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Category Archives: Lake Tahoe
“Lake Tahoe Blue”
Lake Tahoe Blue
Spring is approaching, and I am looking forward to the time of year when Lake Tahoe shows us her finest attributes. This is the time of year when mornings are calm, skies are blue, the mountains hold that last bit of snow, and the photography is amazing! The image above, “Lake Tahoe Blue”, is a new release that depicts this time of year. Yes, I’m a little excited to experience spring in Lake Tahoe as a photographer.
I kept the composition very simple and used an elevated vantage point. This enabled me to maximize the angle necessary to capture the clarity of the water, as well as giving the inviting feeling to “jump right in”. The clear sky is where Tahoe gets its azure blue color, and this image is all about the blue.
I used my 8×10 inch film camera to capture this image. Not only do I enjoy the craft of using this type of monstrous gear, but it enables me to capture every tiny detail, and huge amounts of information. Being able to see the grains of sand and texture on the rocks, both above and below the water, brings this image to life. The snow covered peaks, also finely detailed, loom in the distance, adding drama and eluding to where this crystal clear water originates. A large gallery print of this image will absolutely invite the viewer into the waters of Lake Tahoe!
Please feel free to contact me if you would like to experience a private or group workshop here in Lake Tahoe this spring! April, May and June are the most spectacular months of the year to experience Lake Tahoe as a photographer. Clear water, raging waterfalls, beautiful sunrises and sunsets. I would love to share “my mountain backyard” with you this spring. Contact me directly through Jon Paul Gallery!
530-544-4269 jonpaul@jonpaulgallery.com www.jonpaulgallery.com
I Felt the Image, but had to Wait for Mother Nature to Paint it.
Sugar Pines in Fog, B & W Panorama
As is often the case with special photographs, I felt that an image was here, but it took several years to present itself to me. Sugar Pine trees are unique, majestic beings made even more impressive by their backdrop of Lake Tahoe. The rich brown bark and green needles are strongly set off by the azure blue waters of Lake Tahoe in the background. While that scene is wonderful, and beautiful to experience, I had felt the possibility of a more dramatic image that alluded to the age and mystery of this forest scene. As fog is rare in the mountains around Lake Tahoe, when it arrives, I put everything else on hold and venture into the shrouded world. On this particular morning, I knew exactly where I wanted to go. The vision was pulling me. Fortunately, the fog was dense enough to obscure all but the silhouettes of the Sugar Pines. I chose the panoramic format, focussing on the tops of the trees, which had more dramatic and defined silhouettes. The panorama also offered a greater sense of depth, showing trees both close to the camera, and at incrementally greater distances from the camera, disappearing mysteriously into the fog. I also chose to produce a black and white image, as Mother Nature had presented the scene largely in that manner. The little bit of color that would have been rendered would have merely “muddied” the scene. The strength of this image is in its simplicity. I had an emotional response to this composition, but had to exercise a bit of patience until Mother Nature was ready to paint the scene for me. It was well worth the wait!
Photo Tip:
Shooting in fog can be difficult. To begin with, your light meter will render the white fog as a neutral grey. I find that an exposure compensation of +1 (overexpose 1 stop from meter reading) adds the brightness I want in the scene without “blowing out” the highlights. I am conservative and don’t like to risk losing details. I can then compensate another 1/2 to 1 full stop in processing if I choose. Furthermore, we have to choose whether we want the “solid” subject matter (in this case the trees) to be strong and dark, or soft and relatively light. As I am a large format film shooter, I spot meter each area of the scene and expose for a relatively neutral outcome, which I can fine tune after the fact. If you are shooting digital, as most of my workshop participants do, you can use your histogram as a guide. In this instance, I would definitely “expose to the right” of the histogram, keeping the fog white and the trees light. Even with the white fog, however, I would try not to clip the highlights. Again, I am conservative and like to leave myself as much information in my file / film as possible so I can use my artistic judgement when fine tuning the final print.
If we make a good exposure (I find one exposure to be plenty), we can fine tune our final image with a couple of simple adjustment layers. It all comes down to an understanding of the basics of exposure and metering. Simple, simple, simple.
