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In Earth’s Shroud

Last night a celestial event occurred in our sky that has not happened in 372 years.  The Earth eclipsed the full moon on the winter solstice and for those fortunate enough to be in an area in North America with clear skies they saw a truly amazing and awe inspiring sight.

Total Lunar Eclipse of December 2010.

In Earth's Shroud

While there are some that feel that certain astronomical events have an influence on the behavior of humanity and other natural events, as a man of science I must say that such a belief is a bit incredulous as proof is hard to establish.  While at the same time, as a man of faith, belief in the dominion of the Creator over all of creation is central in my understanding of how the universe exists, how it is sustained and how it behaves.

In a sacred tradition of the Prophet Muhammad (peace and blessing of God be upon him) said one morning after the dawn prayer that occurred after a rainy night, turned to the congregation and said “Do you know what your Lord has revealed?” The people replied, “God and His Apostle know better.” He said, “God has said, ‘In this morning some of my slaves remained as true believers and some became non-believers; whoever said that the rain was due to the Blessings and the Mercy of God had belief in Me and he disbelieves in the stars, and whoever said that it rained because of a particular star had no belief in Me but believes in that star.’

A passage in the Qur’an describes the motion of the sun and the moon and through implicit understanding so too the Earth and all visible objects in the heavens.  Each of these celestial bodies follow and obey what we in science refer to as physical laws which we understand and know how they dictate the motions of the heavenly bodies.  However, those of us who go beyond science and have some knowledge of the Knower understand that these laws are not merely physical, but Divine.

When I see an event like an eclipse, my heart is in awe of the power of the Incomparable for not only setting such beauty into place but sustaining it as well.  The skill to capture it and present it to others is a gift that I am aware of and grateful to posses.  I have searched the web today for photos of last night’s eclipse and while there some nice images, I did not find one that moved me in the same way as seeing it in person.  I hope what I have presented above will do that for some.  Enjoy.


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Postcards From Paradise

Wish You Were Here

Wish You Were Here

The first full day of photography has come to a close.  After 12 hours in the field we can finally take some rest.  It rained on us, the wind blew a bit, and the sun even shined on us a few times.  Through it all we kept the shutters blazing and the film burning and pixels popping, we could not have asked for better conditions.

Tunnel View

Tunnel View Morning

The rain that fell today was not substantial, more actually fell over night and we awoke to a wonderland of saturated color.  The day started out somewhat dull at Tunnel View, and when we arrived about half an hour before sunrise there were few people there.  Within three or four clicks of our shutters, suddenly the place was overrun by nearly 50, yes 50 photographers!  It was getting a bit crowded and since the sun had risen and the light difficult to capture, we decided to move on to the color before everyone else did.  That was a good move.

Pohono Color


We worked here until our stomachs said “feed me” so we took a break to power up and then we continued on our search for color which took us into the Ansel Adams gallery first.  There we looked at some amazing photography from Ansel Adams as well as some stunning work by others, the most impressive of which came from photographer Charles Cramer.

We then made our move into the El Capitan Meadow where the sun played hide and seek with us and won, as we could catch its rays to our satisfaction.

Moving on we found ourselves working along the Merced River where we not only found some amazing color among the Dogwoods, but they were showered in the sweetest warm light that just rendered the trees into something that I can only describe as delectable.


Sugar Coated for your Eyes

We worked there until we could no longer see through the camera viewfinder and headed back into the valley.  As we approached our lodge, we saw the slightest hint of twilight still dancing in among the the clouds and decided it was worth the effort to make one more photo.  I am glad we did.  The camera can sometimes see much better than we can.


Last Dance

So for another night, I bid you good night and Wish You Were Here!


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Tiburon Art Festival

I will be exhibiting the Organic Light Photos this coming Saturday and Sunday, August 28th and 29th, 11 am to 6 pm both days in the lovely Marin town of Tiburon in the Tiburon Art Festival For more information check here. The weather will be perfect!

I will be showing some new work as well as the classic Organic Light images that you have all come to know and love.

It would be great to see you there.

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Shooting One’s Self in the Foot

This year in California the wildflowers have been particularly prolific.  It has brought photographers out in massive numbers all looking to capture that unique wildflower photo.  On the one hand it is nice to see people out communing with the natural world.  The problem is that they have no clue how to behave while out there.

The open range land where most of the wildflowers bloom is private land.  Some of it is fenced and some of it is just open range land.  Private property is private property and it should be respected, wildflower heaven or not.  For as long as I can remember fellow photographer and workshop leader, Carol Leigh and her wonderful Wildflower Hotsheet has been an Internet resource for wildflower hunters.  It was user driven with reports coming in almost daily once the blooms started.  This year however, due to incredulous bad behavior of photographers in one particular canyon in the south-central part of the state that is private open range land, one of the land owners made a post on the hotsheet asking photographers to stop coming onto their land, to stop tramping all over the place, tearing up flowers, and warning that if the behavior did not stop further legal actions would be taken!  That was last week.  Well all of a sudden Carol takes down the hotsheet and leaves the notice that is there now.  Not only did the bad behavior anger the owners of the land, it has resulted in losing a fabulous resource that was of benefit to so many.  This passed weekend, I heard reports that the county sheriff was patrolling that canyon now, making sure private property rights are observed.

