Morning of The Heron: The Making of A "Spur-of-The-Moment" Photograph

Submitted by Keith Bridgman - Shared from a Future Beyond the Campfire post

 I almost did not take my camera that morning. I was heading out quite early to enjoy a morning of bass fishing at a local lake. Very summer-like temperatures and humidity had overtaken the previous couple weeks so when a cool front drifted through the area dropping the temperatures into unseasonable ranges, it was difficult to resist getting out. Seems like I had been cooped up far too long and the chance to do some bass fishing offered a wonderful reprieve, so much so, all I was thinking about was spending the day in my canoe and fishing. Photography was to take a backseat and pretty well determined I was not even going to take a camera on this trip.

At the last moment, just before I pulled out at 4:30am that morning, I grabbed my camera, an extra lens and battery and secured them in a watertight container. "Just in case I might see something..." I said to myself. 

The morning was indeed much cooler and I donned a light hoodie to ward off the slight chill. When I arrived at the lake, a lively fog was dancing across the surface stirred into movement by a gentle breeze that rolled down from the tops of the ridges that formed one eastern bank. By 5:10am I was on the water moving toward a mile and half long rocky bluff where I planned to spend most of the morning fishing. By this time the sun was still below the horizon and behind the bluff, but the sky was getting brighter with its glow being reflected off the shallow ripples rolling across the surface. The background appeared almost black and the fog took on a bluish nature to it in the subdued light of predawn. A blue heron drifted across the gap between me and the ridge and lightly settled into some shallow water just a few feet off the bank to my right. He was slightly backlit by the soft morning light and presented a silhouette. I slowed down, and drifted slowly forward while I extracted my camera. The light was very low and I adjusted the settings to account for the available light. With a slow shutter speed and long 300mm focal length, handholding a camera steady enough to prevent camera shake was difficult, even more so while sitting inside a canoe whose every whim is to bob and rock at the slightest provocation.

I framed the shot firing off several quick captures before the heron might spook. I reset the camera exposure to try to get a faster shutter speed...then fired off another set of quick exposures, the heron squawked and leaped into the morning air to disappear into the fog. On camera the images looked promising, but by this time I was ready to do some fishing so the camera was replaced in its box and the fishing pole readied for action. 

Later after returning home, I loaded the few photos from that morning and focused on that first series of the heron. A few of them were indeed blurred by camera shake, but several were clear and sharp. By applying a selective compositional crop, and adjusting the exposure values in post processing, I settled in on the one final image. Did manage to catch several good bass that morning, but the best catch of the day turned out to be this one iconic, spur of the moment, nature photo.

I've written at length about how planning and preparation are vital to the success of capturing a great photo, and certainly applying such principles to your photography can produce some positive results. However, there are times when instinct and spur of the moment action trumps any degree of planning. Listening to and acting on those inner feeling can at times produce a truly unique and spontaneous photo, and sometimes those often turn out to be the best photos of all.

I Want To Tell A Story

 Submitted by Keith

In the world of writing there are seven basic story archetypes:  

Overcoming

Rags To Riches

The Quest

Voyage

Comedy

Tragedy

Rebirth

Every successful written story will follow a format that uses one of these formulas. A photograph also tells a story, although, the visual photo story often is far more complex and more difficult to define and create because of the wide variety of visual opportunities. Factor in the photographers personal preferences and the numbers increase even more. But, not surprisingly, a visual story will often fit within one of the seven basic story archetypes. 

Discovering how to accomplish this comes with not only experience but a basic understanding of story telling techniques. If I could always define how this is done...well, I probably could write my own ticket as a photographer. As this has not happened yet speaks loudly, however, when I look back on some of my best photographs, I can often see how they begin to fit inside one of these story types. 

Interpretation of the visual signals is, of course, very subjective and open to the individuals personal experiences. Most of the time, visualizing the story within a photograph just happens, sort of subconsciously. You just know it and see it without really thinking about it. I suppose that is what separates a so-so photo from a good photo...and a good photo from a great photo. Images with powerful visual stories simply jump out at you like a slap in the face "wham!, demanding renewed and closer attention. A weak photo just sits there mumbling to itself and the viewer quickly loses interest and moves on.

Compositional techniques contribute to the overall impact, along with the use of color or Black and White, angles, lens selection, timing, and of course the big one, the effective use of light. Composition is what builds the structure of a photograph, Light is what builds the story. What narrates the story is the effective application of both. I'm going out on a limb here to take a chance, but I'd like to use a few of my favorite images and break them down to define what I perceive the story they have to tell.

