Join me this Friday, April 9, 2021, for an ONLINE presentation The History of Landscape Photography (followed by Q&A) presented through the Los Angeles Center of Photography. The presentation is only $10 for LACP Members and $15 for Non-Members (please consider joining to support this worthy photographic institution https://lacphoto.org/member-info/join/). All photographers stand on the shoulders of giants. Come learn more about them with me on April 9, 2021.
I was recently invited by my friends Jack Graham and John Pedersen at ‘We Talk Photo‘ to talk about photography. It was a fun 46 minute chat, completely free of politics, and We Talk Photo quite possibly has the best bumper music in podcasting (straight jazz, not that Kenny G-style pablum). Thank you very much, Jack and John!
I will be conducting a day-long Nature and Landscape Photography Workshop in Los Angeles on Sunday, July 14, 2019 (hosted by Los Angeles Center of Photography). An ideal workshop for the burgeoning beginning-intermediate nature photographer, we’ll be covering cameras (RAW capture and other vital settings); proper tripod and filter use; exposure (ISO, Shutter Speed, and Aperture); evaluating the histogram and dynamic range; focusing and depth of field; professional field techniques; and creative composition and understanding light – the works. The day begins with a few hours of indoor class lecture and discussion, followed by a brief group lunch, then travel time to our destination for shooting exercises and practice.
The above photos were wade in Griffith Park, Los Angeles, during a previous edition of this workshop. It’s proof that one needn’t leave home or travel to find beauty and photographs. I will be teaching how to see and work with with these elements. I hope to see you in Los Angeles on July 14! For more information and registration….
Anyone can do the craft. Only the individual has the unique personality to build a point of view. Al Weber
My good friend and extraordinary photographer and writer Guy Tal recently interviewed me on his blog. Mine is the second installment of interviews Guy is conducting with photographers he considers “creative and innovative” (he’ll also need to interview himself in a future installment). Guy’s questions are unlike the typical ones you’ll find in interviews with photographers; they’re thoughtful and in-depth, and I had to dig deep for my replies.
The most important question Guy asked pertained to my treatment of my images as “expressive art rather than purely a medium for capturing natural beauty“. Before I proceed any further, I’d like to have you reread the quote at the beginning of this entry. Indeed, anyone can do the craft – more so today than ever before. Even amateur photo hobbyists now own 16-18mp D-SLR’s purchased from Costco or Sam’s Club, and if they point them reasonably well, they, too, can produce “professional quality” photographs. But simply owning a high resolution D-SLR and Lightroom 3 makes you no more a photographic artist than me describing myself a writer for owning an expensive keyboard and a WordPress blog. No matter how technically stunning your work – and despite rationalizing that it’s “your unique take” – you can’t own your photographs when they are composed of common subjects and grand views captured similarly by others from the same viewpoints and perhaps with better gear and possibly even under better light. Alternative or derivative? Indeed, but unique it will not and cannot be. The trap of becoming involved in the landscape photographer’s “circuit” – whereby a number of photographers shuttle around North America photographing mature subjects during their peak seasons (hopefully with “epic” light) – is that you’re not likely creating images for yourself or for your audience. You’re instead likely involved in the photographer’s rat race of one-upmanship: “I can do it better”.
I’d like to share a secret: buyers of photographs don’t care about location-based photography (photo-stock excluded) nor do they care about how close you came to dying or how you lost a camera and lens while producing the photograph. Buyers buy because a) they are too moved by your photograph to not buy it b) they have a direct connection to the subject or particular elements within it. It doesn’t matter that you have the very finest Moulton Barn photo of the thousands that are out there (millions?), and it doesn’t matter if you’ve captured the most epic light ever over Coyote Buttes. If your audience has no connection to these places, you simply cannot sell them a print no matter how hard you try.
