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More B&W Images

Nightime Canal
Venice, Italy
Copyright Andy Richards 2018

Since last week, I have acquired ON1’s newest offering:  ON1 Photo RAW 2018.  A version or two back, the ON1 folks moved from their “Suite” Of layers and effects, to a raw converter suite, which competes with Lightroom, Photoshop, Capture One, and the like.  The “develop” module in ON1 Photo Raw allows for essentially the same basic raw adjustments as Lightroom and Photoshop’s ACR (Adobe Camera Raw), as far as I can see (Capture One offered me its suite a couple years back at no cost as some kind of deal they have with Sony for Sony camera users – while I have played a little with it, I was too lazy to try to learn a new interface at the time, but I suspect the raw conversion there also has a lot in common with these other programs).

Nighttime Canal
Venice, Italy (“toned”
Copyright Andy Richards 2018

For the Moment, one thing ON1 offers, is the ability to purchase and own standalone software, where Adobe has essentially now moved entirely the cloud-based model.  There were a lot of us in the beginning that were very wary of the online model.  Some of us still have some misgivings, though I will say I have been using Photoshop CC for a couple years now and really haven’t found a problem with it – yet.  I do like the periodic upgrades they push through from time to time, and I find that it generally works pretty smoothly, even with my low RAM Microsoft Surface, when I am not able to work on my desktop PC.  ON1 is seeming to bring the best of both worlds to entice Adobe users.  It intelligently loads (if selected) as a plug-in to both Lightroom and Photoshop, and the process of moving between the software is “relatively” seamless.  I say relatively, because some of the layer-based files can be tricky and it takes a bit of a learning curve to understand what is going on (a curve, I will readily confess, I am at the very low left end of 🙂 ).  The other thing that intrigues me is the ON1 browser/cataloging capability.  I have used LR for cataloging only for the most part.  I may look at migrating that function to the ON1 software.  But that is another topic for another time.  I wanted to play with the ON1 software, primarily for B&W images, but I can see that I will be working some with other aspects of my color images in the software.  But for now, the images here were made using some of their templates, and one with my own conversion.

The ON1 Software presents a learning curve for me; one I confess I am on the low end of

The Venice Canal is the canal where we stayed for our 5 days in Venice in September, 2017.  My buddy and traveling companion, Paul, saw the color version of this image and thought he might like a B&W Print.  So I thought I would play with it, using a couple of the “templates” that are built into ON1’s Black and White conversion process.  I used their masking process to “paint” in some texture and detail in a couple areas and to paint areas lighter and darker.  Otherwise, they are just two different templates.  The second image adds a little “warming” color, which still retaining the monochrome overall image.  I am not sure which one I like, though I tend to lean toward the more dramatic and stark B&W in all these images.

Navy Ships
Fisherman’s Wharf; San Francisco, CA
Copyright Andy Richards 2018

One of my goals in the Navy Ship image was to work a bit with the color channels to see how they affect the image look.  Most of the color version here is pretty much a neutral or slightly darker gray.  But there were a couple of red objects, and on part of the ship on the bow that was bright green.  I fiddled with the sliders a bit to brighten those colors for some contrast to the otherwise gray.  I also darkened the water a bit.  This pre-set template I used here is called “Paparazzi” and it reminded me of some of the B&W images I made back when shooting for our college newspaper many years ago.

Navy Ships; Fisherman’s Wharf
San Francisco, CA
Copyright Andy Richards 2018

The second version is one I actually made first, using NIK Silver Efx in Photoshop.  In this case, I really preferred the ON1 version above.  I suspect that with enough knowledge, I could achieve essentially similar results in either program.  But I am warming to the ON1 software and process as I continue to use it.

