Workshop Announcements

Introduction to Large Format Photography – Death Valley National Park, California. November 16-18, 2012. Limited to 5 photographers.

Introduction to Large Format Photography workshop – Death Valley National ParkNO PREVIOUS LARGE FORMAT EXPERIENCE IS REQUIRED! This course is designed for experienced photographers who want to take their photography to the next level, and for those who have previously worked with large format but have struggled with it.  The large format camera offers the ultimate in control over the entire creative image-making process and large format negatives and transparencies that offer extraordinary resolution. The market is flooded with plenty of used and value-priced large format gear, and new high quality yet inexpensive field cameras have made this an excellent time to move up to the format with only a moderate amount of expense. At the completion of this intensive two-day workshop, you will be able to efficiently and confidently compose, focus, meter, and expose your own large format photographs. This workshop will take place in world famous Death Valley National Park. Please click here for more information and to register.

Visionary Death Valley – Death Valley National Park. November 29 – December 4, 2012. Limited to 10 photographers.

Visionary Death Valley photography workshop. Death Valley National Park.Co-presented with Guy Tal. Our first Visionary Death Valley workshop of 2012 was a sold-out success, and we look forward to helping ten more photographers attain their photographic goals in 2012.  Find out what makes this workshop unique, passion-filled, and inspiring to photographers of all levels. A perfect blend of photography, field classes, post-production, and passionate photographer/instructors all in one of the most visually stunning places on Earth has earned this workshop praise as “a tour de force of excellence, humanity, artistry, and knowledge“. There are many photography workshops and instruction manuals that teach craft and technique. Only Visionary Death Valley will lead you towards the heart of your artPlease click here for more information and to register.

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Visionary Death Valley Photography Workshop Epilogue

Visionary Death Valley Photography Workshop, February 2012

Guy Tal and I concluded our February 2012 Visionary Death Valley (VDV) photography workshop last Wednesday on Death Valley NP’s Eureka Dunes, and to summarize our workshop with just one word: INCREDIBLE. We had a most wonderful group of participants who were engaged and inspired. We feel incredibly fortunate to be able to share our passion for creative photography and Death Valley National Park with a select group of individuals who are eager to move forward on their creative journeys.

Our workshop explored and photographed some of Death Valley’s most well known features – the vast Dante’s View; the surreal Badwater; the cosmic Racetrack; the sensual Mesquite Sand Dunes – as well as lesser known but no less extraordinary locations that are exclusive to Visionary Death Valley. VDV blends the perfect mixture of field photography, field classes, and a post-production classroom session (with laptops and projection) along with inspirational and philosophical discussions designed to challenge photographers to rethink the way they work and photograph. There are many photography workshops and instruction manuals that teach craft and technique; we’ve designed Visionary Death Valley to lead photographers towards the heart of their art.

A few workshop highlights: A brief but intense sunrise at Dante’s View; a downright ridiculous flaming sunset on our last night out with the Eureka Dunes extension group (see image at left); investigating incredible marine fossils and petroglyphs; the largest engulfing dust storm I’ve ever experienced in Death Valley (this occurred during preparations a few days before we first met our group); and F18 fighter jets screaming over Eureka Dunes at low elevations (it’s a violation of the wilderness experience, yet hard not to be awed by).

Guy and I would like to sincerely thank Anil, Annette, Bob, Don, Jon, Michael, Paige, Ron, Stephanie, and Tina for being part of the first of our Visionary workshop series and for being wonderful students and humans. We truly enjoyed your company and learning about each of you over those tiring but exciting days. We wish you well on your creative photographic journeys!

Our next Visionary Death Valley workshop is scheduled for November 29 – December 4, 2012 and you are all invited. We are also currently in the planning stages of Visionary Capitol Reef (Utah) in 2013. Please stay tuned for more information.

You are visiting the blog of fine art landscape photographer Michael E. Gordon. For additional photos and information, please visit his official website.

Workshop Announcement: Visionary Death Valley. February 16 – 21, 2012

I am happy to announce my next workshop: Visionary Death Valley, February 16 – 21, 2012.

Death Valley National Park is a desert wonderland of immense scale, beauty and power. Its 3.3 million acres, the vast majority of which are roadless wilderness, encompass a staggering array of landscapes, unique geologic formations and colorful vistas. The largest National Park in the contiguous United States, Death Valley is both beautiful to behold and rich in history, mood and mystique. Its towering sand dunes, seasonally snow-capped mountains, warm springs and vast empty valleys offer endless opportunity for exploration and ample subject matter for the creative artist. There’s no place on Earth quite like it.

