What I really like about this image is how there are three distinct types of reflection going on: there’s the rough ice that more or less ends up looking white and speckled; there’s the smoother ice under which bubbles were moving, creating smooth, flowing shapes that changed from moment to moment; and the surface of the water, which created the clearest, albeit darkest, reflection. This was shot late in the afternoon of an overcast day, by the way. As always, plenty of jiggering in Lightroom with blacks and vibrance.
Good times were had this past week on a road trip to Ohio and Indiana. There were several days that hinted at the spring to come; lovely days for a walk on my brother’s wooded ten acres. Well, really it’s more like a honeysuckle infestation than woods, but there are a number of paths through it, covered with moss, and a burbling stream, and lots and lots of wildlife, both dead and alive.
Then, on the way back, we stopped at the Somerset rest area on the Pennsylvania Turnpike, stepped out of the car, and were hit with a frosty blast of Winter-Hanging-On. Downright icy. Which brings us to today’s shot, which is more ice.
In this one, the clarity slider is taken all the way down to -100, and blacks and contrast are accentuated. Also, me feet got very very wet taking this shot. I left holes in the ice.
I was beginning to think that the ice images were done for the year. Things have been warming up here in Philadelphia, and there is less and less of the stuff around. After today’s weather, the type that tends to grant amnesty for seasonal affective disorder and make one love life, I’m not sure there’s any of it around at all.
But I did get to spend the weekend up in Connecticut, where winter is still exerting itself…some would say to excess, I would say to wonderful aesthetic success. My parents have a brook that runs behind their house, and it plays host to a family of beavers whose dam floods sizable area of the property. Of course, that freezes, and does so in a a variety of intriguing ways. Ample opportunities to walk around staring at the ground through glass, and getting my socks wet.
I’ve tried to get in the habit of writing up my entries here at the same time each day, to get into a routine and because that’s when my daughter is sleeping and therefore not trying to lick the computer. But on Friday, I was sat on a jury that will be hearing a case for the next seven to ten days, and that pretty much shoots the idea of writing when my daughter is not around to lick the computer. The only other choice? Late evening, after dinner and bedtime.
Here, I’m back to some ice images, and I think this one is a bit reminiscent of Jackson Pollock’s Blue Poles, from 1952.
One thing is certain, working on these abstract images: when unburdened of the need to accurately represent color, some very interesting things can be done with just the Vibrance slider in Lightroom. That slider will adjust subtle shades of a color much more than already-vibrant shades, so something like ice or snow, which appears mostly white, will undergo a pretty serious transformation of hue based on what the light is imbuing it with; here, the day was wearing on, and the light was becoming a bit warmer, and the resulting image shows that. The shadows, too, where bluer colors lurk, have shifted quite a bit. It’s an interesting tool.
I don’t know why, in an image that is as manipulated as this one, I feel the need to brag that I’m not adding any colors that weren’t there to be brought out from the RAW file. Call it selective pride or something. Still, I’m having fun learning Lightroom better through these experiments.
mhallphoto Abstraction, Art Photography, Landscapes, Photography, Seasons, Winter 24-70mm, abstraction, art, D300s, frozen, ice, landscape, macro, Moon eclipse solstice video photography, Nikon, Philadelphia, rock, seasons, Sigma, winter, Wissahickon 0
Perspective can be everything in photography. You can walk around with your camera at eye-level, taking pictures that look exactly like what you see. And there is certainly value in that. But it’s a concrete value.
Or, you could try to wedge yourself between a rock overhang and the icicles hanging down in front of it, point your camera up, ignore the old couple walking past on the trail staring at you quizzically, and get your shot. I love how this one plays with a sense of scale. In actuality, this is a very small scene; I’m right underneath it, using a macro lens close to wide as wide as it can get (26mm), stopped at f9, so that there is some semblance of a deep field. But the result, is, to a certain extent, ambiguously scaled. I think this is more obviously ice than the last couple of ice shots I posted, but I think it still maintains some amount of abstraction.
Since the weather here continues to be downright winter-like, it seemed germane to continue with the shots of ice. Here, a leaf is frozen in an icicle. One of my favorite color combinations is the crisp, maybe even “fresh” brown color of newly dried leaves in the fall, blanketing the forest floor, punctuated by the vertical strokes of almost-black, rain-soaked tree trunks. This is not a picture of that. But the leaf is that color, and I think the light bouncing around in the ice, and the rock seen through the ice, makes up a nice little image itself.
Also continuing on with a couples thoughts on abstraction, it really is incredible, I think, how rotating an image 90 degrees one way or the other greatly enhances the abstract qualities of an image like this. The images in the previous post is rotated as well, and I’ve even caught myself look out my back window at the icicles hanging from by porch roofing, with my head tilted to the side. Georg Baselitz has long appreciated the effects of an additional 90 degrees of rotation.
Last fall, while I was taking my Photo 101 class, I had a discussion with the professor about the meaning of the word “abstract”. The assignment in question was to present an “abstraction”, as the professor described it. My mind went immediately to Mark Rothko, and Barnett Newman, and Franz Kline and Gerhard Richter, all abstract expressionists whose art emanates, in a gross simplification, from images that are nothing more than images–there is no attempt to be representational. Many of the images I took for this assignment went that route, and there were a couple that were strongly inspired by Newman, even though I am not the biggest fan.
The images were, categorically, panned. Based on our differing definitions of abstract.
Abstract can also mean to remove or separate (dentists abstract teeth, for example), and what the professor was looking for was detail–line and form–that were somehow decontextualized. So a car’s fender might count. Recognizable immediately as a fender, but abstracted from the rest of the car.
Now that the grading portion of Photo 101 is behind me, and all I have left is the practical and theoretical knowledge I gained from it, I can take whatever abstract shots I want to. The above shot came from a recent photo walk in the Wissahickon, and I think it strongly evokes some of Gerhard Richter’s painting. Above I defined Richter as an abstract expressionist, but that was really just for ease of the sentence. His work actually covers a wide array of styles, but his abstraction is where I first got to know him, and how in my mind I define him. That would probably piss him off. Oh well. I am a fan of Richter, I think, for the same reason I’m not a fan of Newman: Newman’s images, especially the “zip” images for which he is most well-known, are too simplistic. They sure make their statement about image and color, but I find that, for me, they quickly move on. Richter’s work, on the other hand, can be quite intricate, with layers and layers of work and texture and color revealing themselves more and more the more the image is looked into.
The color intensity of this image has been jerked around quite a bit, but reportage was not what I was shooting for; rather, representation gave way to artistic interpretation, and the result is what I think is a very rich image, and one I am very pleased with. Every once in a while, I will see or make an image that seems to have potential in it for a more substantial direction of work, and this might be one.