Graf Nature Photography | Notes from the woods

I came across a wonderful collection of images that are finalists for Prix Pictet, a photographic award for artists drawing attention to world environmental issues.   It serves as a great reminder that although many photographs remind us of the great treasures and details around us, there are others that deserve just as much, if not more of our attention.  These are extremely concerning issues, certainly made more powerful and personal by the photographs associated with them.

Both styles of imagery have their place and purpose.   From viewing the work of these photographers, it certainly shows that such efforts do not have to be purely documentary, but have artistic merit as well.   I was particularly engaged by the work of Sebastian Copeland with his work in Antarctica, David Maisel’s abstracts of an environmentally impacted area in the Sierras, and Edward Burtynsky’s work of nickel tailings in Ontario.

Certainly there are issues around me that perhaps need more attention drawn to them.  I know I will be giving some careful thought about this type of work, and my eyes open to a different perspective when looking through the viewfinder.

I am just back from a quick trip “Up North”, and one of the stops was of course at my favorite place in Michigan - Pictured Rocks National Lakeshore.   (link is to NPS map) Sometimes photographers talk about how there are no ‘grand landscapes’ (aka. “out west” style) in Michigan, and I certainly think this place is one of the many that proves them wrong.   There is no place in the world quite like it and I feel fortunate to live within a day’s drive of the region.  For those not familiar with it, Pictured Rocks is located near Munising in Michigan’s Upper Peninsula along the southern shores of Lake Superior.   It was designated by Congress as the first national lakeshore in 1966.

Although certain spots of it are popular tourist spots, the 17 miles of coastline that have the dramatic cliffs generally have pretty limited access.  Road access is only possible to spots like Miner’s Castle.  Hiking is possible via the Lakeshore North Country trail, but you are mostly on top of the ridges, and it is one heck of a long hike - so my personal preference is to explore it via the water.   That represents its own challenges as Lake Superior conditions change rapidly and the water is quite cold most of the year.   This particular trip, our boat rental was canceled twice due to rough water.

On this particular trip, a particular boulder (ie. large hunk of fallen sandstone) caught my eye from the boat and I wanted to get closer to it to use it as a foreground element.   This particular boulder was just begging to be used in a photograph.  Its jagged lines and alternating colors made for something quite interesting.

There aren’t many places to beach a boat along Pictured Rocks because of the sheer cliffs and rocky shores of Lake Superior.    Many ginormous boulders lie in shallow waters along the shore.  But fortunately a small pebble beach wasn’t too far away with a single opening to make a landing.   I was able to climb over the rocks to get to “my rock” that I wanted, and ultimately had to wade into the water as you see here.

Ideas for images are one thing, but the logistics of making them happen can sometimes be tricky.   The end result was worth it for me, although looking back I think I should have spent more time here working even more compositions than I did do.   Perhaps this particular rock  (the one in the foreground far right) will wait for the next time I come back, or be consumed into the sometimes violent conditions that Lake Superior is known for.

More of my Pictured Rocks photographs will show up in my gallery as I make my way through keywording and post-processing.   Just click the link to see what’s new.

A few different sources (podcasts, articles, blogs) I have come across in the past year or so have talked about the the concept of a burden that weighs down on our creativity. That burden is typically developed by our past experiences by looking at other photographs, hearing or reading about what is defined as good or the way something should be done, or perhaps just by growing up with so many rules.

It is interesting to think about how many photographers likely draw upon their past experiences and what they have learned to develop their own sense of style, or simply in trying to make their images better. Does that inner judge, as Craig Tanner from the Radiant Vista puts it, prohibit us from pushing the limits, or going that next step? Is it possible that this experience and, for lack of better term, growth could actually become a noose to future creativity? You know the saying about old dogs and new tricks.  Or is it a matter of simply being more refined in knowing what you like and don’t like?

I threw some of my HDR experiments on the table in some past posts.  I think most people preferred the more ‘natural’ looking version in comparison.   That’s OK with me - I am willing to put an image out there and have a thousand people tell me “Gosh Mark - that sucks.”    Just don’t tell me they all do, or I may start taking it personally.  ;)  Sometimes feedback helps us collect our own thoughts about a new direction when we may be unsure about it.    HDR is one of those things where I think people are still testing the waters on how they feel and react to it - myself included.   The bluebird image I placed in the previous post, well, I think most people would think that is just plain weird.

It is a strange thing to think about - being more experienced leading to a burden to creativity? Can refinement happen to an extent where your work becomes stale?  Of course, I am asking a lot of rhetorical questions, but I find the possible answers an intriguing thing to think about.   The pursuit of answers to these types of questions is often more beneficial than actually answering them.

(A special thanks to Craig Tanner for pointing to a great article awhile back.  It is a great discussion of myths, mysteries, and maximizing creativity.  Print it out and refer to it often.)

Though I haven’t photographed many birds this summer, when I have had the opportunity, I have tried to create some different bird photographs than perhaps most are used to seeing.   Part of it is just experimentation to try to expand creative thinking about a frequently photographed subject.   When it comes to bird photography, it is hard to think up something that hasn’t been done before.

The first image here is an image overlay - done IN CAMERA!   This feature is unique to Nikon DSLRs (like multiple exposure capability) and can yield some very interesting results.   You basically select two images and an ‘overlay ratio’ between them.  Results are previewed right on the back of the camera.   I find it works best with a ‘normal’ exposure, and something like a motion blur (like used here) - or an out-of-focus image.   I have used it in abstracts and landscapes before, but rarely with wildlife.   So this was a bit of a test on my part.  A bit bizarre perhaps, but nonetheless unique!

I have written about my affinity towards monochromatic wildlife images, and this woodpecker seemed to fit right in with that type of processing.  Removing color always emphasizes other graphical elements of an image, and the feather patterns in this red-bellied woodpecker are no exception.   It also seemed to strengthen the graphical relationship between the bird and the nest cavity.

These different approaches are simply my own personal attempts to break my own preconceptions of what a wildlife image should represent.   Sometimes it takes freeing your mind and just learning how to play - no matter what the result.

It is a pretty rare situation when you can use a Lensbaby on wildlife.  However, such was the case today with these Sandhill cranes.  They are wild, yet completely comfortable around humans walking right by them.   Year after year they nest here, and the next generation seems to get bolder and more habituated.   When you have wildlife that is comfortable around humans, it can be worthwhile to try some tools you wouldn’t normally use to take advantage of the situation.

It was a family of three, preening not much more than 3-4 feet away as I sat on the ground.    I used this chance to get some face portraits where you can really see some up close details of these great birds.   It didn’t occur to me until later on when they were foraging that I should try to get some lensbaby shots of them.  The lensbaby can be hard enough to focus with, let alone following along on a snail mission with a bird.   Most were scrapped, but I liked this one.   It’s different for sure.

At one point I was sitting waiting for one of the birds to approach me - hoping to get somewhat of an ‘upward view’ with the lensbaby.   Well, the bird became a little too curious with the funny looking lens on the front of my camera and zeroed in on it.   I am not sure if she was upset I wasn’t doing my share in the snail hunt or that the little knobs protruding from the lensbaby looked a little bit too much like small snails.   I had to scold her with a “Back off snail breath”, letting her know it wouldn’t have tasted good anyway.   They eventually realized I was quite useless to them in finding something to eat and went on to other hunting grounds.