NOTE: Feel free to contact me for a private or group workshop. I specialize in keeping it simple, eliminating the intimidation factor of the digital world, and bringing success and joy back into outdoor photography.
Equipment:
Canham 5×7 Metal Field Camera, Canham 6×17 cm roll film back, Fuji RDPIII 100 film, Rodenstock APO Sironar -S 150mm lens, Gitzo 1325 Carbon Tripod, Really Right Stuff BH-55 Ball Head
When the Magic Happens!
Steaming Tree, Light Rays & Reflections
When the magic happens, all is right in the world. This was one of those moments. After several days of rain, and a relatively cold night, the rising sun heated the dark, wet tree and created steam. A scene I have walked by numerous times was transformed into a mystical wonderland. It was thrilling to experience. As the steam filled the air, obscuring the forest beyond, and filtering the rays of sun breaking through the branches, I immersed myself in the experience. This isn’t a mere photograph. This is a translation of what I feel when Mother Nature is kind enough to let the magic happen.
I chose to shoot black and white film on my 4×5 field camera, as this image was all about mood. The tones of black, white and grey were necessary to translate the emotions of the light show, narrowing the scene down to light, dark and form. i love making these artistic choices in the field, as opposed to shooting haphazardly, and hoping to fix it in a computer later. This is the only way to translate the feelings we experience in nature with our art. For me, the art is the experience. My photography is the simple artistic representation.
Photo Tip:
This is a classic example of using the Zone System in order to capture a huge exposure range in one sheet of film. I metered on the dark shadow on the tree, then underexposed 2 1/2 stops. This rendered the tree relatively black, with a touch of detail remaining in the shadows. The areas of bright light (lit grass & backlit fog) metered 7 stops brighter than the shadow. To remedy this, I used a N-2 processing time on the film (under processed 2 stops) in order to narrow the range between shadow and highlight to 5 stops. Using these tactics, I was able to create a negative that rendered detail in both shadow and highlight areas, while keeping a full range of contrast. The craft of large format film photography is a real joy to work with, and when done well, renders amazing results!
Equipment used:
Canham 5×7 metal Field Camera, 4×5 Reducing Back, Rodenstock Sironar-S 150mm lens, Really Right Stuff BH-55 Ball Head, Gitzo Carbon Tripod, Kodak T-Max 100 Black and White Film, Ilford ID-11 Developer.
Anticipation is a key to capturing great wildlife moments
Coyote Mousing
Watching the amazing things wild animals do in their daily lives is often amusing and exciting to experience. Hey, that’s why we invest the time in the field. However, understanding their behavior, understanding what we may expect, and carefully observing the details enables us to be prepared and anticipate when that magic moment might occur. This coyote picture is a great example of success through anticipation.
I occasionally visit this meadow near where I live in lake Tahoe in search of wildlife (I anticipate their being here). When I saw this coyote slowly zigzagging through the meadow grass, I knew he was hunting for field mice, voles and ground squirrels. I quietly picked a spot slightly ahead of him, in the direction he was meandering, and set myself up in the treeline for cover. Then, I observed.
When he heard movement in the grass he froze, his ears swung to the front and his head pointed directly at the prospective meal. Importantly, I noticed that he would crouch, putting all of his weight on his hind legs, prior to bounding into the air toward his prey. Now, whenever he would stop, I would set my focus, then move his current position to the side of the frame, anticipating that he would leap into the scene. This gave me a composition that was natural for the eye to observe.
I also metered the scene and set my exposure time appropriately to freeze the impending burst of motion.
Anticipation enabled me to capture the “decisive moment” that I am sharing with you now. It also enabled me to relax and enjoy the show, as I was confident in being prepared for the shot. I was able to both shoot the action and enjoy the natural beauty that brought me to nature photography in the first place!
Photo Tip:
Study, research and plan in anticipation of the animals you are likely to see in the location you plan to visit. Prepare your gear with appropriate lens choice, tripod, and exposure settings in anticipation of what you may see in that setting. When you do find the animal(s) you hope to photograph, observe every aspect of their behavior in anticipation of that decisive moment that will make the shot you dreamed of.
