“THE Photographer’s Guide To Minnesota’s North Shore”

Recommended
Over the past month, I have blatantly and egregiously trumpeted my new eBook, “Photographing Vermont’s Fall Foliage.” Nearly simultaneously, my great friend and talented photographer, Allen Utzig was working on his own eBook Guide, “THE Photographer’s Guide To Minnesota’s North Shore.” Available since early August, Al’s book is available for iPad in the iBookstore, Kindle on Amazon, Nook at Barnes & Noble, Kobo in their own bookstore, and a few other notable places, such as ebookpie.com.

The North Shore is 100 miles of pure magic!

For those who didn’t already know this, Minnesota is a vast state in the heartland of our country, bordering Canada on its Northern Border. The “North Shore” is a roughly 100-mile shoreline that borders the northwest of an arm of Lake Superior’s westernmost end (maybe 1/3 or so of the entire lake) which juts down along the northern borders of Minnesota, Wisconsin and Michigan’s UP (bordered to the east by Michigan’s “Keweenaw Peninsula.” But it is 100 miles of pure magic!

Copyright Andy Richards 2010

Beginning at the town of Two Harbors, just under 200 miles from Minneapolis-St. Paul, there are numerous rivers with spectacular waterfalls as they drop to Lake Superior. And, in my personal view, the “crown jewel” of The North Shore is the Split Rock Lighthouse, arguably the most spectacular and photogenic of all of the lighthouses on the Great Lakes!

For years, Al (who I met on the Scenes of Vermont Forums) has been cajoling me to join him on a photo trip to the North Shore, where he has spent many hours photographing. Two summers ago, in 2010, I joined him for a long-weekend on the North Shore. And what a weekend it was. We only scratched the proverbial surface. But Al knows the area, where and when to be, and how to get the images.

Split Rock Light is arguably the most spectacular and photogenic of all the Great Lakes Lighthouses

Al has been a career teacher, but spent most of his years in the insurance and actuarial industry. He has been fortunate to travel over the country, including to my beloved Vermont, which is our connection. But once a teacher, always a teacher. Al is a teacher at heart, and I have observed him working with beginners, amateurs and his equally talented fellow photographers alike, always sharing his knowledge of places, techniques equipment. His GoldImages Website showcases his personal work, as well as his business, consulting with companies for their logo, brochure and multi-media needs, and sales of his imagery. It’s worth a look – and bookmarking.

But about the book. “THE Photographer’s Guide To Minnesota’s North Shore” is classic Allen Utzig (for those of us who know him well). Before taking us to the places, Al puts on his “teaching hat.” The first part of the book prepares the would-be North Shore photographer for what to expect, and how to capture the images they are going to be presented with. A substantial part of the draw of the North Shore is its many waterfalls. For those who haven’t attempted these images, waterfall photography is notoriously challenging. So we have a chapter explaining how to shoot water and waterfalls, and some tips on how to get those silky, flowing, artful images of water, as well as proper exposure techniques. The Split Rock Light affords some wonderfully diverse opportunities. When I was there, I photographed it in early morning with the sun rising behind the light, in the late afternoon with the “golden light” lighting it, and at night. Because there are some great night time photographic opportunities on the shore, Al gives us another chapter on shooting night time photographs.

Reflections; Cascade River, Minnesota
Copyright 2010 Andy Richards

In his introduction, Al indicates that the book is intended for photographers of all skill levels. Thus, there are chapters in the beginning covering compositional rules, exposure theory, and essential equipment. The experienced shooter can skip those chapters and move right on to the chapters describing the scenes. Or, they can take advantage of Al’s considerable knowledgeable as a refresher course. It never hurts to go back and review the fundamentals, and I found myself enjoying reading these sections from a different photographer’s perspective.  But the point it, there is something for everybody in this eBook.

Starting in Duluth, (about 25 miles southwest of Two Harbors), Al takes us on a tour of the main attractions, from Gooseberry Falls, in Gooseberry Falls State Park (we spent parts of 2 days there), to Split Rock State Park and the lighthouse, all the way up to Grand Portage, at the northern end. Beyond is Canada. This is about a 100 mile stretch and it appears that a photographer could spend a week there and still only be starting to see all there is to see.

