Lessons Learned in the Field

There are probably a few of you out there who love all the snow we’ve been getting here in Westchester.  But if you’re like me you’ve become a little weary of the cold, the shoveling, the ice, etc.  The average seasonal snowfall for us is supposed to be about 25 inches and we’re more than double that amount right now.

Anyway, with this month more than half way done, it was time for me to go looking for my February image.  So off to Ward Pound Ridge Reservation, the county’s largest park and one of my most favorite spots for photography, just a few miles from my home.

Below are the three images I eventually took.  And liked.  I say “eventually” because things didn’t click right away, literally and figuratively.   Read on if you want to find out how I was finally able to wake up my visual point of view, almost in the blink of an eye.  

As I said, things didn’t start out well.  I hadn’t been out shooting in weeks. After parking near the Meadow, I trudged north through knee-deep snow toward the Cross River, which meanders roughly east and west, dividing the top quarter of the park from the rest of its 4300 acres.  I could sense my impatience growing with each step, and my gear bag felt much heavier than usual, swinging back and forth, further aggravating my shovel-worn back.  Looking around, it was just drab snow and more snow, dull trees and more trees.  Just wanted to get to the River where some interesting image was sure to await me.  Well long story short, I kept at it, but the river was mostly frozen and grey, the light was grey, no striking shadows, no peculiar patterns, no singular shapes.  Blah.

Two hours later I was back in the car, a bit crestfallen.  Not one image on my card. Sat there for a while, staring out into the Meadow whose smooth snow cover was dotted with a million sticks, stems and spikes poking out.  Brooding a little, but also searching in my head for a mental switch I knew was in there somewhere.

Hard to explain, but in a kind of Aha Moment I poked my camera through the car window, zeroed in on a few of those individual spikes, cropped with the zoom lens, composed and clicked the shutter.

Some photographic lecture somewhere in the past came slowly drifting forth – in bits and pieces, and then complete sentences. …familiarity keeps you from seeing things fresh by filling in details from previous experiences … distinguishing in your mind the names of objects from their shape and pattern imbues you with a “beginners” point of view.  Not having to assimilate from scratch all the thousands of visual images one confronts every day is a valuable adaptive quality in most instances.  Since you’ve seen a thousand trees, why not let the mind supply all the previous details – so you don't have to waste time examining this particular tree.  A kind of useful neural shortcut, but, unfortunately, one that interferes with really seeing things anew.

Made some depth of field adjustments and fiddled with the exposure and white balance to get detail in the highlights, but in five minutes, shooting from my car window, these images seemed to magically jump onto my camera’s sensor without effort.  Hope you like them.

Thinking about Trees

What’s the best season to look at trees?

I would vote for Winter.  Others might choose Spring when buds and then leaves appear according to some timeless timetable.  Probably most would say Fall – when Mother Nature paints from her palette of reds, yellows and golds.

But in Winter you really get to see the shape of trees, their limbs and branches so often camouflaged by leaves in the other seasons.  I’ve overexposed this Winter Trees image below, increased the contrast and done a few other tricks to really show off their detailed shapes.

Which of course begs the question: why do trees have shapes they have?  Why are some tall and conical and others are pyramids?  Why are some round and others flat?  (Another big question is why there are so many shapes of leaves – but that’s maybe something to explore another day.)

Well, a little Internet research suggests a very good reason for the overall shape of a tree.  And it seems a bit obvious after the fact.  Tree shapes are all about balancing various survival needs: to get enough light, the right amount of heat, and enough water, and not get too big so as to fall over.  Your average tree in our area has got a lot to consider: shedding snow, worrying about high winds and poor soil, not to mention pollination and sending out its seeds.  And survival also depends on how a tree gets along with its neighbors, either interacting with its own kind or competing with a completely different nearby species.  As one writer put it, the shape of a tree is a compromise to achieve all these sometimes-conflicting goals.

So all this got me thinking – if trees in their wisdom are able to get things done and survive by adapting and compromising, maybe we should elect some trees to Congress?  Start a new party.  Call it the Tree Party?

Trick or Treat

This full moon image backlighting a spooky winged silhouette on a cool, cloudless October night captures some of the scary fun of Halloween that I remember as a kid.  Hope it provides a pleasurable spine tingle down memory lane for you as well. 

Several folks who've seen this image have asked me if it's "real" or if it's been "photoshopped."

Many think such questions are new to the digital age of photography.  Not true.  Did you know that one of the most famous images of president Abraham Lincoln from the 1860s is actually his head perched on the body of another politician, John Calhoun?  Or that in the 1930s Stalin and Chairman Mao routinely had comrades removed from photos after they had been otherwise removed from history?  Even the famous Mathew Brady sometimes played tricks with his images, once by later adding a missing member of General Sherman’s officers to a group picture.  