Let's look at the image from above. I've used this image as an example on numerous occasions and for good reason; it's probably one of my top two or three favorite photo's of all time. Of the seven story archetypes, several could apply. Maybe The Quest might fit, or possibly Voyage, but when I really think about it, I believe Rebirth is probably the best fit. Certainly elements from all three apply, but simply from the visual story being told, Rebirth is by far the most logical fit simply because of the nature of the photo. Taken at first light on an October day, the first beam of light that illuminated the cluster of trees extending into the field, tells the story of a new day beginning. A single white faced cow standing in the highlighted area near the bottom left is facing the morning with stoic fortitude and the light fog drifting across and amongst the trees adds a element of mystery and uncertainty about the day. What is unique about this image is how darkness helps to define the light. Without the darkness, it's just another average photo of a Kentucky field. With it, the illuminated areas take on a greater importance and serves to pull the reader into the story.

Another one of my favorite photo's is this one taken on Shanty Hollow Lake just before sunrise. I do believe Voyage is the obvious choice of archetype although elements of The Quest can be seen. There is something compelling about this photo. Compositionally, it retains a powerful symmetry. The tops of the ridgeline are purposely cropped from view, yet allowed to flow as a reflection on the mirrored surface of the lake. Fog floating on silent currents of air drift low across the water and the soon to rise sun can just be identified by the reflective glow of clouds just above and behind the hidden horizon. The photo at once strikes a sense of adventure toward some unknown rendezvous, rekindling emotions from a distant past not unlike what Lewis and Clark must have felt during their Voyage of Discovery. Along with the adventure theme, there resides a layer of calmness, a serenity of purpose where the viewer hopefully becomes captured within the larger story that emanates from within their own dreams.

Black and white is a favorite format of mine as it removes the distraction of color and focuses almost entirely on story through composition, shape and form. This image of the gravel road leading to a farmhouse strikes at the heart of what story telling in a photograph is all about. The graphic use of leading lines and dramatic light draws the eye inward into the story. In this photo, I would interject another archetype theme: Coming Home. To me it is one of the great story lines of all time. Coming home and what it takes to get there. It could be tragic circumstances, it could be rebirth, it could be a voyage or a quest. The viewer gazing at this image might interject all of them based on their own experiences. The fence posts, the highlights across the tall grasses along the edge of the road, the farmhouse nestled amongst the trees, the dark texture of the overcast sky all contribute to the story. One can almost hear the crunching of the gravel underfoot as you walk down the road and feel the brisk nature of the wind as it shoves the clouds along. There is an element of anticipation, maybe even dread knowing just how close home is, yet it is somehow still far away. How long has it been? Continue? Turnaround? What to expect, only time will tell.

People convey a multitude of story telling opportunities within a photograph. Combine them with dramatic light and weather conditions, they will often provide some of the most compelling of visual stories. In the photo on the left, a homeless man strikes a reflective pose as he contemplates his situation. Rain had fallen, dark rolling clouds were boiling low across the sky, and street lights cast a reflective glare across the compound, all aiding the story of lost dreams, lost hopes. Taken from a lower perspective, the use a small aperture created the star-like reflective glow around the street lights. In a way, that starry glare casts a kind of hopeful atmosphere amongst the gloom of the situation. Sitting with a forward lean, he retains an element of contemplative defiance, a proudness of self where in spite of his circumstances, he knows he has value and is not yet beaten. This is a powerful image of the plight of a single person facing uncertain circumstances, yet someone who still clings to a deeper understanding of who he is and who he can become.

Often when I begin a walk with my camera, I look for a story to tell. Most of the time the story remains hidden but is almost always there, somewhere. As a photographer, I want to use my instincts and personal experiences to dig out and find that story, and use my skill as a visual artist to capture it in a compelling and truthful way. It's not easy and it takes a keen sense of purpose and drive to first discover it, flesh it out, then develop it into a simple form that actually makes sense. I say to myself, "I want to tell a story.." then ask myself one question, "Where is it?"

• 
  

Sunny 16 Club Article from SOKY Magazine

 Submitted by Julie Barrick

The "Yarrow" Effect

Submitted by Keith Bridgman

While we are on the subject of Black and White photography, one particular person comes to mind. David Yarrow. David is a world class photographer who travels the world looking for that one moment, that singular image that captures the imagination. Specializing in black and white photography, his mission is to bring awareness to the plight of endangered wildlife across the globe and his photographs offer incredible life-like images of some the most threatened of animals. His technique is unique and demanding in that most of his images are framed in such a way as to capture the bigness and majesty of these incredible animals...closeup and personal, he employs remotely triggered cameras to make most of his exposures. His images are stark and bold, filled with contrast and structure, shot at eye level or below. He has said if he can produce three or four great images a year, he is a happy man.

 I love black and white photography and apply it to my attempts to capture nature / wildlife as I see it. Although I could never match what David Yarrow does, nor would I ever attempt to copy someone else's style, the boldness of his photography has had an influence on what I try to accomplish via black and white...all-be-it...far from the accomplished level he possesses. I choose to call it "The Yarrow Effect".

 Here's a few older images where I've attempted to apply this effect. At the top of this article is a link to one of David Yarrow's videos.