Equipment used:
Nikon D300, Nikon 200-400 F4 AF VR, Nikon 1.4x teleconverter, Really Right Stuff BH-55 Ball Head, Gitzo 1325 Carbon Fiber Tripod.
Lily Pads & Fall Reflection Panorama
Lily Pads & Fall Reflection Panorama
I composed this image on Lily Lake, at the south end of the Lake Tahoe Basin. I love this area for it’s signature Sierra beauty, along with the peace and quiet that can be experience here. Early this fall morning the wind stood still, enabling me to enjoy the crystal clear reflections and mist rising from the water. The old cabins and row boat added to the ambiance of this Walden like scene. I chose to create this image before the sun rose high enough to illuminate the far cliffs, keeping the moodiness of the scene. I didn’t want the electric pop of direct light here. I was mesmerized by the tranquility, and the shaded light enabled me to hold the richness I wanted in the colors. Finally, I chose the panoramic format to accentuate the mist on the far side of the lake, and give an expansive view of the most detail filled portion of the scene I was observing. This image is now available as a limited edition directly through Jon Paul Gallery.
(Note: This is one of the locations available to my private field seminar participants! Contact me through Jon Paul Gallery for information on my seminar offerings.)
Photo Tip:
I love shooting in low ambient light pre-sunrise, after sunset, or in overcast conditions. Colors are very rich, and otherwise impossible exposures are tamed by the even light. However, these conditions produce a blue cast that our film or digital sensors record. Occasionally, this can be a cool effect, but most often it just looks unnatural. This can be solved in several ways: we can use a warming filter over our lens, we can set the white balance in our digital camera before shooting, we can correct the color temperature in our Raw converter or, within PhotoShop, we can open a curves adjustment layer and use the grey dropper. Shaded light is fantastic for scenes that can become too contrasty in direct light. Just be aware of the color cast and know how to correct it if you would like to. Happy shooting!
Equipment used:
Canham 5×7 Metal Field Camera, Canham 6x17cm panoramic roll film back, Rodenstock 150mm APO Sironar-s lens, Fuji RDPIII Provia 100 transparency film, Gitzo 1325 carbon tripod, Really Right Stuff BH-55 ball head.
Light “Selection”, Reflection and Beaver Pond
Beaver Pond, Spring Reflections
Many of you will remember my facebook posts from the scouting I did of this lovely beaver pond here in South Lake Tahoe. Along with a reasonable iphone image I shared, I posted a sweet portrait of my professional assistant, Toby (6), capturing his own rendition of the beaver pond and its inhabitants with a little digital camera. He always gets a great response, and ads huge joy to my excursions. Well, I returned the following morning to capture this beautiful moment.
I was drawn to this scene for its sheer tranquility. Seemingly every shade of green in the spectrum (very welcome after a never ending winter!), along with the beaver hut, all reflecting in the still waters of the calm morning. I loved the composition and the feeling, but I still had one very important decision to make; in which light should I expose my film? I was hoping to capture the scene with everything in shade and a glowing reflection of the mountains and trees above the background lit with warm morning light. Well, the light didn’t enter the scene evenly, so that wasn’t an option. Fortunately, I arrived early enough to be set up and created this exposure with ambient light softly illuminating the scene before me. After everything was lit by the sun, I felt the image lost its soft relaxing quality. Overall, this image conveys the mood I was after. From the green color, to the stillness of the leaves, the depth of its layers and the mirrored reflection, the natural perfection of the moment takes me to a place of serenity. This wasn’t exactly what I had pre-visualized, but stayed open to what Mother Nature had to offer, and let my feelings influence the final image. I love it!
Photo Tip: Light is the name of the game in photography. I prefer to use only one exposure, so I pay special attention to each phase of morning and evening light as they relate to my subject. This is important for proper exposure, but also for setting the mood of the image and how it conveys my feelings of the natural experience. For sunrise images like this one I like to arrive well before sunrise in order to experience the transition from night into a new day, and to give myself the opportunity to compose images with each phase of changing morning light. While there are many possibilities as the light changes, I like to be conscious of my feelings as the light transitions. My goal is always to share that moment in time, in that place, that makes me feel a special way. If done well, that moment in time can become eternal, and make the lives of its viewers that little bit better each time they view the image.