Barns; Glen Haven, Michigan
Copyright Andy Richards 2018

The “D.H. Day Barn,” in Glen Haven, Michigan is just off the coast of Lake Michigan.  I spent a couple hours here one autumn afternoon, intending to photograph the barns in front of a wash of fall color.  The color was nice, but not spectacular.  But there was a lot of color in the foliage to the right side of the image.  I also like the repetition of these barns which get physically small, and recede in the distance as well.  This is one of the few images I have made in the past couple years that I thought would render well as a B&W image someday.

D.H. Day Barn
Sleeping Bear National Lakeshore; Glen Haven, MI
Copyright 2014 Andy Richards

I worked this image in ON1, using the “develop” and then “effects” modules from a raw image.  After adjustments to contrast mainly (I used the “dynamic contrast” filter), I converted this to B&W.  The ON1 effects module uses layers (much like the adjustment layers process in Photoshop CC) to add these “filters.”  Each layer has a lot of individual adjustment capability within it, and there is a great masking brush set of tools to achieve local adjustments (I am being repetitive, here, but I am just beginning to understand the potential of this software and trying to compare and contrast how it matches up to Photoshop.  But I see myself using both softwares for the future).  I wanted to do my own conversion here, rather than using a pre-set template.

My goals were to bring out the color contrasts in the sunlit area; build a little drama in the sky, preserve and highlight the white barns, contrasting against the black roofs, and enhance the texture and brightness of the grasses in the foreground.  I feel like I succeeded in all but the last, in the ON1 program.  I am sure I could have accomplished that too, with a little added knowledge and experience in the ON1 program.  But I have to catch a plane in a couple hours to head back to the frozen tundra of Michigan :-).  So I got a little lazy, and to the image back into Photoshop and my trusty NIK suite, adding some brightness and structure to the grass. I am new at this.  Be gentle 🙂 .  But I was pretty pleased with the result.  Lots to learn and looking forward to more experimentation with this stuff.  As always, thanks for reading.

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Making “Art” Images from Photographs

Barn, Saginaw County, Michigan
Copyright Andy Richards 2018

I continue to experiment with digital “painting” on my photographic images.  As I mentioned last week, I have been using Corel’s Painter Essentials 5.  The full Painter program looks pretty awesome, but a bit rich for my blood.  But I have been impressed with the estimable “light” version in Painter Essentials.

I made the barn image a few years ago, driving around my home county in Saginaw, Michigan.  While it caught enough of my attention to stop and photograph it, I never really thought much of the resulting photographic image.  As I began working with the paining programs, however, it seemed like maybe this was an image that had some possibilities.  I used the “impressionist” paint filter in Painter Essentials, and then brought the image back into Photoshop to do some final editing.  I like the final result.

Clearwater, Florida Scene
Copyright Andy Richards 2018

The Clearwater image was made with my cell phone, while meeting some friends from home who were visiting Clearwater Beach a couple years ago.  This was the view from an outdoor bar at their hotel, overlooking Clearwater Harbor.  I played with several different modes in Painter Essentials, eventually landing on this “watercolor” rendering.

Red Jack Lake
Hiawatha National Forrest, Michigan
Copyright 2018

Painter Essentials has a mode called “illustration.”  It rendered this image with an impressionist look.  This is an image that has, off and on, been featured on my website, Facebook Page and this blog.  I have always liked the photographic rendition.  But this is pretty cool. too.

 

The Rear View Mirror – 2017 in Review

Santorini, Greece
Copyright Andy Richards 2017

Most years, it seems like I get to this.  2017 was again, an eventful year, photographically and with related items.  This wasn’t a year when I planned a dedicated photo trip.  But I did manage to get to some new places, and back to some old ones.  For the most part, I carried my Sony RX100 small camera, and it gave me good service.

Crystal Beach Pier
Crystal Beach, FL
Copyright Andy Richards 2017

I ended 2016, and rang in the New Year with a series of images from a small public pier, just up the road from our Florida home.

