IT’S NOT EASY BEIN’ GREEN
By MICHAEL PERKINS
FOR YEARS I HAVE BEEN SHOOTING SUBJECTS IN THE URBAN AREAS OF PHOENIX, ARIZONA, trying to convey the twin truths that, yes, there are greenspaces here, and yes, it is possible for a full range of color to be captured, despite the paint-peeling, hard white light that overfills most of our days. Geez, wish I had been shooting here in the days of Kodachrome 25. Slow as that film was, the desert would have provided more than enough illumination to blow it out, given the wrong settings. Now if you folks is new around here, lemme tell you about the brilliant hues of the Valley of the Sun. Yessir, if’n you like beige, dun, brown, sepia or bone, we’ve got it in spades. Green is a little harder to come by, since the light registers it in a kind of sickly, sagebrush flavor….kind of like Crayola’s “green-yellow” (or is it “yellow-green”?) rather than a deep, verdant, top-o-the-mornin’ Galway green.
But you can do workar0unds.
In nearby Scottsdale, hardly renowned for its dazzling urban parks (as opposed to the resort properties, which are jewels), Indian School Park at Hayden and Indian School Roads is a very inviting oasis, built around a curvy, quiet little pond, dozens of mature shade trees that lean out over the water in a lazy fashion, and, on occasion, some decorator white herons. Thing is, it’s also as bright as a steel skillet by about 9am, and surrounded by two of the busiest traffic arteries in town. That means lots of cars in your line of sight for any standard framing. You can defeat that by turning 180 degrees and aiming your shots out over the middle of the pond, but then there is nothing really to look at, so you’re better off shooting along the water’s edge. Luckily, the park is below street level a bit, so if you frame slightly under the horizon line you can crop out the cars, but, with them, the upper third of the trees. Give and take.
There is still a ton of light coming down between the shade trees, however, so if you want any detail in the water or trees at all, you must shoot into shade where you can, and go for a much faster shutter speed….1/500 up to 1/1000 or faster. It’s either that or shoot the whole thing at a small f-stop like f/11 or more. In desert settings you’ve got so much light that you can truly dance near the edge of what would normally be underexposure, and all it will do is boost and deepen the colors that are there. There will still be a few hot spots on projecting roots and such where the light hits, but the beauty of digital is that you can click away and adjust as you go.
It’s not quite like creating greenspace out of nothing, but there are ways to make things plausibly seem to be a representation of real life, and, since this is an interpretive medium, there’s no right or wrong. And the darker-than-normal shadows in this kind of approach add a little warmth and mystery, so there’s that.
It was “yellow-green”, wasn’t it?
Hope that’s not on the final.
(follow Michael Perkins on Twitter @mpnormaleye)