Internationally acclaimed photographer, author, and educator Guy Tal and I have carefully selected some of the park’s most unique locations for this workshop, and we’ll combine outstanding photography with inspirational, creative and technical discussion sessions. In addition to classes in the field, Guy and I will work individually with participants to address questions, assist with compositions, offer ideas, and share our knowledge. Discussions will include informative reviews and critique sessions of each participant’s images made during the workshop.

This workshop is sponsored by Chamonix View Cameras and Gura Gear, and all workshop participants are eligible for discounts on Chamonix view cameras and accessories and on Gura Gear camera bags.

Fore more information and registration, please click here.

You are visiting the blog of fine art landscape photographer Michael E. Gordon. For additional photos and information, please visit his official website.

The Cracktrack: Confessions of a Drug Runner

Some years back, my good friend Steve told me about finding old aircraft tracks on Death Valley National Park’s famous Racetrack playa (where the stones “mysteriously” move). In 2004, author Michel Digonnet released a wonderful adventurers guide to the Park, and he too, mentioned the aircraft tracks: “…a few decades ago the Racetrack was used by drug smugglers as a landing field.”

Steve, Scott, and I were at the Racetrack again in December 2010, and we found the aircraft tracks on the playa after walking across it while aiming towards one of the old mines east of the playa (photo at right).

Finally, just last week, the Los Angeles Times published a Framework multimedia piece by Don Bartletti entitled “Flight of a Drug Cartel Smuggler“. Within the first two minutes of this video, you’ll see images of Death Valley and hear drug smuggler/pilot John Ward detail how he used to land at night on the Racetrack, carrying upwards of one ton of marijuana or cocaine. Unless there was more than one smuggler using the Racetrack as a landing strip, I assume that the tracks seen in the photo at right belong to none other than John Ward.

The mystery of the Racetrack’s aircraft tracks is no more.

You are visiting the blog of fine art landscape photographer Michael E. Gordon. For additional photos and information, please visit his official website.

It’s All About the Light…

Wherever there is light, one can photograph. Alfred Stieglitz

Striped Butte

Striped Butte. Death Valley National Park.

Last night I gave a presentation to the Santa Clarita Valley Photographers Association (SCVPA) (a great group of people, and a more organized and attended-to camera club than I would have ever imagined). The most ironic thing about teaching and presenting is that I always learn as much as the audience. No matter how often I may speak about my work and my philosophies, I learn something about my photographs and beliefs every time.

As I moved through and talked about the 96 photographs I shared with the SCVPA, I was alerted to my use of any and all light. It’s not a new discovery, and other photographers often comment on my use of whatever light. The fact is, I have a photograph(s) in my collection to represent virtually every hour of daylight. The notions that there are only “golden hours” or “sweet light” under which to practice photography have been perpetuated for far too long amongst the nature and landscape photography community. It’s enforced by books, workshops, online photo forums, and far too many photo instructors. It’s time to change this line of thinking, for believing that photography can only be practiced for a few sweet hours of each day and then setting out to capture only specific images that capitalize on that sweet light is akin to photographing with dark blinders on. Any light is available light, and how you choose to see it and whether you choose to photograph under it determines the diversity of your abilities, your vision, and your work. I’d venture that photographers are missing a lot of beautiful photographic opportunities when they’re locked into a singular and exclusive method of photographing.

All light is available light. Sweet light is any light you choose to photograph under. The Golden Hours extend from sunrise to sunset. With few exceptions, failure to create photographs under any light is not a failing of the light; it’s a failure of vision. Take off the blinders and be free.

You are visiting the blog of fine art photographer Michael E. Gordon. For additional photos and information, please visit his official website.

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2010 California Desert Wildflower Prognostications

Ocotillo and Arizon Lupine. Colorado Desert, California

Despite the copious amounts of rain and snow that have fallen on California’s deserts since late November 2009, the 2010 desert wildflower season (if there is to be one) is off to a rather poor start. The attached photograph was made on March 9, 2008. If I were to take you to this location today, we would find nothing like the sweep of Arizona Lupine we see surrounding these Ocotillo. In fact, as of a few days ago, flower-less was this location and many others that are typically in flower at this time. Many high desert residents have delayed their spring gardening, as winter has hung around for as much as one month longer than in most years. The continued precipitation, cold, and wind has done little to encourage growth. Regardless, close inspection of the ground, plants, and buds reveals what may be an underwhelming bloom, despite all this rain!