Southernmost Beach Resort
Key West, FL
Copyright Andy Richards 2017

In January, we visited a “bucket list” location; Key West.  It has held pull for me at least since I became a “Parrot Head,” and certainly after I read a couple of Jimmy Buffet’s novels.  We celebrated my January birthday at Louie’s Backyard, a rather elegant restaurant with a wonderful outdoor deck seating area, and a great menu.  The sunset was – as is common in Florida – pretty spectacular.  Key West is a destination for eating, drinking, and people watching.  I would not put it high up on the photographic destination list. 🙂

Sunset from Louie’s Backyard
Key West, FL
Copyright Andy Richards 2017

Speaking of sunsets, these images got me thinking how much I have always loved both ends of the day, but generally preferred sunrise to sunset.  It spurred another post featuring some of my sunrise imagery.

Tokyo Sunrise
Copyright Andy Richards 2015

Bay Bridge Sunrise
San Francisco, CA
Copyright Andy Richards 2014

Sunrise, Hateras National Seashore, Hateras, NC copyright Andy Richards

As I went through my image library, it occurred to me that some of my images had some things in common.  For example: Shape.

Whitefish Falls
Trenary, MI
Copyright Andy Richards 2007

Rocks, Lake Superior Shoreline
Copyright Andy Richards 2004

And, Color.

Shop; Istanbul, Turkey
Copyright Andy Richards 2014

Shop; St. Maarten
Copyright Andy Richards 2012

And shape and color. 🙂

Just in time for Fall Foliage, my good friend, Carol Smith and I released our 2nd Edition of “Photographing Vermont’s Fall Foliage,”  which can be purchased via the link on this blog.  This is the cover image.

Craftsbury Common, Vermont
Copyright Andy Richards 2015

Finally, we embarked on our much anticipated, 3rd Mediterranean cruise.  The single most anticipated image for me was the opening image here of the whitewashed, blue-domed churches that dot the landscape of Santorini.  But there was so much more to see.

Ravello, Amalfi Coast
Copyright Andy Richards 2017

Positano; Amalfi Coast
Copyright Andy Richards 2017

Amalfi; Amalfi Coast
Copyright Andy Richards 2017

Santorini, Greece
Copyright Andy Richards 2017

Mykonos Greece
Copyright Andy Richards 2017

Night Canal
Venice, Italy
Copyright Andy Richards 2017

As we ring in the New Year, I want to thank all the readers here, especially those who have the patience and perseverance to visit regularly.  I want to thank all those persons who mentor and support me in my photographic endeavors.  I want to thank my great friends (you know who you are so I won’t “out” you publicly), who traveled with us this year – we had a great time with great company.  As I said last week, I am very grateful for my blessings in life.  I wish to all, a Happy New Year, and a prosperous and successful (as you define “success”) 2018!

Here We Go Again (It’s Fall!)

Second Edition!

Here we go again.  It’s fall foliage photography season.  Are you ready?

Reflections; Cascade River, Minnesota

Over the nearly 10 years since I started blogging here, I must have blogged about fall color and foliage a dozen times.  Maybe More. Not surprisingly, it remains a favorite subject for me.  For some who are fortunate enough to have great foliage photo-ops in their backyard, what I will say here may not apply. But for perhaps the vast majority of us, these opportunities often come only after travel to a more aesthetically accommodating venue.

Somesville Town Hall and Bridge
Somesville, Maine
Copyright Andy Richards 2009

I have traveled to New England (prominently: Vermont), the Upper Peninsula of Michigan, Maine, Minnesota, West Virginia, Virginia and New Mexico, in various years, to photograph fall color. Vermont has long been a love of mine, and I have made numerous trips there; enough to prompt me to take my first foray into “publishing” with the first edition of “Photographing Vermont’s Fall Foliage” in 2012.

As the previous blog notes, I am very happy to announce the 2nd Edition of this book, with updates and substantial additional locations (the first edition is no longer available, as the sellers required that it be removed from circulation in order to sell subsequent editions). The New Edition is currently available on Amazon, Apple, in the iBookstore, and Kobo.

