surprised at the colors I saw but hadn't recognized in the water. Nonetheless, when I looked carefully at the moving water, there they were! I hadn't seen them because our brains tend to present 'filtered' information to us which is why, for example, a sheet of white paper still looks white to us even when it is next to a brightly colored object. However, when we take a two dimensional photograph of that paper and look at it out of context, our eyes can recognize the color cast on the white sheet.

Canyon Reflections

Copyright Howard Grill

So where is the color coming from in this image? On this particular morning in Zion National Park, the sky was a deep blue which was being reflected in the waterfall. The falls were located right next to a large canyon wall made of the region's famous 'red rock', and it is the light reflecting off of this red rock and striking some areas of the water that imparts the pink coloration.

The other thing that I enjoyed about making this image was the location. I am delighted when I can find something beautiful in a location where I wouldn't expect it. True, this image was made in Zion National Park, but it happened to be located in the unlikely location behind an old maintenance shack where a good portion of the grounds were being used for storage

Zion

This is another image from the recent workshop that I attended in Zion National Park. I think this image has, in one shot, many of the characteristics that are so special about Zion.....the cottonwoods, the canyon walls, and the Virgin River. When I look at this photograph I really get a feel of the 'Zion Experience'. The park is truly a place that everyone should get a chance to visit.

"Zion"
Copyright Howard Grill

In addition, this is another of the type of images that I mentioned in my post entitles "Seeing". Though these exact elements are obviously not present where I live, there are very reasonable replacements...trees, water, rocks......all that I need is the right mindset. That mindset, as opposed to a lot of nice images (though it is nice to get them as well), is the most valuable item that can be brought home from any workshop!

Seeing

As I mentioned in my last post, I recently returned from a Photography With Heart workshop in Zion National Park. Scanning through some of my favorite images from the park, I noticed something interesting. Though the presence or 'feel' of the park was in them all, when I broke the images down to their basic components they consisted , for the most part, of things that I could find right here in Western Pennsylvania where I live.

Consider this image entitled "Backlit Cottonwoods". At its most basic, it is 'simply' an image of colorfall backlit trees with fall foliage. I was drawn to the scene not only because of the intense color of the backlit trees, but also because I enjoyed composing it with the diagonal lines of the mountains on either side of the trees along with the hazy, distant canyon wall in the background. I felt that the diagonals added something special to the image and that the canyon wall in the background, together with the classic cottonwoods, gives the photograph a decidedly 'Zion' feel.

Backlit Cottonwoods
Copyright Howard Grill

When I go on a workshop I go with a mind that is hopefully open and 'ready' to try to be creative. I think it is quite natural to have that feeling when going away on a trip. But when I think about it, the basic components of the "Backlit Cottonwoods" image are all around me, even now that I am back home. There are plenty of trees with fall foliage here, and one only has to go at the proper time to find them backlit. True, I may not have a canyon wall available to put in the background, but is that really the essence of the image? Wouldn't the image also work well with the terrain that I have available here at home used to frame the trees or provide leading lines? I think it would!

One of the things that I hope I have accomplished at the workshop is to learn to discard the state of mind that says you have to go 'someplace special' to make special images. Sure it is fun to go away, and a change of scene always spurs creativity, but that should only serve as a stimulus to return home and harness that creativity to make images where you spend most of your time living. One of the things that I hope that I have brought home with me from the workshop is an enhanced ability to be open to 'seeing' what surrounds me the 99% of the time that I am home. If one can do that, I think the odds of making meaningful images increases quite dramatically!

Where I've Been

I just returned from another superb workshop week with Nancy Rotenberg, Les Saucier, and Don McGowan (Photography With Heart Workshops). The workshop was in Zion National Park, a place of indescribable beauty. One of the key aspects of the Photography With Heart Workshops is that though the technical is taught, the journey goes beyond this aspect of photographing and well into the much more difficult process of learning how to see.

While I am spending time sorting through the images I took, I thought I would show another recently taken "landscape in stone" from my rock photography project.

Mountain Sunrise
Copyright Howard Grill

Another Rock Abstract

I have been spending a bit more time photographing some of my rocks that I have written about before. I call this image "Mount Sinai", as it evokes in me the idea of 'something' coming down from the heavens to the top of a mountain!

"Mount Sinai"
Copyright Howard Grill

Jennings Environmental Center

Jennings Environmental Center is the only area in Western Pennsylvania in which Liatris spicata, the Blazing Star, grows. It was the first Pennsylvania reserve to protect an individual plant species. The Blazing Star grows on open prairies, frequently in the midwest, and Jennings is a relic prairie ecosystem, which is quite rare in Pennsylvania. The Blazing Star blooms at the end of July and beginning of August, so you will have to wait until next year to see them!

Liatris spicata In Meadow
Copyright Howard Grill

Liatris spicata
Copyright Howard Grill

Of interest, Jennings is also home to the endangered massasauga rattlesnake (I have never seen one there myself...so no photos of those).

More From Oregon

Two more images from the Oregon workshop I attended. These were both taken at the surreal Haceta Beach near Florence, Oregon. As it turns out, almost every beach we went to in Oregon was surreal. It's that good! If you have any interest in going, check out the workshop here.

Haceta Beach Sunset I
Copyright Howard Grill

Haceta Beach Sunset II
Copyright Howard Grill

Bandon Beach

One of the nice things about not doing photography professionally (of course there are lots of not nice things about this as well...such as never having enough time to do all the photographic things that one wants to) is that one can take all the diversions they want without worrying about getting certain projects done. One of my recent diversions has been to submit images to Alamy and PhotoShelter, both of which I was recently accepted to. This has entailed processing some of my older images that I have not yet gotten around to doing.

At any rate, one of the images I ran across and processed is one that I had started working on many moons ago and put down. I took the opportunity to complete and submit it.

One of the nice things about going back to older images is that they truly do bring back memories of having been at different locations. This particular shot was taken on a workshop with Nancy Rotenberg on the Oregon Coast.

Bandon Beach is truly a surreal place with amazing sea stack formations. The memory of the location is great, but remembering the great folks who I spent time with on that one week trip is even sweeter!

Bandon Beach Sunset At Low Tide
Copyright Howard Grill