Posted by Mel Ladewig on March 24, 2009 at 7:11 PM
Canon EOS3, 70-300IS ~200mm f16, Kodak Ektar 100
I realize that these may not return many strong reactions in this group. About a year ago I bought a copy of Eliot Porter's "In Wildness is the Preservation of the World" at the flea market. The first time I looked at the book, I thought it was a jumbled mess. There were no grand landscapes, just pictures of tangled willows and dead grass (or so I thought). I put it on the shelf and left it there for a year or so.
Lately I've felt a need to get a deeper understanding of composition, color and photography. I'm not sure what prompted this. I felt like my compositions were not working, perhaps too static or maybe I wasn't seeing. I picked up Michael Freeman's photography composition book, a number of books from Ansel Adams, Edward Weston and Eliot Porter. I've gone back to some of my art reference books. I’ll be adding a color theory textbook soon. The end goal is to look at it all with fresh eyes, a stronger historical knowledge and more confidence in what I'm trying to accomplish.
I took up In Wildness again this winter and this time read the Thoreau quotes and studied the photographs. I can't say that I love every photograph in that book, but now on the whole that book has become my favorite. The photographs sunk in with time and each time I see them now they bring on a sense of calm. The fit of the Thoreau’s words and Porter’s images is beautifully crafted and well thought out.
I don’t mean to duplicate Porter’s work, but I have found that it is influential in opening the way in which I see the landscape. Freeman’s book has opened new ideas on composition beyond the rule of thirds including balance, chiaroscuro and the relationship between colors.
With that explanation I have a few images to share.
Posted by Mel Ladewig on March 24, 2009 at 7:14 PM
A grove of firs and pines in the bottom of Cheyenne Canyon.
Posted by Mel Ladewig on March 24, 2009 at 7:18 PM
Last one. This is the little creek that runs down through Cheyenne Canyon. Again Ektar 100. This and the shot above were both done with the 17-40L.
The first two are fantastic, i especially like the comp and depth in #2. Presentation is great too. The highlites (water) are just a tad strong for me in #3 but otherwise i like it. I should check out more books like that, i probably spend too much time shooting and processing and not enough thinking about the message.
Mel
It is good to see you discovered the work of Eliot Porter. His work has had a great influence in the development of my own vision and style.
Posted by Mel Ladewig on March 24, 2009 at 10:27 PM
Thanks guys.
Since #3 was shot on color negative and my Nikon has alot of flexibility, I can go back to the scanner and adjust the analog gain to manage the brightness of the highlights. As it stands, the blues are high around 248 in the highlights in the aRGB file, but no channel is blown. What I liked in #3 was the submerged rocks that looked like ghosts of the exposed rocks. I'll tinker around with it and see how it prints.
If anyone has a copy of "The Place No One Knew - Glen Canyon on the Colorado" they're willing to part with, this is the book I'm looking for.
Posted by Mel Ladewig on March 24, 2009 at 10:30 PM
It is good to see you discovered the work of Eliot Porter. His work has had a great influence in the development of my own vision and style.
Steve,
I did not know that, but I can definitely see the connection.
Ansel's work piqued my interest in photography, but it's Porter's work that fostered a sense of direction. I think you've captured well the spirit of his work in these images, Mel. Keep it up, indeed.
Really nice work, Mel! The colors are reminiscent of Porter. I have read every book I have ever found of his in libraries. These are true to the intimate portrait theme he popularized.
Posted by John Mumaw on March 24, 2009 at 11:44 PM
These are all very fine, intimate studies of nature's beauty.
I don't equate or compare them with anyone's particular style. You saw this and captured it well...period.
I have an old library copy of 'Down The Colorado' that I bought at a flea market here at home, though.
Time to take another look at it.
I like these a lot Mel, and they're rather inspirational to me. I've been working on shooting some west-central New Mexico landscapes that often aren't very friendly to grand landscape comps, so I want to work towards developing a subtler eye myself. I've also been learning that while the eye-popping epic landscapes attract me on the Internet, in print or books I am very fond of the Porter approach. Nice work!
My mom has a copy of The Place No One Knew, which I definitely hope to inherit.
I really like #2 and #3. 2 puts me in the woods, as if a window opened and I can just walk right into the picture, and 3 is just great composition.