Maple Leaf
Stowe, Vermont
Copyright Andy Richards 2005

Many of the persons I communicate with at this time of the year are primarily leaf peepers with cameras. For those folks, go and enjoy! For serious photographers, I want to make a few observations, based on my own travel experience.

Miner’s Castle; Pictured Rocks National Lakeshore
Michigan U.P.
Copyright 2012 Andy Richards

Preparation is Key

Mental preparation is the most important piece of this. Just because it is fall foliage season, doesn’t mean the rules for good photography change :-). It is important to be thoroughly familiar with the gear you will be using, as the “window” for a great image is often very short, and you may only have one chance to visit the location. In 2010, prior to my planned week-long trip to Vermont, I hit a milestone of sorts, in my own photography.  I had always planned my locations and tried to find as much “intel” about a location as I could.  But this time, I focused less on those details, and instead gave some contemplative thought to what I wanted to present visually, emotionally, and artistically.  I think this contributed to one of my most successful trips.

Hiawatha NF Color Sections
Michigan U.P.
Copyright 2012 Andy Richards

What you can take on a trip is also always a consideration. When I shoot near home, or somewhere I can drive to, the photographic gear I will take is generally only limited by what I own (and can afford).  When flying, you really have to consider weight, and bulk. Most of us do not feel comfortable checking a bag with photo gear in it for a number of reasons. So what can you carry on, along with your other needs?  One of the miracles of modern technology is the ability to make great images with a lighter, simpler gearset.  For “casual” travel (I define that as any travel I do that is not specifically and solely dedicated to photography), I now carry a very small, packable carbon fiber tripod and the RXSony 100 iv (a point & shoot sized camera, with some professional credentials).  Even when I go on a dedicated photo shoot, the camera, lenses and tripod are much small and lighter than in the past.

Glade Creek Gristmill
Babcock State Park, WV
Copyright 2011 Andy Richards

A better question might be “what lens will you use?”

Photographic gear is a subject that is often over-thought, in my opinion.  Cameras, lenses, filters, and accessories are — for sure — tools that are necessary to the making of an image.  And there is no doubt that higher quality tools can render a technically better result.  If that is what you seek.  I have already read, several times recently, the question:  “what is the best lens for foliage photography?”  I don’t think there is a “correct” answer to that question.  A better question might be “what lens will you use?”

Tahquamenon Falls
Michigan Upper Peninsula
Copyright 2004 Andy Richards

However, that there are other considerations that will have a more direct bearing on the successful image.  Understanding light, and composition will have much more effect on imagery, in my view, than any other factor.  This assumes, of course, that you already have a solid grounding on exposure principles, how to focus the camera, and considerations of aperture and depth of field.  This relates directly back to the first point:  preparation.  If you do not come to your subject in the best light, it will be difficult to make a really great image.  More often than not, this means early and late (or–think:  during breakfast and supper :-)).  Much of my more recent travel has centered around other activities, such as family time, tours, etc.  While I do make images, it is often apparent that they were not take in the “best” light, and I frequently lament that it would be nice to be at a location either very early or in the late afternoon/early evening.  If your trip is photography-focused, you will need to be mentally prepared to be on site at times that may be inconvenient to others you travel with.  When I have made my fall foliage trips, the majority of them have either been alone, or with other, equally serious, photographers.

Santa Fe Ski Basin
Santa Fe, NM
Copyright 2008 Andy Richards

Don’t forget the “other” gear you may need.  Most fall foliage locations have the potential for very warm weather, rain, and even freezing temperatures (especially at sunrise).  Hat, gloves, sunscreen, and adaptable clothing is important.

Fall Color Reflection
Copyright 2012 Andy Richards

Most important of all, though is to have fun and enjoy the process as much as the result!  Best to all of out out there and good shooting!