Get the North Shore on your “Bucket List” and don’t go without Al’s eBook

Throughout most of the book, Al gives us narrative, directions, time of day, and GPS coordinates. I have to admit my bias, I know and love Al. And, I spent time with him as my personal guide in this beautiful area. But even so, I find it hard to find any criticisms of this eBook. However, I have shared a couple with Al. First, I want to see more images! The book is well-illustrated, but I know there’s more and I know Al has made them. Second, I would hope that a subsequent addition would “flesh out” some of the areas given coverage (but not as detailed) in the final chapter, “Other Photographic Locations.” I have seen some of the weathered old buildings Al mentions. But we haven’t been there at a time when conditions were right to photograph them. Still, I would like to see directions and GPS coordinates, and, one day, when you hit them right Al, illustrative photographs. I am certain there will be updates, as I know Al will continue to travel to the North Shore to photograph its wonders. If you haven’t planned a trip there, get it on your “bucket list.” And don’t go without Al’s eBook!

Recommended

Do Your Photographs Evoke Emotion?

The colorful rocks, colorful reflections and the water and the graphic elements in this image created a visceral or emotional reaction to me - enough to compose it and click the shutter! Copyright 2011 Andy Richards

“It’s just emotion that’s taking me over.” This short lyrical riff from the 70′s era Samantha Sang song, Emotion,” (written and performed by the Gibbs brothers – the Bee Gees) might just be a good photographic theme (just to assure those of you might be worried, no, I was not/am not a Disco fan – but you have to admit, some of the music had rhythm and melody that was just – well, catchy ).

A recent photo contest statement illustrates the sentiment. The art director for the sponsor noted that what he was looking for was images that would evoke an emotional response. That got me thinking about whether my images evoke any emotional response, and if so, could I articulate it? Looking through some of my images, I asked myself, do they evoke an emotion? And if I thought the answer was yes, how could I articulate the emotion? Did they make me sad, happy, angry, excited, euphoric or depressed? Almost universally, I could not label any of my images with those traditional emotional responses. So what, exactly does it mean to have an “emotional response” to an image?

That got me thinking about whether my images evoke any emotional response, and if so, could I articulate it?

My conclusions are equivocal. On a purely empirical level, I suppose it can be said that every photograph evokes some emotion. We often see and hear comments like, “nice,” “beautiful,” “awesome,” “great composition,” “well – seen,” and the like. Less often, it may be “ho-hum,” or “yuck, that’s awful,”(though I suspect these latter comments are more often thought than heard or seen ).

Photography is all about light. I have always been drawn to moving water and those slow-exposures that create a silky effect to it. But here, the "angel hair" texture to the water with the sunlight and shadow dappling it created an emotional reaction as I looked through the viewfinder: "I like it."
Copyright 2010 Andy Richards

Recently, I read a statement by a photographer who said we as photographers often put too much emphasis on our work being liked or accepted by other photographers. It was a statement that resonated with me. While I welcome constructive critique, it is not the “camera club” photo contests and observance of “rules of photography” that is a motivating factor for my images. I want my images have impact generally to viewers who aren’t looking at it as photographers and artists, but just looking at it as an observer.

An image with impact should create an emotional, even perhaps visceral reaction

As I stood on a roadside above, with the October wind buffeting me, all I could think of was the vastness of this rugged, wild countryside. While "vast" is not an emotion, my reaction to it was certainly visceral.
Copyright 2008 Andy Richards

“Emotion” is perhaps not the precisely correct word for this phenomenon. An image with impact should create an emotional, even perhaps visceral reaction in the viewer. It needs to strike a chord that makes them keep coming back to it and keep looking at it (and in the economic sense, it has to create a feeling with that viewer that they want to have it hanging on their wall, day after day).

And if not, is the image worth making?

This kaleidoscope of color, sky, reflection and fog/steam in the very cold October dawn in Vermont created a number of emotional and visceral feelings in me (not the least of which was cold!)
Copyright 2010 Andy Richards

As I thought about this, I wondered how reach that emotional “chord” in people? And as I thought more, a plausible answer came to me. Does the image cause a visceral or emotional response in me? If so, there is a pretty good chance it will create that response in the viewer. And if not, is the image worth making?