Details: KB Kanhan 5×7 metal field camera, 2 1/4 x 6 3/4 panoramic back, Gitzo 1325 carbon tripod, Really Right Stuff BH-55 Ball Head, Rodenstock 150mm APO Sironar S lens, Fuji RDPIII Provia transparency film, no filters.
Landscape Without the Land
Evening Cloud Reflections Panorama - Lake Tahoe
Late in the Fall (2010) Lake Tahoe was graced with a lot of stormy weather and dramatic skies. I happen to be a fan of softer, more pastel colored skies, as opposed to the over the top neon colors that have huge “wow-factor” (but I find hard to live with). This particular evening I visited the shore of Lake Tahoe to observe the sunset. While I enjoyed the softness of the sky, I wasn’t drawn to any particular foreground / background combination. I was, however, drawn to the reflection of the sky. The water turned my pastel “painting” into a water color. A bit of detail below the water adds a hint of perspective. This is the type of tranquility nature brings to me, and I hope to share with you. Enjoy!
(this image now available to collectors)
Photo Tip:
Remember, rules are a good starting point for composing images (they became rules for a reason), but the most important aspect of landscape photography as art is, paying attention to how the image makes you feel. The image above has no real foreground or background. I did, however, pay attention to the colors, tones and shapes in the image to make sure it had a natural flow and conveyed what I was feeling. I believe this image works because, it makes me feel the way I felt when I experienced this beautiful evening in person. Remember, it is easy to get caught up in technical minutia in this age of digital art. Try to put the technical aspects aside (or relax after you have mastered the basics) and focus on that feeling that gets you out the door to begin with!
Equipment:
Canham 5×7 Metal Field Camera with 6×17 cm panoramic back, 210mm lens, Fuji Provia RDPIII transparency film, Singh Ray LB Warming Polarizer, Gitzo 1325 carbon tripod, Really Right Stuff BH-55 Ball Head, Hasselblad/Imacon 646 virtual drum scanner.
My Photography and What I Share in My Seminars
In an age where high volume and over the top/oh my gosh imagery is what many people expect, my personal taste and style continue to be based in the subtleties of landscape photography. I have a passion for fine details, either on their own, or as an important part of a more grand landscape. My work is about the joy and escape I experience while out in the field. When immersed in a beautiful natural setting experiencing the (apparent) simplicity of nature, I just feel right, happy. While I revel in the grandeur of some of these locations, that initial excitement is often the trigger that moves my thoughts away from daily business, obligations and stress. Once “free”, I find that I am open to all the little details that are the building blocks of the grand (and obvious) surroundings. As an end result, I use my personal style of photography to translate what I feel and experience, along with what I see, to the people that view and collect my work.
I still shoot large format film for several reasons, which all relate to the above statements. First, I am a gallery photographer. My primary end product is a fine art print, most often in very large sizes. I love the look of a big print made from big film! Second, I like the ability to use camera movements to critically focus my images for greater (natural) sharpness. Third, this equipment slows me down and helps me focus on one composition. I can’t rush around creating many mages, each with only a bit of meaning to me. I want to compose that one image that requires all of my attention, enabling me to create the art I am passionate about, not just a bunch of pictures (Thus, my catch fraze, “Bringing the fine art of nature home”). Fourth, I enjoy the craft of using a big bellows camera with all of the manual adjustments. It gives me a nostalgic feeling and a sense of pride in making a daily effort to continually master the most basic, and most important aspects of landscape photography. Finally, all of these factors come together when I experience the reactions of people visiting my gallery. I realize the impact my work has on peoples lives when they are moved by my images. A large part of this impact is a product of the artistic process I have chosen to bring my vision to fruition. I am often told that my work goes well beyond the technical “work” of photography, and shares the emotion and passion I have for my subject.
