I’m at the beach this week, one of my favorite places to spend time, taking the opportunity to revisit the work of photographers, painters and printers that I particularly like.
Lisa M Robinson is one photographer whose work that I come back to from time to time. The project that I came to know her by was ‘Snowbound’. This was a five year project that had her photographing snowy landscapes from New York to Colorado, but not just snowy landscapes, landscapes that hint at a human presence. Almost a post-apocalyptic world. Unfortunately I haven’t been able to work out how to embed the videos that showcase Lisa’s work but click here to see them. Snowbound Epilogue gives you a behind the scenes look at the approach taken for the snowbound project. A book is of the work is also available on amazon.com.
Oceana, from which the image at the top of the page is taken, was the project that followed Snowbound. In this series the photographer is the human element, playing with how light and time can be incorporated into the image to give a sense of the unpredictable nature of water. Check out more of this work at Lisa’s website here.
I’m back home again after a a family holiday at the beach. I don’t know how you travel but for us we always have somewhere to be and while our trips may take us through gorgeous parts of the country we’re always too time crunched to stop to explore. As we zipped across Shelter Island, somewhere I’d like to explore further, the image at the top of the page came to mind. It’s a view across Crescent Lake. I was obviously drawn to the reflections in the mirror smooth lake. At the time I was zipping down to Forks but decided that since there wasn’t any pressure to be in Forks at a particular hour I’d stop. I spent probably 20 or 30 mins photographing at this spot, working out of the back of my car with the music blaring. Most certainly a good time. I never saw the lake flat enough any other time during my visit to the Olympic National Park for this kind of reflection. If I’d done what I was thinking which was to ‘get it on the way back’ the shot wouldn’t have been there.
What was also cool was another photographer pulled in behind me and introduced himself – Jack Graham – a very familiar name to me. I’d looked at his guide to photographing in washington state and at his workshops as part of my researching potential ONP workshops. At the time I ended up going with Art Wolfe but having met Jack and emailed him a few times afterwards I’d recommend his workshops any day.
This experience not only underscores the need to get the shot when you can but also that by getting off the usual rails that we run on we may stumbling into interesting opportunities.
I’m continue to enjoy watching the 1983 BBC tv series ‘Masters of Photography’. This week I’ve been watching the interview with Andreas Feininger. Not surprisingly I was blissfully unaware of Feininger’s experimental photography, much of which we take for granted now. He is perhaps best know for his photographs of New York taken with a telephoto lens. Telephoto lens, what’s the big deal with that you say – I certainly did.
He started working with a telephoto lens in Stockholm. There, in order to get the images of the waterfront that he wanted he shot from over 3 miles away using a telephoto lens. At that time, around 1938, telephoto lenses were hard to come by and expensive, so he made his own camera. In New York working for Life magazine he used a 40-inch Dallmeyer telephoto lens, equivalent of ~1000mm,the compression of perspective that he got with this was quite remarkable. The image above is a good example of it.
In addition to his work outside with the telephoto lens, he took the idea inside to photographed close ups of nature, things that he found on walks on the beach. These are quite interesting in that they are not just records of what is in front of the camera, but he goes to some effort to stage the object in an effort to record what he feels about the object.
Take a look at the interview with Andreas Feininger in the video below:
I’m back home after a cool and crazy time in Missoula last week. Hanging my show ‘Going Coastal’ went relatively smoothly, Alyssa and Melanie from RMSP were a huge help in getting the prints up on the wall and in dealing with the problems that cropped up along the way. I even got my name on the window out front. The RMSP staff are terrific and I’m looking forward to having a chance to go back later in the summer.