Instead of trying to separate yourself from the photographic herd only by way of technical excellence (which, by the way, does not matter to buyers), consider building a point of view to share with the world. You’ll first need to develop this, of course. Everyone is quite aware that nature and natural landscapes are beautiful, so sharing the beauty of nature and landscape is not sharing your point of view; it merely affirms what is already celebrated. Dig deep into your collection of photographs; find common threads through the work which you can claim as your photographic voice and yours alone; and continue to develop photographs and themes that reinforce your unique point of view. You do have one, and the world is interested in it (if this were not the case, every nature/landscape photographer post-Ansel Adams would be a complete failure).
I am far from being the first (and last) landscape photographer to shoot the places I do and using the tools that I do. I am not the first to photograph the Mojave Desert, Joshua trees, or the Sierra Nevada, but I am the first to present my point of view of these subjects and places. It is the only way I know how to work, and it is the only work that I believe is worth doing. I don’t need to run about North America photographing its most photographically mature subjects, and I have little reason to outdo other photographers. I work in my own arena. I care only about making photographs of subjects I love and can portray in a way that I can say is uniquely mine. When I do this most effectively, compelling photographs emerge. Epic light and icons be damned – I can even sell prints of busted vehicles.
Stop paying attention to what other photographers are doing. Photograph anything you want. Do it with your voice and your point of view. If you can do this with love and conviction, success will be yours.
You are visiting the blog of fine art landscape photographer Michael E. Gordon. For additional photos and information, please visit his official website.
There exists amongst many landscape photographers a notion that all landscape photographs must be razor sharp near to far – f64 and be there (not!). Unfortunately, this one-size-fits-all approach to landscape photography quite often increases the visual complexity (busy-ness) of an image and creates visual competition amongst its elements. Most importantly, displaying everything in the frame in brilliant sharpness leaves very little to the viewer’s imagination.
Razor sharpness throughout the entire frame of a landscape/nature photograph often runs counter-effect to the photographer’s intention. When attempting to depict the vastness of the scene before the camera, employing maximum Depth of Field (DOF) ironically often destroys the very depth depth that the photographer seeks to create. This is a particularly egregious habit of view camera users (i.e., users of large format sheet film cameras), many of whom feel that since camera movements afford precise control of focus, the image should employ maximum DOF and be in precise focus throughout.
Let’s take a look at a photograph I made in September 2007 in the Wasatch Mountains of Utah (click to enlarge):
This photograph was made with a 4×5″ view camera with a 120mm lens, and my focus was placed somewhere on the tree limbs. I restricted the aperture to about f11 to focus the viewer’s attention on the elements that grabbed my attention. The radiating form of the tree limbs and mixed splashes of color and light sucked me right in. As Guy Tal and I discuss in all our workshops, the elements that draw you to photograph something are the elements that you should seek to emphasize, while all other elements in the scene should be diminished or absent. This is a basic and solid theory of composition, and it magically works every time. In the brilliant words of Antoine de Saint-Exupery, “a designer knows he has achieved perfection not when there is nothing left to add, but when there is nothing left to take away.”
When I first began showing this photograph, non-photographers reacted very favorably towards it, whereas many photographers made comments about the shallow DOF/lack of sharp focus throughout. Naturally, I was humored by the latter comments, as the shallow DOF was intentional – not the result of an unfortunate error!
Now let’s take a look at a second but nearly identical photograph – same everything but aperture. For this exposure the aperture was f32 (or possibly f45) (click to enlarge):
With greater DOF, the background elements become more distracting, and the splash of light in the background becomes more glaring. Not only does greater DOF ruin my impression of the scene, it makes for greater visual clutter. Not something I strive for in a photograph.
When I am attracted to photograph something, I analyze the elements and ask questions: What is it that drew me over here to make this photograph? What are the important elements here? What is it that I want to emphasize? When I have answered these questions, where I place my tripod and camera, where I focus, and what aperture I use are essentially answered for me. I don’t blindly apply maximum DOF rules just because my equipment is capable nor because that’s what is instructed by the how-to guides of landscape and nature photography. In image-making, the primary goal for any photographer should be to do what best serves the subject matter. A one-size-fits-all approach to DOF in landscape photography rarely does that.
What do you think?