Even with my choice of equipment, almost all of my seminar participants shoot digital. People do not join me in the field to learn HDR or how to work their particular digital camera. I take people out to great locations where we look through the lens together and work on solidifying the basics of image creation while capturing beautiful images. I passionately answer all of their questions, share important aspects of good technique, and focus on learning while doing. I have been amazed by how many people share with me that their photography has come to a standstill since they got their great new digital SLR. Most have become so bogged down by “all of the functions they need to learn”, that they simpy forget about composing an image, properly exposing the image, and using good technique for sharp image capture. I enjoy helping people get a jump start with the basic (and most important) foundations of seeing and creating the images that move them . I love photographing the natural world, and am very excited to share what I have learned with people who sincerely want to learn.
Please visit my web site, www.jonpaulgallery.com , to view examples of my work. Also feel free to contact me directly to purchase my work or to arrange a field seminar privately or for a small group. When in South Lake Tahoe, visit the Jon Paul Gallery in person. I appreciate input and the opportunity to share my passion with you.
Celebrating Spring in the Mountains with My 8×10 View Camera!
Dwarf Lupine and Pine Forest
This image is my first release shot with my 8×10 field camera. I had discovered this location while on a mountain bike ride. I kept pedaling, but took note of the location and decided to return the next evening. As I set up my 8×10 field camera, I decided to keep the camera just below eye level, giving the feeling that you can walk right into the picture. I also wanted to show the expansive degree to which the Lupine had blanketed the forest floor. I was also taken by the vibrant light green of the new needles on the young pines, especially the way they stood out against the dark bark of the larger trees. I waited until the moment the sun sank behind the mountains to the left of the frame to expose the film. This gave a nice even and rich light to the scene without the harsh contrast of direct light in the forest. As with most of my large format work, after standing back and feeling “invited” into the composition, the fine detail brings an intimate mood to the scene. Welcome to my home in the forest!
Photo Tip: As I mentioned above, I consciously chose the camera height for this photo. Many people I teach overlook the importance of camera height as a part of composing an image. Most people either set the tripod (if using one as you should) at eye level for the sake of comfort and ease, or get down extremely low with a wide angle lens for a dramatic view. Each image requires specific consideration relative to camera height. Choose your camera height carefully when composing and you will create unique images with the strongest angle and composition possible.
Details: Canham 8×10 Metal Field Camera, Rodenstock 240mm APO Sironar-S lens, Fuji Provia 100 8×10 Transparency Film, Gitzo 1325 carbon Tripod, Really Right Stuff BH-55 Ball Head.
This image is now available for purchase through the Jon Paul Gallery in several limited edition sizes. www.jonpaulgallery.com
Schedule a private field seminar and join me in the field!
Impressionist “Painting” With Light!
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- Painted Aspen & Pine
In a departure from my methodical large format film process and tack sharp realistic imagery, I decided to experiment with photo-impressionism using my digital SLR. I was able to create this unique image as the fall colors were on the decline, but my desire to be outside creating images was not. My intention was to create a series of painterly images that depicted an other worldly view of the forests into which I escape. Using a long exposure and controlled linear motion with the camera I was able to create the feeling of a forest having been created in the imagination and brought to life with the stroke of a painters brush. Adding to the surreal feeling, I used the saturation function with selective colors in PhotoShop and punched up the colors to depart further from the usual.
This experience accentuated the fact that a solid understanding of the foundations of photographic technique enables us to experiment with alternative visions and produce successful photographic images. This is something I stress to my seminar and photo tour students that first become buried in (and overwhelmed by) the concepts of digital art while overlooking the the basic photographic techniques that enable them to create the imagery they wish to work with in the first place.
Feel free to follow me on my Jon Paul Gallery Facebook Page, and subscribe to my E-Newsletter for updated information on new images, seminars, tours, etc. You can also contact the Jon Paul Gallery directly to purchase original prints or receive information about any of Jon Paul’s offerings. I have uploaded a new Portfolio page on www.jonpaulgallery.com titled Impressionist, which currently has six new images, including the one I shared today.
Enjoy my images painted with light!
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