“Minnesota Country Bridge,” is the title I gave this photograph taken in early 1970 in Southeastern Minnesota.
We had just purchased a used travel trailer and wanted to check out a nearby campground. Along the way, we spotted this old country bridge and I took this photo. It was one of three I took of the bridge that afternoon.
The white you see along the shorelines of the stream is actually ice and snow which had not melted from the cold winter. Those are not mountains you see in the background but what most people along the Mississippi River area call “bluffs.” Some are more than 1,000 feet above the valley floor.
What I liked about this view was not only the dark bridge with a light background but also the silhouetted trees on the left, the curve of the stream passing through the scene and the old fence posts and dried grass in the foreground.
The reason for the square format of the photograph is that I used my Hasselblad 1600 cameras which produces a square rather than a rectangular image. which you get from most cameras. even the digital cameras of today, I have several other photos taken with this camera which also remain in a square format.
I tried to make a rectangular image, but felt it was missing too many elements.
This photograph is available in three sizes. If you would like to view a rectangular view, just drop me a note. Feel free to share this with your social media friends.
Joe Patti’s Seafood Market in Pensacola is a great place to buy all kinds of delicious seafood…and a wonderful place to take photographs too. But when you take a photograph, the scene you saw may not be the one you finally printed on paper. This scene was one of about 20 different photos I took with both a film and a digital camera. You are confronted by not only what size to make the print…but how to make it as well.
After selecting the photograph I liked best, I was undecided how I wanted to make the print.
Let me show you what happened. Here is the photograph I selected, a digital one, and it is in color. It is very colorful.
Here is the same scene converted to black & white. Not too bad.
Now, here is what I did with it in color. I like this.
And here is the finished color print in black & white. It almost become a “line drawing” type of photo.
I like the ones I vignetted to give a softer appearance. The color vignetted print was my final choice. It will look especially nice on a watercolor paper. It will also make nice note cards too.
This Featured Photo was captured in 1965 while doing a self-assignment on a day in Chicago. I left Minnesota on a midnight train to Chicago and arrived with the morning commuters. I took photographs for 10 hours and then caught the 5 p.m. train back to Minnesota. This is one of the 100 scenes I captured that day.
There are two things going on here. One individual is picking scrap boxes on an ironed wheel cart while the man in the white shirt, briefcase in hand, is heading towards work. I wonder how that same alley would look today.
Frame your photograph, not only with a real frame, but frame it as you take the photograph as well. This scene taken at Tybee Island in Georgia illustrates the point. I used a small sitting area, along a walkway to the beach, to frame the lone walker on the beach.
This not only added depth to the scene, it provided more contrast and made the walker to be very alone on the beach on a chilly, windy, cloudy day. Of course, the walker was not alone. There were other people nearby but they were hidden by the sand dunes.
Here is the same photograph in color,but I feel it does not have the impact of the back and white version.
Taking a photo into the sun may not be the easiest thing in the world to do, but the results you get will be more than satisfying…most of the time.
First, it is a great way to get silhouettes. But secondly, it will give a dramatic contrast to your photos. If you have a camera with an automatic exposure, it may over expose your photos. A way to help compensate for that is to have the sun directly out of the scene. Or hide the sun behind something, like a tree or a cloud.
In The Sunlight on Leaves, the sun is just up to the left of the photo and there was just a bit of glare. But the whiteness of the leaves against the dark background of the trees provides a 3-D feel to the leaves. You can almost reach out and touch them.
The Escambia Bay Sunset you may have seen before. Here the sun was hidden behind the clouds and you can see some sun rays penetrating the cloud cover.
In the Cypress Sentinel scene the sun was hidden behind the tree while the camera was pointed directly at the sun. By the way, that tree was only a a hundred yards away from the bay sunset scene. That was a “two-for one” afternoon.
While the Boat at Dusk photo captured just a bit of the sun, the sun was low enough in the sky as to not provide too much of a glare. The sun’s reflection on the water provides feeling of depth. The scene appears just a bit darker than it actually was.
The Sunrise on The Florida Keys shows a dramatic way to hid the sun. The camera was aimed directly at the sun, but the trees covered the sun from the lens and did now show any glare.
There are many other ways of shooting into the sun, but these are just a few.