Today most people agree that such manipulation of images in the realm of photojournalism is a no-no.   But there are other areas of photography where the answers aren’t so clear, at least to me. Say for snapshots, what about overriding the camera’s limitations?  Or correcting for the casual photographer’s composition mistakes? Depending on the sophistication of the camera, or the settings selected, a lot of decisions about the image get made inside the box.  For example, broadly speaking, the camera likes to see everything as medium grey.  Ever notice in a winter snapshot, the snow is not quite as white as what you saw?  After taking a gorgeous shot of toddler Michelle’s angelic smile, is it immoral to remove a few Cheerio crumbs from her chin?  And isn’t it ok to crop out a distraction in the backrouond from an otherwise perfect portrait of Aunt Polly?  I think most would say if you’ve got the means, go for it.

The more interesting debate involves photography as art.  Sometimes, as with snapshots, you have to make adjustments to bring the capture closer to what you witnessed in the field.  For example, a landscape with a bright cloud filled sky and a dark shadowy foreground could, because of the camera’s calculations, lose the detail in both areas that originally attracted the photographer’s eye.  That’s easily fixed with today’s software and actually, while an adjustment to the image, is not a manipulation of the subject that “improves” it.  Going a step further, the master himself, Ansel Adams, was known to make post capture adjustments in the darkroom, darkening and lightening key elements of a scene for visual drama, known as dodging and burning.  He is reputed to have said that these techniques were “steps to take care of mistakes God made in establishing tonal relationships.”  Manipulations or an artist sharing his vision of jaw dropping visual beauty using the tools at hand? 

Going even further, some modern photographers move us by producing powerful abstract images using pre-, peri- and post capture manipulations of their subjects.  So, in the end, if photographic art is creative skill and imagination provoking strong emotional reaction to visual images, it’s hard to come up with a set of hard and fast rules on how it must be achieved.

Is Night Flyer a Trick or a Treat?  You be the judge. 

Black and White Spider Awards Press Release


I'm pleased to share this Black and White Photo Spider Awards press release with you.  You can view this nominated photograph and the other nominees at
 
http://www.thespiderawards.com/gala8th/nominations.php?x=a&cid=232   

FOR IMMEDIATE RELEASE:

BLACK AND WHITE SPIDER AWARDS HONORS PHOTOGRAPHER CHARLES DAVIET FROM USA.

LONDON October 19, 2013 - Photographer CHARLES DAVIET of USA was presented with the 8th Annual Black and White Spider Awards Nominee in the category of WILDLIFE at a prestigious Nomination & Winners PhotoShow. The live online ceremony webcast Saturday, October 19, 2013 was attended by photography fans in 75 countries who logged on to see the climax of the industry's most important event for black and white photography.

The awards international Jury included captains of the industry from the Tate in London, Heffel Fine Art, FoMu Fotomuseum, FTM Advisory, Camera Work, Art Stage Singapore, Aeroplastics Contemporary, Galerie Baudoin Lebon in Paris, to Fratelli Alinari in Florence who honored Spider Fellows with 246 coveted title awards and 938 nominees in 14 categories.

"It is an incredible achievement to be selected among the best from the 9,456 entries we received this year," said Basil O'Brien, the awards Creative Director. CHARLES DAVIET'S WINGS and AVIAN ARMY, exceptional images entered in the WILDLIFE category, represent black and white photography at its finest, and we're pleased to present him with the title of Nominee."

BLACK AND WHITE SPIDER AWARDS is the leading international award honoring excellence in black and white photography. This celebrated event shines a spotlight on the best professional and amateur photographers worldwide and honors the finest images with the highest achievements in black and white photography.

Contact: CHARLES DAVIET
Telephone: 914-656-0354
Email: me@charlesdaviet.com
Website: www.charlesdaviet.com

Your Vicarious Maine Vacation

We didn’t get to take our annual Maine adventure this year so I was a little bummed.  To ease the loss of this periodic dose of pristine peace I took a pictorial hike through “Acadia’s Light,” a gallery of images I’ve captured over the years.

 This one image of Jordan Pond, taken 4 years ago this week, is a good example:

The body of water is technically a Tarn, or a mountain lake formed by a glacier during the last Ice Age.  Jordon Pond is comprised of 187 acres of some the cleanest and clearest water you’ll ever come across -- they say you can see the bottom at 50 feet. Maximum depth of 150 feet.  3.6 miles of shoreline (and a gorgeous, fairly easy hike, the west side along cleverly hewn cedar planking raised to protect the lakeside ecosystem).

 You’re looking north to the Bubbles -- obvious name and a good climbing hike as well.  At the top you’ll see striations and other glacial evidence, in particular Bubble Rock, a precariously positioned huge boulder, called an “erratic” by geologists.  And that’s Pemetic Mtn on the east side at 1248 feet.  Wonderful views from there.

There, I feel better already.  Hope you do too – you can make an extended trip through the 34 images in Acadia’s Light here: