G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” (Heyday Books) is available directly from him.
I came across a couple of interesting videos of photographers on the web today.
The first is a wonderful video of Michael Kenna photographing in the snow in Hokkaido, Japan. The video is partly an interview, partly a visual narrative of Kenna at work, and partly a collection of interesting scenes and images associated with some of his photographs. There is a lot to think about and consider in the video, and it struck several chords for me. Among many was his use of the word “hunt” to describe the act of looking for and finding photographic images, and not perhaps just in the sense of tracking and capturing an image, but also, I think, related to the need to be patient and to understand the “quarry.” I often have thought about the “hunt” aspect of looking for subject. (Link originally seen at George Barr’s Behind the Lens blog.)
The second video is rather different but also features a very talented landscape photographer, Charlie Cramer. Unlike the slow moving and rather poetic video of Kenna with its long silent shots and occasional sparse music, this video interview (on the Marc Silber show) is pretty “straight ahead” – basically a record of Charlie talking about his ubiquitous framing guide, a sheet of mat board with a 4 x 5 cutout that he uses to help him visual photographs while he is in the field. This is interesting and Charlie makes a compelling case for using this “tool.” (I’ve thought about it, but never “gone there.” Perhaps I will now…) More interesting to me were a few side comments that Charlie makes in the course of the interview. For one, he refers to the frame as a “blood pressure meter,” and suggests that he more or less “just knows” when a scene is going to work because when he views it in the frame he feels his blood pressure rises. (In another context he has spoken of hearing the scene whisper, “Take me!”) The point, I think (and forgive me if I have this wrong, Charlie!) is that all of the rules of composition in the world won’t help you that much in the end – essentially you need to be able to look at the subject and “just know” that it will work and how.
I decided to try a little web-publishing experiment with part 2 of my series of posts on photographing Death Valley National Park – I’m sharing the draft publicly as I write it. I decided to try this for several reasons.
It is prime DeVa photography season now and for the next couple of months, and some people may find the information useful before I’m ready to release the final version.
There are lots of you who have DeVa experience of your own, and perhaps your comments and feedback may improve the post.
Maybe, just maybe, someone might be interested in watching the evolution of the post. I can flatter myself, right? :-)
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” (Heyday Books) is available directly from him.
“Dawn on the Panamint Range” — Zabriskie point and dawn on the Panamint Range.
This material previously posted here concerning Death Valley is unavailable while revisions are underway. Thanks for your understanding. In the meantime, I will respond to comments left on this page.
(Update 3/22/13: The planned update to this article has been long-delayed, and for that I apologize. It turns out that the way I want to approach the subject in the revised version is a bit more complicated than I expected. I had anticipated completing an update in early 2013, but I decided to wait until after this year’s shoot in Death Valley so that I would write with that experience fresh in my mind.)
(Note: After a conversation with a friend who is a retired Yosemite ranger, in which he articulately explained why he has concerns about sharing overly specific information about sensitive and fragile places too widely, I have decided to revise this article about photographing Death Valley. The goal is to remove some of the unnecessarily specific details about places that don’t need a lot more publicity, and to let photographers who are new this wonderful park learn about it the way I did and continue to do – by slowly exploring and adding to my knowledge and experience of the place rather than looking for a quick list of the “great shots.” I hope you’ll understand.
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more. Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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