Larry55
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I haven't been on the forum too much lately, but I just had a quick spot of time, and here we go with yet another spectacular series of images.
Range of Light indeed. I am, of course, completely awestruck here. The "capture" of light is the essence of the accomplishment with these. That light has a certain glow that I thought could never be fully captured with any "sensitive medium" that records the photons, whether it be film, digital, or paintbrush. I'm impressed enough that I'm starting to relinquish that assumption.
It's uncanny to me that Marc is able to pull the soul of the locations into the realm of recorded light, and then into our own souls. Whether it is the desert, the plains, or the mountains, I see the ability to show unique nuances of that location and bring it into our homes.
We can become armchair travelers and can take advantage of the considerable effort that has been put into these pieces of art. That is extremely fortunate for us.
The light is fundamental to photography, and I can only assume that the propensity to capture that fundamental schism is part of Marc's total immersion into the vagaries of the particular location. This "total immersion" brings us not only the "soul" of the Sierras, but brings us the "soul" of Marc.
I don't see how I could possibly pick a favorite here. Rather, I'll just comment that the light values are extremely beautiful.
In the second image, there is a true feeling of MOVEMENT, brought about by the expanding rays of light. Though the scene is leaning toward a quiet pulchritude and calming of the senses, there is still that sense of coruscating light that leaves me with a feeling of excitement. The image is simpler than the others, with the sere landscape providing its own element of simplicity.
The wider view here tends to demote the detail inherent in the macrocosmic world, and this allows for an expedient concentration of the larger blocks of the image into the composition. For instance, there are really only four "light masses" here - the sky, the light on the background parapets, the middle ground slopes and peaks, and the foreground reflection. They have been placed, against all applicable odds, as "rule breakers". The triangular peak is centered in the composition, and the horizon is close to bifurcating the image cleanly in the "50/50" zone. But it works here, of course, because the photographer has added enough sub-elements to provide "viewing rooms" of detail, such as the use of the left foreground rock and the deep vignetting of color in the right foreground to frame the reflected pyramid.One only needs to look around and find more of these viewing rooms.
I could wax very enthusiastically about the rest of the images, but I tend to overblow my welcome with my personal feelings about this type of photography. Let me suffice it to say that the images are simply brilliant in many, many ways.
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