Recently I was reading an article by Mark Lissick  in Outdoor Photographer. He asked a very important question – What is a camera? How would you answer? The typical answers are “a device that records an image or an object that captures light”. As Mark points out, how you view your camera can limit how you use it – does it just capture or record? As I thought about it, I realized my view of my camera has evolved over time. In the beginning I probably thought of it in the classical terms above (especially with my engineering background). However, at some point for me it became a tool or perhaps a canvas where I could paint most any image that I could imagine.

As I learned to use every control and capability of my camera I began to craft images as I visualized them in my head. I could slow down the shutter and paint moments of time on the back or canvas (sensor) of my camera creating brush strokes; I could blur out the backgrounds to create flowers floating in a sea of color; changing the focal length I could create depth. In this creative process the camera is just one of the many tools at your disposal. Reflectors, filters, lights, lens, etc. are additional tools. But as with any tool how well you know its capabilities and possibilities can limit or enhance your ability to create.

Take the time and get to really know the tools in your hands.

What is your camera for you?

Blog Images:

1. A slow shutter speed pan of the SE Oregon grasslands creating an impressionist painting of the landscape.
2. A slow shutter speed shot of flowers using the camera as a brush in circular motions.
3. A shallow depth of field to create a place a yellow flower in a sea of blue.

There are probably times when you look around and think “There is nothing here to shoot.”. Maybe the subject matter around you isn’t that interesting or doesn’t ring your bell. That is a good time to think about abstraction. Try looking at how you can frame just pieces of the subject matter around you – get in tight. Don’t worry if you are losing subject context. Look for graphic patterns (triangles, circles, squares, diagonals, V’s, etc) or interesting textures. See if you can come up with an interesting composition or design. Think about ways you might post process the subject matter to add interest, deal with boring or clashing colors (B&W is good for that) or bring out texture (using contrast or clarity). With strong graphic abstracts, keep other distracting objects/materials out of the image or clone them out later if you have to.

The blog image was taken in a rental car parking garage. The car rental agent said “Follow the yellow lines to the elevator…”. Parking garages can often provide interesting graphic subjects. There wasn’t anything standing out to me in this one so I stopped and composed this diagonal view of the “yellow” line. It not only had strong graphic value, the concrete had a heavy texture. I found that processing the image as a high contrast cool B&W image added the punch the image needed and brought out the texture. I also burned in (darkened) the edges and corners to give it more depth.

Now look closely around you today and see what abstracts you can create.

Now and then we just pause and contemplate life. When we do, we often fixate on an object or stare into the distance. Where am I going? Where is life taking me? Is it going where I want? What lens should I buy next?

To me, each of these blog images have a sense of contemplation, each with a different feel. The first image is calming and neutral emotionally. The heron staring in the distance and the overall blue tones support this calm feel.

The second image is a bit more negative emotionally and moody. A hole or dip in the ground, the burned in edges and the black and white processing add to this feel.

And the third image is more warm, optimistic and refreshing. Can’t you feel the balmy air soothing your soul. The strong warm tones and the familiar subject matter of breaking waves give the image a positive energy.

Color, light and subject matter all impact the viewer. Sometimes it will be different than yours, but often a common or shared subject and/or experience like the ocean at sunset is a good way to strike a common emotional chord.

Life as with these images can sometimes be the pits, just flowing along or bright and optimistic. I hope you are getting to experience some of the latter!

I was reading an image description on Darren White’s Flickr page the other day and he commented on how most of his Oregon coast images were in black and white. He noted that this was due to the fact that so many times the skies were cloudy and gray. This is often the case. In fact the day after I shot the images in my previous blog entry the skies were gray. Given that, I didn’t shoot as many images and I knew I would be processing them in B&W. What am I trying to say? Remember to adapt when the weather isn’t what you hoped for. Maybe you need to be seeing in B&W. Great images are still there to be captured.

Blog image: This is another long exposure image – 8 sec at f22 using a variable ND filter. In post processing, several things were done. A row of houses was removed from the far ridge using cloning (something I expected to do), the sky was darkened, foreground rocks were lightened and structure brought out in the water. Silver Efx Pro was used to convert and process the B&W image. I started with the high structure preset and added a red filter. I used a control point to bring out the far sea stack by adding contrast and darkening it. One thing I love in Silver Efx Pro is the “zone” bar that lets me see what portions of the image are in which tonal zone.

This past weekend my wife and I took a little get away and caught one of those rare sunny and warm January/February days on the Oregon coast. It was pleasant and there was really good wave action. As late afternoon came on with the ocean just past high tide the table was set for a beautiful evening shoot. I had been wanting to do more experiments with long exposures and so I put on my variable ND filter. The results are what you see here.

All of the exposures were 3-6 sec long at f22. While the images look very good at this size they aren’t quite as perfectly sharp as I would have liked. There was a strong wind that was creating quite a bit of vibration in the tripod and camera (even with a large Gitzo Systematic tripod). I was able to keep one hand on a tripod leg to damp out the vibration but there is still some there (didn’t have a good weight handy). The other thing that comes with wind by the ocean is a steady fine mist that gets on your filter all the time. I had to constantly clean the filter (have lots of micro clothes handy for these conditions).

As you may have noticed, I love to mix and blend colors within my images using movement – movement of the camera, textured glass, or the subject itself. This was just another way to get that mixing and the colors are wonderful.

Do you have a favorite?  Let me know.