p.2 #1 · p.2 #1 · Nine Days Kings Canyon NP Backcountry
Patrick, Dan, Jason... thanks!
Patrick, I think I recall our meeting two years ago. I certainly know of a particular spot where I often photograph aspens in the shade below Parchers, many times after lots of other photographers have packed it in. I'm a big fan of shooting in soft light and of shooting on into the evening to find it.
I do appreciate hearing not only about which photographs people respond to, but also about why and how they respond. I've pointed out before that the photographer cannot see the work (with certain exceptions) in the ways that others do, since he/she knows things about the circumstances, context, and intent that others cannot know.
Your response to #1 is perhaps not that different from my own response to the subject. I was simply fascinated by the complex textures and juxtapositions, the reflected light and its combination of warm and cool tones, and the beautiful reflection in the very still water. I made a series of photographs of similar subjects in this spot, but this one seems to work best.
I had not thought of the relationship to #4 that you describe - the connection to the experiences and sensations of the early morning while backpacking - but now that I think about it I can understand that, too. I think I was simply looking for a way to frame or give context to that bit of early morning light hitting the top of the peak. I began by looking for a suitable reflecting pond, and once I found it I looked for patterns in the rocks and water that worked compositionally. I was perhaps too busy shooting to think about the experiential context, but after many decades of backpacking I am pretty certain that this background was there without me thinking about it.
In all of these, the qualities of Sierra light were central. For me, #2 has the most typical Sierra light of the bunch and it also includes a scene with many of the subjects that I most identify as being "the Sierra" - the tiny bits of meadow, granite boulders and slabs interrupting the softer elements of the landscape, small trees at high elevations, talus slopes rising beyond toward peaks. #3 deals with a different kind of light, and a kind that is a bit trickier to photograph I think. It is that cold, bluish light that comes after the shadows of peaks move across the terrain late in the day, reducing the warmth of the scene and lowering contrast. For me, it evokes that quiet time in the evening when the light begins to fade but is not quite yet gone.
p.2 #5 · p.2 #5 · Nine Days Kings Canyon NP Backcountry
I find these images of particular interest because I was in the same area at the same time with my 5d2 and 24-70 lens and in theory could have been taking similar photos. In fact I ran into Dan and chatted with him briefly, I think while he was taking image 3. This has led to an interesting (for me at least) thought experiment.
I was there backpacking first and photographing second. I don't think I would have gotten the same images, not because of limitations of equipment, or even of ability to visualize (though who can say about that). The real limitation was my attitude and the fact that I was not totally focused with photography my top priority.
Thinking about all this is actually quite useful and is provoking me in good ways. Dan has taken some very nice images here (my favorites are 1 and 4, though they are all very fine). I too would like to see big prints of these. This is motivating, interesting.
I need to spend more time with photography my highest priority.
p.2 #6 · p.2 #6 · Nine Days Kings Canyon NP Backcountry
Tom, it was a pleasure to run into you on my trip. (Sorry I had to run off so quickly - the light was going! ;-)
I hesitate to admit how long I've been backpacking in the Sierra Nevada. Let's just use the term "decades" to describe the time. (I've calculated that I have spent somewhere between a year and a half and two years of my life backpacking it total, and that doesn't count the car-camping and day hiking.)
I've gone through several phases in terms of the role of photography in my back-country experience. Many years ago, I was primarily interested in the back-country for its own sake - I simply wanted to be in the high country of the Sierra. I carried a camera or cameras, but back then I did not carry most of the associated gear: extra lenses, tripod, etc. I gradually became more serious about this photography back then, but it was not the primary goal. Over time I got to the point where I was carrying two bodies (Pentax ME and MX) and a small set of several prime lenses.
Then, a number of decades ago, I began to regard the camera as an impediment to experiencing wilderness. Over a period of years I diminished my camera gear on pack trip to the point that I was carrying only a small Olympus Stylus 35mm camera with no additional gear at all. At times I had to force myself to make photographs, mostly out of a sense of obligation to bring back a record of my travels. At that time - and a wonderful time it was! - the point was the wilderness and not the photography.
Then things changed again. It might have been the advent of digital cameras. I recall an inflection point on a long trip (two trips, actually) to Alaska in the late 1990s, when I carried an early 4MP non-DSLR digital camera and I began to think again as a photographer. Or it might have been a maturing of my relationship to the natural world. At a certain age the sheer physical (and spiritual) joy of traveling through high places is enough, but at a slightly later age I began to think more consciously about the places and the experience. In any case, it was probably about 15 years ago when photography again began to become the goal of the travel and not just an ancillary activity.
One can, I think, make good photographs even while focusing mainly on the travel and exploration - but it is much harder. You have to develop an ability to see quickly and a habit of forcing yourself to sometimes slow down and ponder a bit. Some subjects do seem to simply appear in front of you, and they may not require a whole lot of thought or contemplation or searching. In the same way that I can put myself in the mindset of the trail in about 30 minutes now - it might have taken a few days in the distant past - I can put myself in the photographer mode very quickly, too.
However, if you really want to know a landscape, I now think that you almost need to stop and not move, at least not in the place-to-place sense, for some time. You, or at least I, need to stay in one place for hours or days - often a length of time that I would earlier have regarded with fear, fear of boredom. I need to slowly poke around and look more closely and let the place soak in, and I need to see it in more than one way, as time of day, season, and weather reveal aspects of it that I would not see while walking through.
Of course, this turns out to be a kind of (often pleasant, but still) quite difficult work. I know it may sound bizarre to those who haven't done it, but sometimes it isn't easy to get up an hour before dawn to go out and look for more photos, and sometimes you might want to just sit around camp with friends rather than wandering off up and down searching, and from time to time the idea of eating dinner at a normal time can be very tempting! ;-)
p.2 #11 · p.2 #11 · Nine Days Kings Canyon NP Backcountry
I really like minimalistic compositions. So my personal favorite in your set is #1. As a european guy I'm often astonished about the sheer quantity of so beautiful locations that you guys over there have as photographic playgrounds and that are almost unknown here in europe. It seems that I have to look for some more details about the Kings Canyon NP for my upcoming trips to the US