Burton Hill Road
Barton, Vermont
Copyright 2010 Andy Richards

“Photographing Vermont’s Fall Foliage” 2nd Edition is on the Way!

Second Edition!

It is hard for me to believe that is has been 5 years, since I first published this e-book!  If you are familiar with the First Edition, you will note the addition of Carol Smith as co-author.

In 2015, I published my second e-book on photographing Michigan’s UP. Trying to cover the whole UP alone was a daunting task, and I asked my good friend, Kerry Liebowitz to co-write it with me. I thought the additional coverage Kerry could offer, as well as commentary on the places we were both familiar with, would make it a better, stronger book.

Building on that experience, I asked Carol if she would co-author the 2nd Edition with me. I “met” Carol on the Scenes of Vermont Fall Foliage Board, while researching my trips to Vermont, and relied heavily on her knowledge and assistance when writing the first edition.  I encourage readers here to view her imagery on her own website.  We have regularly compared notes, and since “meeting” on the internet photography boards, have shot a number of times, in-person, together in Vermont.  Carol’s knowledge of the Northeast Kingdom of Vermont is near-encyclopedic.  And she is rapidly gaining similar knowledge of the rest of the state.  It became a matter of natural progression that she should join me as co-author for this new Edition.

We are very pleased to bring you many new locations, while retaining the bulk of the information from the First Edition.  In some cases, we have been able to report changes to scenes.

The manuscript has been submitted to our publisher and we expect it to be pushed out to the major e-book sellers (iBooks, Amazon, Barnes & Noble, Kobo and others) very soon.  The effort here involved re-formatting the original to add new touches, and re-working all of the images, due to the publisher’s ability to work with higher resolution.  It is significantly longer than the First Edition and has been labor-intensive over the summer.  While this is a late announcement for fall foliage shooters, the advantage of being able to download the book “instantly” will hopefully make it possible for shooters planning a trip to Vermont, to make use of it yet this year.  Unfortunately, while the 2nd Edition is in the process of conversion and distribution, we were informed that the major ebook providers require us to take the First Edition out of distribution, so if you go looking for it, you probably will not find itStay tuned for the more in-depth 2nd Edition!  I will announce as soon as I receive confirmation of availability!

Shape

Color

Last time, I wrote about color.  Color attracts.  It always grabs my attention.  It pulls the eye.  But as this image illustrates, it is about more than just color.  This image is boring.  Mundane.  In fact, pretty awful to be displayed on a photographer’s blog.  But I hope it illustrates my point.  Color is a big part of my imagery.  But there are other important ingredients. 🙂

Rose
Copyright Andy Richards 2008

Color alone will not make an interesting or compelling image

As the opening image illustrates, color, alone, will not make an interesting (and most certainly not compelling image).  Indeed it is so mundane that I didn’t copyright notice it or claim “artistic” credit.  I am sure I am not the first to have created an image very like this one.  So what’s missing?

Rocks, Lake Superior Shoreline
Copyright Andy Richards 2004

There are a lot of things that will bring interest to an image.  Line, horizon, animation (either illustrated, or in the case of many animal images, imagined).  I want to talk about shape today.

Elliot Falls
Copyright Andy Richards 2009

When I started to look through my archive for illustrations, I thought I was going to have a lot more illustrations that said “shape.”  I also thought about writing about “line.”  A topic to come.  But I was surprised that I was able to find many examples of line, or line and shape.  But fewer that shape alone provided the interest.  Some good examples appeared in the last blog.  The pottery in the shop in Istanbul was really all about color and shape.  Likewise the fans in Japan.

Shiawassee River, Owosso, MI
Copyright Andy Richards 2009

The Rose image has plenty of color.  Two primary colors in fact; red and green.  A blob (or an uninteresting shape) of red and green would not be interesting.  As a photographer, its presence would perhaps pull my eye.  But upon closer inspection, it would not tickle my photographic fancy.

