Shelikof Double occupancy
by Mark ~ November 11th, 2009. Filed under: Destinations, art, artistry, birds, creativity, landscape, nature photography, wildlife.
Shelikof rock island
The waterway that separates Kodiak Island, Alaska from the Alaskan peninsula and Katmai National Park is called the Shelikof Strait. Our captain during our bear trip indicated it has a nasty reputation for some very serious storms. Thirty foot seas are not uncommon and crossings are often limited to the good days. In calmer waters, it is about a 4 hour crossing from Kodiak Island to Katmai, which is why so many travel by float plane.
We ventured out into the Shelikof when switching between Kinak Bay and Geographic Harbor. Although the weather was just grey, and relatively calm 3-4 foot seas, you definitely knew when you were no longer in the protection of Katmai’s protected bays. Even when approaching by plane with some rain clouds lingering over the coastal mountain cliffs, there was a certain ominous presence to this area. It had the look of an area that could produce some wicked storms.
Sea Lion shelter
With that in mind, I processed images made in the strait in a way where I wanted to represent that impression. We took an afternoon trip to a small rock island that harbored a sea lion colony as well as a large cormorant colony. Two occupants on this rock, surrounded by temperamental waters. Despite the aura that seemed to surround this sea oasis, these animals appeared to be quite cozy and right at home. As waves slammed the rock cliff walls, they certainly had comfort in no predators being about.
Shelikof Cormorants
Again, I was thankful for high ISO capabilities of the full frame sensor in the D700 to photograph at higher shutter speeds in cloudy weather. Swells rocked the boat constantly as you watched the horizon move from the top third of the frame to the bottom third to out of the frame completely. The landscape of the island at the top of this post was 1/4000 second at ISO2500 at f8, and there is no objectionable noise to be found. The sea lion wall … ISO 3200 with a 70-200 zoom that certainly amplified boat movements.
These are images that I contemplated for awhile on the processing, coming back again and again until I felt they represented what impression this seemingly unfriendly environment had, yet remained home to so many. The contrast of monochrome seemed only fitting to the contrast of environments and our comforts versus wildlife comforts.
Recently I read a few articles about truth in photography and if some images are altered too much. For me, these images wouldn’t have communicated the environment effectively strait out of the camera, let alone my feelings about being there and the impression this place left. In such cases, I ask what is a better representation of truth?
The images in this post were processed by Adobe Lightroom 2, luminosity masks in Photoshop CS3, with original capture by a Nikon D700, and 24-70 f2.8 AFS and 70-200 f2.8 AFS lenses. More of my monochrome photographs can be found in my monochrome imagery gallery.
November 12th, 2009 at
Mark, those look awesome as black and whites!
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November 12th, 2009 at
Mark, first I love the treatment you gave these photos.
A camera only captures a representation of the visual image. While this image, directly from the camera, may be “true” it’s often not the complete story. The artist/photograph has to supply the emotional impact and mental impressions of the moment you mentioned. If your results successfully represent those experiences then that is truth–IMO.
Wonderful post and story.
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November 12th, 2009 at
Awesome work, Mark! Really amazing atmosphere and subjects. I like also the story behind.
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November 12th, 2009 at
Two people could be at an event at the same place and at the same time. Their interpretations of the truth will be based on their own individual biases and preferences. The truth is always highly objective. We talk about the truth like it is some ideal written in stone that can’t be altered or interpreted any other way, but that simply isn’t the case. Each of us sees the world differently, even when we are looking at the exact same thing.
I love your interpretations of this scene. Well done!
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November 12th, 2009 at
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November 12th, 2009 at
You certainly brought a great, ominous mood into these pictures. There is absolutely no such thing as objective reality, IMHO.
Anyway, great expressions here, Mark.
You’ve certainly made me not want to attempt that crossing with your pictures and your words. I think that I’d take the seaplane!
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November 12th, 2009 at
@ Ron, thank you very much.
@ Earl, thank you and couldn’t agree more.
@ Tomas, thank you for your visit and the nice words.
@ Roberta – I agree, so often we mix “truth” with “fact”.
@ Paul – well, they certainly weren’t meant to scare anyone away.
But thank you very much.
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November 13th, 2009 at
While I haven’t navigated this area of Alaska I know Alaskan grey days all to well. I think your take on the scene is great. Make the most of the high ISO capabilities of your camera. Articles on truth in photography? I’ll have to look those up
Keep the great Alaska photos coming. I look forward to seeing more.
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Mark Reply:
November 13th, 2009 at
Thanks Jim. Yep that truth in photography might make for an interesting series of articles.
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November 13th, 2009 at
Hey Mark,
Great photos, all. I love the Sea Lion one most. I think the issue of truth in photography is an important one. But you’ve communicated mood with your imagery here, rather than truth, no? Mood is highly subjective, while I think truth is less so.
Cheers
Carl
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November 14th, 2009 at
Hey Carl – certainly it is. I suppose these images are attempt to portray more of the story of how rugged an environment this area can be. The only changes from the original raw files are portrayal of tone. Mood, truth, and story all come into play.
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November 14th, 2009 at
Hey, Mark -
Really nice – terrific atmosphere in all of them! And I agree with the other comments on truth/fact/accuracy in photography – this isn’t photojournalism, so I _want_ your interpretation of the scene!
- Jack
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November 14th, 2009 at
Stunning series of black and white, Mark. Hard to believe the high ISOs. But beautiful, very moody images. Ya done good!
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November 14th, 2009 at
Jack, Ed – thanks – glad you enjoyed them.
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November 16th, 2009 at
Oh truth smuth! I think they look amazing. They are your vision of the place as you felt it. Your truth. I think it’s perfectly acceptable to change a photo to your vision. The only thing I think is untruthful is when people add extra stuff to the image and don’t tell anyone, say for example if you’d photoshopped in a few extra sea lions! I think removing dust spots etc and adding a few filters to change the mood of the photo is perfectly within the ‘truthful’ photographers right.
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November 19th, 2009 at
Really fantastic mood that these pictures are given by the processing….really wonderful!
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Mark Reply:
November 20th, 2009 at
Thank you Howard.
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November 21st, 2009 at
Truth in photography, that’s a big topic.
You can even discuss the idea of truth in some photojournalistic images. At the end of the day it is the photographer who decides what stays in the frame and what is left out.
On the topic of post-processing and truth I think Carl is making a very valid comment about communicating MOOD which is a concept in photography that interest me a lot. A lot of the time if we can communicate mood, we are on our way to success with our images.
Great shots. I think they definitely communicate mood and to me that makes them a success.
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November 24th, 2009 at
Your processing feels perfect for this series. Even as addicted to color as I am, I can’t imagine these images having the same power and nuance, if left in color. For my money, revealing the essence of a what was seen is to truly expose the truth. Since each person would see something different, who can question your truth?
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November 24th, 2009 at
Thomas – thank you for your thoughts. I am glad these work in some way.
Anita – thanks so much. I didn’t think the color versions communicated what I wanted to portray – so they didn’t stay that way for long.
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