Thanks for reading

Improving Your Imagery

The unique cloud trail pattern in this image, in my view, is what adds "gesture" to this Image of Grand View Farm in Stowe, Vermont

I am always thinking about how I can improve my photography skills. While I don’t suggest that my technical skills have reached perfection, I think I have a reasonably good grasp of the fundamentals of exposure, focus, depth of field, and digital exposure and manipulation.

However, I am often in awe of what seems to me to be a “natural” artistic vision by some of my friends and fellow photographers, while being self-deprecating about my own artistic vision.

Recently, I have been thinking more about “art” in the context of my own photography. How can I take it to a higher level? What should be my frame of mind when I set out into the field or on a photography excursion? Is there a mental or emotional approach to preparation for photography? While I strongly believe in developing my own unique vision, I have increasingly sought the advice and commentary of photographers who I respect and believe have themselves attained that higher level.

My recent fall trip to Vermont was preceded by some of this self-searching about what I wanted to accomplish photographically. In past trips, much of my planning was about finding the particular location and photographing it. This year, while I still wanted to find sought after locations and shots, my mental preparation involved looking for something extra in the photographs, instead of just the “record” shot that others have captured. In a discussion on the Scenes Of Vermont Photography Forum, the word “gesture” was bandied about for a week or so. I believe it was attributed to comments made by professional photographer, Jay Maisel. I found it a good descriptive term for that “something extra” I was looking for in my own photography. That “gesture” can be found in dramatic skies, unusual reflections, and dramatic weather conditions such as fog. As always, dramatic lighting conditions will almost always provide “gesture.” I thought the images I posted on my “Working At Creative Photography” blog in October, successfully captured some of that “gesture.” Rather than the “iconic” postcard images I had sought in the past, I tried to find clouds, light, fog, etc., in my photographs.

But I am still looking for more. On one of the internet forums I frequent, The Midwest Photography Enthusiasts Group, I have had the pleasure of getting to know Pennsylvania professional photographer and teacher James Moore. Jim is a thoughtful guy whose own work speaks for itself. I think it is worthwhile to study Jim’s work as I read his comments and critiques of work he observed. Jim has a masterful way of honest, direct, critique of photography within the meaning of the word “critique” as I see it. I think the terms “critical,” “critique,” critic and the like too often are taken in a negative or pejorative sense. I believe that it was intended more to be direct observation about a subject including concrete observations about what could be done to improve, as well as what works well with the subject. Jim does this in a way which continues to impress me. I commented on the forum about a couple of Jim’s critiques of others’ work and how much it helped me in my own journey to “see” photographically. Internet forums are an incalculable resource for photographers and allow us to commune with other photographers, including professionals, on an informal and daily basis. This is a phenomena that simply wasn’t possible a short few years ago. The MPEG forums have been one of the best I have ever participated on, as they have given me access to some very talented professional and hobby photographers, alike. Mark Perry, the owner, is a talented photographer himself, and is very accessible to the membership. I spoke to Mark on a daily basis by cell phone while we were both in Vermont last October. I highly recommend taking a few minutes to view the forum and its benefits.

Recently, Jim has taken my invitation to comment on my work to another level, by creating a several-part formal critique of one of my images on his own, EFT-Stop Blog. This image was one taken in Minnesota, on the Cascade River, accompanied by my good friends and fellow photographers, Al Utzig, and Rich Pomeroy. These guys are kindred spirits who always make my photography more meaningful with their fellowship and sharing of thoughts and ideas. The image is an example of one in which I spent some time “visualizing” the options of presenting the scene, but also one in which that visualization may not have been optimal. The posted image was a crop from the in-camera image, and Jim, as you can see from the Blog, is able to point out, not only that there is a stronger, more visually effective image within, but most importantly to me; why. My personal goal is to “see” that kind of effective composition as I stand behind the camera and capture it straight from the camera. Jim’s subsequent Blog posts give a series of considerations designed to get the photographer to that point. And, in sharing some personal communications with Jim, his workshops are designed with some tools and exercises to teach the photographer how to visualize and “see” the compositions we are talking about.

I am of course, flattered to have Jim review and use one of my images. But I really want to highlight his process of critique and teaching. I highly recommend reading his critique (not because it is about my image J — but because I believe there is some high quality, constructive instruction to other photographers seeking to better understand the process of artistic “seeing”). I have become a believer in Jim’s critical and teaching skills. He leads a number of “Master Class Workshops” in Western Pennsylvania, West Virginia, Smoky Mountain NP, and Western Maryland each year, geared toward serious photographers who want to take their skills to higher levels. You can bet that I’ll be attending one of Jim’s workshops in the near future!

In the meantime, I continue to read and study on my own. This year, at Christmas, my booklist included a number of “art” texts in an effort to better understand traditional art. Time (and hopefully, images) will tell.

This image of the Cascade River on Minnesota's North Shore is the subject of a 3-part critique by professional photographer and teacher James Moore on his EFT-stop Blog

CS5 – Worth The Upgrade?

Split Rock Lighthouse

Recently, while shooting in Minnesota, my friend, Al Utzig showed me the new “content aware” fill in Photoshop CS5.  It is a really, really “smart” cloning tool.  I watched him use it on a couple images, went home, plunked down my $ and upgraded to CS5.  Unfortunately (in my view) I had only recently upgraded to CS4.  I kind of wish I had waited for CS5.

It seems like in years past, the folks at Adobe would update Photoshop every 2-4 years.  That seemed long enough to amortize the upgrade costs and some of us would even skip an upgrade or two.  If the current software was working for me, I didn’t see a reason to upgrade.  Funny, I don’t even recall why I decided to upgrade to CS4.  I know the changes were significant enough that for the first time since CS came out, I found myself having to buy a book to see what was new and more importantly, where some of my “stuff” had gone.  I was able to get by with Ben Wilmore’s very pithy “Adobe Photoshop CS4:  Up To Speed,” which succinctly summarized just the changes from CS3 to CS4.

With the advent of CS5, I thought maybe there was enough new to warrant a full text, and recently bought Martin Evening’s “Adobe Photoshop CS5 For Photographers.“  While I obviously felt that the “content aware” feature was worth the price of admission, learning some of CS4 and 5′s other new features has been a pleasant surprise.  Among other changes, some of the changes I find useful are:

• Adobe Camera Raw 6.0 has a new tools (I believe 6.0 was also part of the CS4 program, or an update, but I didn’t become aware of some of the new features of ACR), including a sharpening algorithm that the experts say is so good that most sharpening should probably be done in ACR before bringing an image into Photoshop.  I have been using it exclusively as my pre-sharpening step and have been very pleased with the results.  I still do output-specific sharpening with Photoshop’s unsharp mask.  Remember that adjustments made in ACR are “non-destructive.”  In other words, all the changes are stored as “instructions” in the file and the actual original raw file remains unchanged from capture.  It can be recovered.

• Camera Raw also has new and better color and luminance noise reduction tools.  There is also a lens profile feature that corrects for lens distortion.  Most brand name lenses that have been around for a while have been profiled and if not already in PS, can be downloaded.  And, if you are really ambitious, you can build your own profile.

• I haven’t used it yet, but ACR has also added a new “neutral density” linear gradient.

• In CS5 (if you computer supports “openGL”), there is now a new Heads Up Display Color Picker.

• As an image management tool, there is now a “mini-bridge” feature which allows for viewing and selecting image files from within Photoshop by invoking mini-bridge.

• CS5 now allows you to drag any PS compatible file onto an open PS file as a new layer.

• With the Crop Tool, there is now a “rule of thirds” grid option.  I have left that on since I loaded CS5.

• The Clone Stamp Tool can now be used to sample from one part of an image and paint to another.

• Content aware is present now both as a “fill” option and as part of the Healing Tool.

• The Refine Edge feature has been — well — “refined” and is perhaps the best way now to feather a selection.

• CS5 has added Depth of Field blending capability.

This is by no means intended to be a full review of CS5.  That would be a textbook sized undertaking.  There are — and will be — many new texts on CS5, the new Bridge and ACR 6.0.  It is also my understanding the Adobe Lightroom has most, if not all of the features of ACR and may well be on its way to the full-featured photo editor that will render the need for Photoshop for many essential tasks unnecessary.

Note the white, "event tent" in the photograph at the top. A quick "selection" with the lasso tool, a "shift-backspace" and choice of content aware fill and "viola," no more tent!