Parking Structure on Wabash Avenue, Chicago
Copyright Andy Richards 2008

Nature presents us with unique and interesting shapes and textures.  The Lake Superior rocks image is another example of nature’s unique presentation of shape, texture and color.  This image might be interesting without all three of the elements.  Maybe the shape and texture would still make a viable image.  But the color attracted me, and the shape and texture of the image prompted me to make it.  Likewise, shapes make the Elliot Falls image in my view.  This Michigan U.P. waterfall is oft-photographed and it is difficult to find a unique perspective.  But the scallops in the sandstone really make this image.

Street Shops
Madrid, NM
Copyright Andy Richards 2008

I was looking for color the morning I took the Shiawassee River photo.  The background was cluttered and not very picturesque.  So I started looking for reflections.  The shape of the log creates enough interest to the eye to make this image work.  Sometimes you have to “help” nature just a bit.  The Noyes Pond bubbles image is a favorite of mine.  Without the bubbles, you have another “record” shot of fall foliage surrounding a pond.  The familiar shape of the bubbles adds interest.  I must confess that although I was involved in making the bubbles, my photograph was not the primary reason for them on this morning.  This image was made in memory of a dear friend, and enthusiastic fellow Vermont shooter.  But I think George would have loved this image. 🙂 .

Moulton Barn
Mormon Row, WY
Copyright Andy Richards 2012

Man made shapes often lend themselves to “shape” composition.  Architecture often lends itself to some dramatic images.  I visited Chicago several time over the years and always loved to walk around downtown in the early morning hours.  This well-known parking structure can be seen in the background of many images of downtown Chicago.  Its unique shape and physical prominence makes it visible from a number of viewpoint around the city.  Color once again drew my eye to the back street shops in Madrid, New Mexico.  Pastel colors abound in much of New Mexico’s architecture.  But again, without the juxtaposed rectangles throughout the image, it would be just a blob of color.  I liked that this image is made up of essentially all rectangles and straight lines.

Canadian Air Force
Fleet Week Air Show
San Francisco, CA
Copyright Andy Richards 2011

Shapes in a image can sometimes be serendipitous.  Without the contrails in the Canadian Air Force image, we would just see a handful of red dots in an shapeless, monotone sky.  The contrails make this image.

Starburst
Copyright Andy Richards 2009

And, sometimes you just have to make your own shapes.  The starburst image was taken at Christmas time of a lighted outdoor tree display in front of a large commercial building.  It just wasn’t doing it for me, so I played.  The image is shot at a slow shutter speed, on a tripod, while a zoomed the zoom lens.  But in the end, my favorite shapes come from mother nature and her random, unique artistry.  The Whitefish Falls image is but another nearly ubiquitous single drop waterfall in the Michigan U.P.  There are many of them that all look essentially identical.  To make a more unique image, I walked in close for my favorite “intimate” perspective.  I like the result as much as any shape I have ever shot.

Whitefish Falls
Trenary, MI
Copyright Andy Richards 2007

Truth in Photography (Here I go again)

Birch Clump Hiawatha NF; Michigan Copyright Andy Richards 2017

Birch Clump
Hiawatha NF; Michigan
Copyright Andy Richards 2017

[Recently, I seem to have run out of fresh, new material, which partially explains my more infrequent posts here (my goal has been one a week and over the years, I have largely met it).  When I get into these times, I will sometimes look back at prior posts to see if there is anything worth re-visiting, and through my Lightroom archives to see if anything stimulates me.  I have done that for the last 2 weeks.  Nothing.]  🙂

“truth isn’t absolute”

So, this morning, I spent some time with my friend, “GOOGLE,” and found this article, Why Facts Aren’t Always Truth In PhotographyMany will remember the Afgan Girl magazine cover that (perhaps) launched photographer Steve McCurry into international recognition.  He has recently made news (at least in the photographic world) again.  Without getting into the specific circumstances of the article (written by a colleague and fellow professional photographer, Peter van Agtmael) it’s “10,000 foot view” is, in my view, focused more on some principles of “truth” in photography that can be generalized.  And boy, did it resonate with me.  In fact, it can — I believe — be applied to much of what has gone on in the past several months over media, social media and even the coffee table.