I initially had scheduled a Desert Wildflower Photography Tour for March 6. I would have typically counted on this date, but on March 6 of 2010, there was virtually nothing in flower. So I postponed the Tour until March 20. I have spent recent days in the locations I had planned to take the tour, but because most of these locations are tremendously late and possibly altogether flower-less this spring, I have canceled any plans for a Desert Wildflower Tour.

I concluded a private workshop last Sunday in Anza-Borrego Desert State Park. As Ron Niebrugge and Phil Colla have already reported, Sahara Mustard (Brassica tournefortii) has radically altered the Borrego Valley landscape, stretching from Borrego Springs all the way to Salton Sea. I even found it in remote canyons and washes during my stay. Unfortunately, the spread of this plant is out of control, with millions of acres of Colorado and Sonoran Desert having already been transformed, and with many more acres at risk from this noxious and invasive species. I’ll, too, join the choir in declaring that the vast fields of wildflowers that made Borrego Valley famous may now be a thing of the past. The only real solution at this time is hand-pulling, which is not terribly effective when thousands of acres have been inundated with this devil weed. You can help! If you spot Sahara Mustard while in the field, KILL IT! The entire plant – roots and all – must be pulled, placed in a tied-off plastic bag, and properly disposed of. Simply pulling the plant and tossing it aside is not enough, as the seeds can and will still disperse from a pulled plant.

There is a possibility that things could flip quickly, as we are finally experiencing spring-like conditions throughout most of the California desert for the next week or so. Should I find a remarkable transformation out there, I may offer a short-notice one day tour. Barring this, I am currently at work on putting together a late March/early April 2010 trip to southern Death Valley’s stunning Owlshead Mountains. Only there can I guarantee spreads of wildflowers, towering sand dunes, and vast and stunning landscapes. Click here for more information about this tour.

You are visiting the blog of fine art photographer Michael E. Gordon. For additional photos and information, please visit his official website.

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Lessons in Light and Visualization

There is no such thing as “good” or “bad” photographic light. There is just light.
Brooks Jensen, LensWork.

Just last week, while photographer Floris van Bruegel and I walked towards Death Valley National Park’s Ibex Dunes, Floris commented that I used direct light in my photographs more than most photographers. I harbor no shame about this, and believe that I’m at an advantage in being able to visualize photographs in whatever available light is before me. While many nature and landscape photographers would have you believe that we are limited to the Golden Hours or to the twilight found at each end of the day, there simply exists light that best benefits your subject or light that is less than ideal for your subject. If you’ll contend that the light is “bad”, I’ll counter that you’re just looking in the wrong direction.

VoyagerThe photograph at left, Voyager, was made in the extreme southern end of Death Valley (the Valley proper, that is) last Wednesday. The time was 9:30am. I was up at 5:30am that morning. I had already covered a fair bit of ground, and had even cooked and eaten breakfast by the time I found this scene. I would estimate that 99 of 100 photographers would have told me that this was horrible light and no photographs could be made. Were it not for my experience and ability to visualize a scene in the final print (there is no such thing as PREvisualization!), I might have concurred. Fact is, were it not 9:30am and had the sun not been beating harshly on this wet mud, I doubt that I would have ever been able to see this. Before you rule out “bad” light, rule out your preconceptions and make the exposure. For digital photographers, this costs nothing. For film photographers, it costs only a modest amount to expand your seeing and possibilities. What could you possibly have to lose?

Voyager - raw film scan

Voyager - raw film scan

I’m about to do something here that I don’t believe I have ever done online before: share a raw film scan of the original negative (no manipulation). A cursory glance at the raw negative might lead one could suggest that this is “bad” light, but the proof is in the final print. The exposure was calculated to preserve all highlight and shadow details (no bracketing; no guesswork; I teach my film exposure techniques during my film-based workshops). From the moment I found the scene, I visualized not “bad” light or a difficult-to-print negative; I saw a voyaging vessel in a distant galaxy and a luminous final print. When Ansel talked about “visualization”, he was referring to this ability to visualize a final print (not the “capture“). I would venture that this is one of the most difficult if not liberating ways of seeing. If one cannot visualize the final print, one is not seeing the light 😉

You are visiting the blog of fine art photographer Michael E. Gordon. For additional photos and information, please visit his official website.

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