With better and better sensor technology and better software for HDR processing we can capture an incredible dynamic range in our images where we have an incredible details in highlights and in shadows.
Would photographers of the past be amazed with amount of details we can capture? Maybe. But I really miss silhouetted photos that have become such a rarity. They reveal very little leaving a lot of room for imagination.
The photo can be not about what is said but about what is not said, or to be more accurate about what is not shown and not about what is shown. It can be about mystery left in the shadows.
I’ve been studying time in photography, experimenting with different things for over a year. How to capture time in one image? What if images from multiple times are combined into one? What’s behavior of different moving subjects over time? This requires a lot of patience (which to be honest I’m lacking) keeping camera in exactly one position recording world around it at it changes.
The best part of it is a suspense waiting for images to be processed and see the end result. The worst part is not knowing if any of it will be any good.
So far I have had lots of ideas with little success. Finally, it starts yielding some interesting results. Look at those clouds: don’t you like the painting like look of them? That’s no painting though. It is a lot of images taken over time with camera stationary in the same place on a tripod. Good thing there were no cars on this rural road that gave me enough time to make it.
For a week the area where I live had fog. Every day. Every night. Whole day. Whole night. It was beautiful, smooth, thick, milky white fog. I love fog. It adds mystery and depth to everything.
Unfortunately, I was busy whole week and could not get out to photograph. But one night I just dropped everything I did, picked up my camera and went out on a walk around the neighborhood. While I may have not done any greatest hits, I still enjoyed reconnecting with what I love using even smallest moments I can carve out of sometimes busy days.
Here is in some sense a good representation of my suburban neighborhood and probably many other neighborhoods across US: proudly displaying their flag on their home, keeping cars outside despite having garage because the garage is filled with things that they still cherish, things that they find it hard to part but which they will unlikely to ever use again.
I’ve wrote about light painting before and I’ll likely write more again as this really fascinates me in photography. For me it is a lot of fun playing with lights, a lot of creativity as I create something that was not there in the first place, and a lot of surprise as most of the time what I get is unexpected.
Here is an image that got me very excited about light painting again. I spent a day photographing fall foliage in Kubota Gardens in Seattle (I’m still working on post-processing those photos). At dusk as it got dark enough for exposures to go up to 30 seconds I started playing with light painting with two waterfalls I found in the gardens.
I found the upper waterfall to be more interesting of the two because it had red leaves caught in the stream and I could get a more dynamic image with foreground and background.
There were two new things I played with this time. First, I brought two different flashlights: one had cool light and the other one had warm light. So, I could do not only light painting but also color painting. The other thing that I played with was focus, shifting focus in the middle of light painting. This created dreamy effect.
For those interested in more technical details here is how I took this image. The camera was on a tripod, aperture wide open (f/4 for the lens that I used), shutter was 30 seconds. It was pretty dark already, my camera was not able to focus just using ambient light. First I would use very powerful warm flashlight. I would point to a rock in the middle of the frame and focused the camera using auto focus. I would turn off auto focus then. Turn off the flashlight, so it does not light up something accidentally, and release shutter. Then quickly with the same powerful warm light I would trace the waterfall and the creek back and forth a few times to ensure that individual spots or streaks of light a now visible. That was taking me about 5 seconds. Then I would turn off flashlight and defocus the lens. The rest of 25 seconds I was using weak cool flashlight to light up sides of the frame while the camera was out of focus. I did this ten times or more, every time getting a different image – I love the element of surprise. This I think is the best out of the series.
A Dream About Water