Iceland is a country of immense beauty. In my mind it is one of the most diverse landscapes in the world despite being and island country. It is volcanic and glaciated and it is these singular natural forces that have largely shaped the landscape. From windswept volcanic planes, to the mountainous highlands, fjords, coastlines, glaciers, and myriad rivers and waterfalls, it is a place that presents one with so many photographic opportunities. The islands location in the Northern hemisphere also brings almost continuous light, with an extended twilight in the summer, and much shorter days in the winter, which affords one the opportunity to see the dancing Northern Lights. It is also a place of extremes, especially regarding the weather, which can change hour by hour. And in fact that is the old adage in Iceland that if you don’t like the weather, just give it an hour. The countries population of around 360,000 is out numbered by the sheep, and the number of visitors and tourists who flock there. The sheep of course are permanent residents. It is one of my favorite places on this planet.
Let me start by saying that I do not intend for this post to be a giant primer on long exposure image making. Nor is it a justification for the techniques over a more traditional approach to capturing a scene. A great deal of my current landscape or architectural work is not specifically long exposure. But in the right conditions - environmental and type of light - I appreciate how it can bring a kind of hyper clarity to the subject that is uniquely contrasted against the soft rendering of sky and water.
I have a good friend, and excellent photographer, who recently said that he thought I preferred black and white image making over color. I was not sure this was true and in fact a review of my various social media feeds showed that I was probably split down the middle on the use of color versus black and white. I think that what he was referring too was that I tend to push certain types of images into black and white while others go to color. I shoot landscapes predominantly in color whereas my street, architecture, and even my portrait work strays over into black and white. I do not have a formula for all this and the decision often comes down to the type of light I was shooting in and whether the color tones in the shot would convert well to a dramatic black and white conversion.
It would seem that the fortuitous occasion to photograph combines working the Fall soybean harvest continues. Only a few days ago I was able to shoot a harvest while who-leading a photo walk in the Ag Preserve of Montgomery County, Maryland (See "Chasing the Harvest at Shepherd's Hey Farm"). And now today, while heading home from the office I happened upon another harvest just outside of Shepherdstown, WV.
Hi everyone. I have had quite a busy month of October that included a shooting trip to Zion National Park which was followed by my Fall in West Virginia Workshop with my partner Martin Radigan. I am still working through a myriad of images and will get some of these up here as soon as I can. I am holding off on the Zion images as I am waiting for the publication of my new article in the upcoming edition of Fuji X Passion Magazine, Volume 2.
When I made the ultimate switch to Fuji I did not imagine at the time that I would be off exploring the world beyond the grand landscape. Though landscape remains a primary pursuit I have enjoyed the blissful freedom of street photography, portraits, architecture, and the other ephemera of opportunities afforded by a camera system that simply gets out of the way of making images.