Starting with one of my earliest posts, “Get Real,”  and for example, “Has The Digital Medium Changed Everything?,” and “Photoshop Is Not Evil,” over the years I have been writing here, I have made frequent reference to my thoughts on the use of “digital darkroom techniques” to “enhance” my own images.  I think I have made position clear when it comes to the art of photography.  But Mr. van Agtmael ventures into photography that is not made, per se, as “art.”  Rather, he addresses what I refer to as “reportage” photography.  Presumably, the image depicts things exactly as they appeared.

“We shouldn’t mistake something factual for something truthful, and we should always question which facts are employed, and how.” (Peter van Agtmael)

 

Humanity is not scientific.  Biology is.  The human brain is a scientific wonder.  The workings of human brain?  Well that is only “scientific” to the extent that it is thinking about science.  The rest?  It’s an art form for certain.  How else can both the consistency and inconsistency of human thought be explained?  And so, Mr. van Agtmael posits something we have all heard back in our own ancient histories, at some point.  In my words, “truth isn’t absolute.”  But that is a bit cliche‘.  In his much more eloquently stated words: ” ... there were a lot of loaded words like ‘truth’ and ‘objectivity’ being thrown around. I don’t really believe in these words. I’ve never met two people with the same truth, nor seen true objectivity ever demonstrably applied to anything. They are nice words, but remain aspirational and cloud a more nuanced interpretation of reality and history. We shouldn’t mistake something factual for something truthful, and we should always question which facts are employed, and how.”  I like that.  Our world is filled with millions and millions of “facts.”  We also hear a lot of opinion which is cited as fact.  But even with incontrovertible, empirically provable facts, it is still important to understand context and relevance.

Goat Island Light Newport, Rhode Island Copyright Andy Richards 2016

Goat Island Light
Newport, Rhode Island
Copyright Andy Richards 2016

The opening image here is (OMG!) altered.  I know viewers will say I “saturated” it, I “enhanced” it, etc. (maybe; maybe not 🙂 ).   But that isn’t really what I mean.  This image was physically “altered” before it was even made!  I had an image I wanted to depict, and in the crotch formed by the 3 trunks there was I small pile of dead branches which were (in my view) unsightly and distracting.  Is it relevant that I removed them and spread the leaves around a bit?  Could the image have been found the way I have presented it?  Perhaps if I were trying to depict the “pristine” quality of nature, or deny that it can sometimes be messy, the answer would be different.  I appreciate that this is not reporting on the refugee crisis and is trivial in relation to that.  But this is a photography blog, and I don’t do reportage photography.  I just thought Mr. van Agtmael’s point would resonate even in the perhaps less significant milieu of nature photography.

How else can both the consistency and inconsistency of human thought be explained?

Those who have read here previously know the story of the Goat Island Light Image.  I placed those chairs there.  “Hand of man and all that good stuff.”  Again, I don’t mean to trivialize the serious piece.  But I do think the larger point has application to all of our photography.

Fayette State Park Michigan Copyright Andy Richards 2007

Fayette State Park
Michigan
Copyright Andy Richards 2007

If the viewer looks carefully at the bottom center of this image, there is a snarl of yellow polyethlyene rope in the foreground.  A better photographer than I would probably have seen that detail and excluded it (or perhaps purposely included it, again depending on the goal of the image).  I would not perhaps shock anyone here that before I made a print of this image I (GASP!) “Photoshopped” the rope out.

Small things.  But then, from small minds ……..  🙂

But seriously, I would commend the reader to read the Peter van Agtmael piece on Steve McCurry debacle.  While you may or may not agree with me, or with its premise, I hope you will agree that it it thought – provoking.