the photoshooter's journey from taking to making

180 DEGREES

This image, the reason I ventured out into the night, originally eluded me, causing me to turn a half circle to discover a totally different scene and feel waiting just over my shoulder. 20 sec., f/8, ISO 100, 20mm.

 

By MICHAEL PERKINS

I WISH I HAD A LEICA for every time I came away from a shooting project with something completely opposite from the prize I was originally seeking. The odd candid moment, the last-minute change of light, the bizarre intervening event….there are so many random factors even in the shots that are the most meticulously planned that photography is kept perpetually fresh, since it is absolutely impossible to ensure its end results, especially for infants playing at my level. That point was dramatically brought home to me again a few weeks ago, and all I had to do was turn my head 180 degrees.

All during a week’s stay at a conference center near Yosemite National Park, I had been struck by how the first view a visitor got of the main lodge and its surrounding pond, from an approach road slightly above the building, was by far a better framing of the place than could be had anywhere else on the grounds. A few days of strolling by the lodge from several approaches had not provided any better staging of the quiet scene, but, with the harshness of the daylight at that altitude, I was convinced that a long exposure done just after nightfall would convey a more peaceful, intimate mood than I could ever hope to capture by day. And so, on the evening before I was to leave the lodge for home, I decided to take my tripod to the approach road and set up for a try.

The road is rather twisty and narrow, and so its last turn before heading for the lodge’s parking areas is lit with a street lamp, and a bloody bright one at that. It’s a sodium vapor light, which registers very orange to the eye. I’m used to these monsters, since, back home in Phoenix, they are the predominant  city light sources, creating less long-distance “light pollution” for astronomers in Flagstaff trying to see the finer features in the night sky. At any rate, the road was so bright that I had to set up closer to the lodge than originally planned in order to avoid a lot of ambient light over my shoulder killing the subdued dark I wanted for my shot. Intervening event and last-minute change of light. Changing my stance, I was also having problems with movement on the pond surface. It was a tad too swift to allow for a mirroring of the lodge, and a long exposure was going to soften it up even more. I was going to get pretty colors, but they would be diffuse and gauzy rather than reflective. At the same time I was trying to avoid framing another lamp, this one to the right of the lodge. Illuminating a walking path, it would, over the length of the exposure, pretty much burn its way into the scene and distract from the impact. Typical problems, but I was already losing my love for the project, and after about a half-dozen flubbed attempts, I was trying to avoid mouthing several choice Anglo-Saxon epithets.

It was the need to take a break that had me looking around to see if anything else could be done under the conditions, and that’s when I turned my head to really see the light from the approach road that had been over my shoulder. Candid moment. Now I saw that orange light illuminating the road, the rustic fence, and the surrounding trees and shrubs in an eerie, Halloween-ish cast. The same scene in daylight or natural color would have registered just as “some nice trees”, but now it was Sleepy Hollow, the scary walk home after the goblins come out, the place where evil things breed. Better yet, if I stepped just about six inches to the right of where I was standing, the hated lamp-post would be totally obscured by the largest tree in the shot, casting its shadow another 20 or so feet longer and serving up a little added drama as a bonus. Suddenly, the lamp had been transformed from a fiend to a friend. I swiveled the tripod’s head around, set the shot, and got where I needed to be in two clicks.

After first trying (and failing) to nail the image of the lodge, I pivoted around and found this scene, which had been waiting to be discovered right behind me. Once I shot this, I turned around and made one more attempt on the lodge, using, as it turned out, the exact same setting as this picture; 20 sec., f/8, ISO 100, 20mm.

 

Better yet, the break in the action allowed me to re-boot my head vis-a-vis the lodge image. I turned back around, and, oddly, with the exact same exposure settings, hit a balance I could live with. Neither shot was perfect, but the creation of one had actually enabled the capture of the other. On the walk back to my cabin, I was already dissecting the weaknesses in both, but they each, in turn, had taught me, again, the hardest lessons, for me, in photography. Slow down. Look. Think. Plan, but don’t be afraid of reactive instinct. Sometimes, a sacred plan can keep you from “getting the picture”, figuratively and literally.

All I have to do is remember to turn my head around.

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