“Fallen Leaves, Liquid Light” is an image I composed in Zion National Park, Utah. Zion is a very interesting place to photograph, as it has a combination of iconic grand vistas and intimate canyon areas. It is also unique in that it has many deciduous trees that turn color and lose their leaves in the Fall. This is quite a spectacle when combined with the grand sandstone cliffs and rushing waters of the Virgin River. Given the grandeur of the place, it is quite easy to overlook the intimate details that fill this natural wonder after viewing a brilliant sunrise or sunset from a scenic overlook. When many other visitors pack their cameras up and go to town for a late breakfast, I head for the shaded sections of canyon for a bit of solitude, intimate details and reflected light.
On this occasion, as I wandered the shores of the Virgin River, I came upon this mud flat adorned with fallen leaves and partially covered in water. I walked slowly in the river, so as not to damage any potential images. As I changed my angle of view in an effort to position leaves into a composition, I became enamored with the light reflections intermingling with the earth tones I had focussed on. The morning sun was bathing the far sandstone canyon wall in warm light, which was reflecting in the puddles on the mud flat. The contrast of the warm reflected light against the cool shaded light that surrounded it pulled the image together. Not only did the color contrast add visual interest, but the edges of warm and light added an apparent depth to the scene.
This light show upon the ground became a metallic backdrop for the crisp details of the leaves and feathered seeds that had landed here. The layers, depth and complexity of this very simple scene began to grow. Light and dark, fine detail and light flow, warm and cool. It was there, on this little piece of shoreline. All that remained was to capture the detail perfectly. For that I used my large format 4x5 inch film camera, which was the only tool for the job.
Yes, I want to learn to experience photography this way!
I used a relatively long lens in order to isolate this composition, 210mm (roughly equivalent to 70mm on 35mm/full frame digital). As I was at a substantial angle to the scene (as opposed to looking straight down) in order to capture the desired reflection, I needed the flexible focal plane abilities of my large format camera to focus everything within the scene. First, I composed the image. Next, I used substantial front tilt, which basically laid down my plane of focus. If I had used the cameras normal vertical alignment between lens plane and film plane, it would have been impossible to render the entire image in focus. As I tilted the lens plane forward, I moved the plane of focus in line with the ground. Using my 210mm lens I was able to render the entire scene in focus with the lens aperture wide open. This enabled me to then choose my lenses strongest working aperture for my exposure, furthering the clarity of the image. (there is more to large format photography than the obvious large film size).
When all is said and done, “Fallen Leaves, Liquid Light” is one of my favorite images captured in Zion National Park. The process of exploring for intimate details is meditative. Composing an image with such exquisite natural light is light mining for gems. Using a large format camera is a satisfying craft in itself. And, the resulting large scale fine prints are magical in detail and mood.
This is The Fine Art of Nature”
Yes, I want to learn to experience photography this way!
Collectors Tip: Images such as this, Fallen Leaves, Liquid Light, have both earth tones and vibrant metallic colors. The way in which you choose to frame a piece like this can really make it your own. A float framed aluminum print may be perfect for a modern home. Using a traditional cloth wrapped liner and wood frame may blend it nicely with a rustic mountain cabin. Or, you can choose to display it in the way you feel highlights the artwork as you like, and let it hang in any environment as a window to the world you envision outside.
Note: My partners at Marcus Ashley Gallery are framing experts as well. You can work with them from start to finish and end up with the perfect piece of art for your space.
Photographers Tip: I’ve got two pro tips for you today:
1) The clarity in an image is very important, especially if you’d like to do large prints. One of the main factors in obtaining image clarity is using your lens at its strongest working aperture. When using a large format film camera, as I did above, you can use camera movements to alter the plane of focus, narrowing the far near distance relative to the film plane, and enabling yourself to shoot at, say f22, as opposed to f64. This will not only render a sharper capture with a still scene, but minimize the exposure time, and thus minimize the possibility of movement within the scene.
2) There are several types of contrast we can use within a scene to add depth and dimension. There is light and dark contrast, and there is color contrast. Many people stop shooting is the conditions are shady or overcast. These conditions simply present different opportunities. Look for different types of contrast in the shade, along with potentially richer colors and an easier exposure range to capture.
Would you like to go out in the field and look through the lens with me? Would you like to take your photography (film or digital) to the next level, capture a particular location with your camera or simply tour the locations of some of my most iconic images? Take a private workshop / tour in your favorite season!
Details:
Camera: Canham 4x5 Metal Field Camera
Lens: 210mm
Film: Fuji Velvia 50 transparency film
Filter: N/A
Tripod: Gitzo 1325 Carbon Fiber
Tripod Head: Really Right Stuff BH55 Ball Head
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