Posted by John Klotz on March 25, 2009 at 12:56 AM
Very nice Mel! I concur with all of the above comments. It is nice to try to see the natural world differently and deliberately through the intimate view. You have succeeded in doing that I think.
Posted by Bill Pelzmann on March 25, 2009 at 1:30 AM
I like intimate landscapes and find all of these very pleasing. At first glance, many might consider these compositions easy, but I find they require much more skill than the grand-landscaptes.
One of the few things I miss about Houston is Half Price Books. I'd stop by at least once per week to browse their photo section. Over the years I managed to pick up 7 of Porter's books at just a few dollars each. I must say, "In Wildness is the Preservation of the World", is my least favorite.
Posted by Todd Caudle on March 25, 2009 at 10:21 AM
Looks like some good old fashioned book-larnin' did you some good, Mel. These are all quite nice. The little bit of distant tree-covered mountainside in #2 adds an immense amount of depth. It's a little too constrained at the edges, I think, but not fatally so. The first one is really nice as well.
One of my few treasures is a first edition of The Place No One Knew, if you have'nt had the opportunity to look at it, try to find a copy. Porter's work is seldom about the "grand", but the very intimate. This is a good reminder for me to look closer and develop my ability to see. I love #2, Mel. Thanks for this post.
Posted by Jeff Hackett on March 26, 2009 at 2:30 PM
I like where your going Mel and I understand your comments about Porter's work. I guess I wasn't artistically mature enough a few years ago to appreciate his 'tangles'. I am still basically immature at all levels of life. I like the intimacy of the comps you have here, especially in 1 and 2. These type of images are difficult to pull off, but when you do they are amazing. Keep up the good work.
Discussion
18 repliesI realize that these may not return many strong reactions in this group. About a year ago I bought a copy of Eliot Porter's "In Wildness is the Preservation of the World" at the flea market. The first time I looked at the book, I thought it was a jumbled mess. There were no grand landscapes, just pictures of tangled willows and dead grass (or so I thought). I put it on the shelf and left it there for a year or so.
Lately I've felt a need to get a deeper understanding of composition, color and photography. I'm not sure what prompted this. I felt like my compositions were not working, perhaps too static or maybe I wasn't seeing. I picked up Michael Freeman's photography composition book, a number of books from Ansel Adams, Edward Weston and Eliot Porter. I've gone back to some of my art reference books. I’ll be adding a color theory textbook soon. The end goal is to look at it all with fresh eyes, a stronger historical knowledge and more confidence in what I'm trying to accomplish.
I took up In Wildness again this winter and this time read the Thoreau quotes and studied the photographs. I can't say that I love every photograph in that book, but now on the whole that book has become my favorite. The photographs sunk in with time and each time I see them now they bring on a sense of calm. The fit of the Thoreau’s words and Porter’s images is beautifully crafted and well thought out.
I don’t mean to duplicate Porter’s work, but I have found that it is influential in opening the way in which I see the landscape. Freeman’s book has opened new ideas on composition beyond the rule of thirds including balance, chiaroscuro and the relationship between colors.
With that explanation I have a few images to share.
It is good to see you discovered the work of Eliot Porter. His work has had a great influence in the development of my own vision and style.
Since #3 was shot on color negative and my Nikon has alot of flexibility, I can go back to the scanner and adjust the analog gain to manage the brightness of the highlights. As it stands, the blues are high around 248 in the highlights in the aRGB file, but no channel is blown. What I liked in #3 was the submerged rocks that looked like ghosts of the exposed rocks. I'll tinker around with it and see how it prints.
If anyone has a copy of "The Place No One Knew - Glen Canyon on the Colorado" they're willing to part with, this is the book I'm looking for.
Steve,
I did not know that, but I can definitely see the connection.
Ansel's work piqued my interest in photography, but it's Porter's work that fostered a sense of direction. I think you've captured well the spirit of his work in these images, Mel. Keep it up, indeed.
I don't equate or compare them with anyone's particular style. You saw this and captured it well...period.
I have an old library copy of 'Down The Colorado' that I bought at a flea market here at home, though.
Time to take another look at it.
My mom has a copy of The Place No One Knew, which I definitely hope to inherit.
One of the few things I miss about Houston is Half Price Books. I'd stop by at least once per week to browse their photo section. Over the years I managed to pick up 7 of Porter's books at just a few dollars each. I must say, "In Wildness is the Preservation of the World", is my least favorite.