I have photographed in that canyon before, and yes it is a special place, but come on, you don’t have to trespass to photograph there, and you certainly do not have to tear out flowers once you have photographed them or picnic right on top of them, roll around in them or whatever other nonsense people dream up.

Mother Earth has rights as well.  It is always a difficult proposition trying to photograph the wildflowers.  In the process, some flowers are trampled on.  But we must learn how to tread lightly on the earth.  Even though the Earth seems like a resilient rock, its ecosystem is very fragile.  Even more fragile are the flowers themselves.  They rely on pollination to generate the seeds for coming years.  Trample them, or pull them out before they can secure pollination and there will be no more flowers. 

I do my best to stay on trails or on roadside when photographing the flowers.  However I must admit I do love sitting in the middle of them all, sampling their intoxicating spicy fragrance and vibrant over-the-top color.  When I do, I stay put in one place, I follow my own foot steps back out and when at all possible, I step on bare ground where no flower is growing.  And I encourage all my readers to practice the same when you visit the wildflowers this year.  And please do go out and visit them and be grateful for the bounty that Mother Earth and our Creator are giving us this year, just be nice, so that we don’t want to “shoot our selves in the foot” and never get to see the flowers again.  

Poppies in Antelope Valley

Bed Of Poppies


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Brushes Of Light

Light, we see by it and at the same time it is invisible.  The more I ponder about light, the more perplexed I become.  Duality is its nature behaving as both a wave and as a particle known as the photon.  We can recognize it as a wave after it interacts with an object and we see various colors.  Its interaction with an object takes place as if it is a photon.  When it is present we can see and in its absence we are blind.  It brings a steady flow of information to our eyes and by it we interpret the world we live in.

Brushes Of Light

Brushes Of Light

But how we see the world and what is really there are two very different things.  It is difficult enough to understand this for a stationary object let alone for one that is constantly moving, like water flowing in a stream.  By the time you see the moving object it has already moved to a new point in space.  Luckily, light moves so fast, 186,000 miles/second, that the distance that something can move in the time that its light reaches our eyes is for all practical purposes so miniscule that we can say we see it in its actual position in space.  Further, its motion is so fluid that we see it as continuous. 

Throw a camera into the mix, which is an intermediary between the photographer who experiences the object and the viewer who only sees the photograph, and it creates a departure from reality.  Due to its technical nature, the camera can either freeze a moment in time or produce the illusion of motion as the object streaks passed its fixed lens.  Then in the hands of the photographer, the photograph itself can be manipulated in such a way as to remove any reference to reality bringing about an abstraction that only hints at the natural presence of light itself.

In the hands of the photographer, the one who writes with light, art is created through a simple tool of capture – the camera. Handled deftly, and the camera moves beyond mere capture, and becomes the translator of the intent of not just the photographer but of the artist within as well.

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The Structure of a Photograph

The structure of a photograph is founded on light. It starts out with seeing that light and then building up from there.  Seeing the light however, is where most of the real work behind a photograph takes place.  Some say seeing photographically is inherent and can’t be taught.  I am not of that bent.  I think anyone can be taught how to make great photographs.  There are a number of skills that are required to make great photographs and all of those skill can be acquired.

Ephemeral Veil

Ephemeral Veil

Photography is writing with light and so it should go without saying that a photograph will convey something to the viewer.  What a photograph conveys will depend on the intent of the photographer.  No matter what the photographer wants to say, and whether the photographer knows it or not, every photograph is made from both a top-down and a bottom-up process.

Whether the photographer is conscience of the top-down process or not, it all begins with seeing light.  Something will catch the eye or interest of the photographer and causes the process to begin.  Is the light warm or cool, is it harsh or soft, is it diffuse or directional? What elements are illuminated by that light; lines, shapes, colors, textures? Spatial relationships begin to form between the graphic elements and the geometry of the image starts to take shape. At this point the photographer might consciously or unconsciously start to look at the scene from the aspect of isolation. How can what is seen be isolated from its surroundings or on the converse how can it be incorporated into its environment. This will prompt the photographer to start on a more technical path of choosing a lens to either limit the angle of view or expand it. Not only will the lens choice determine the angle of view but it will also dictate the perspective taken, that is where will the photographer stand to make the photograph.

Once the lens and perspective are chosen, the next decision, although technical in nature, has artistic consequences and this is the selection of the lens’s aperture. The technicalities of photography now start to emerge and lacking the technical knowledge will usually be the reason a photograph fails to convey the photographer’s intent. For now the photographer has reached the bottom of the top-down process.

Tailbone Falls - Early Winter run

Tailbone Falls - Early Winter run

Upon choosing a lens it must be focused and its aperture set to a given size.  It is at this point that the photographer begins the bottom-up portion of the photography process.  The bottom-up process is one of technical skill in working with the light itself – from determining how much light is available to how much to let into the camera and for how long.  And unfortunately it is at this very point that most photographers start the image making process and also where confusion and failure start.  It all begins with choosing the aperture, then based on the light available, the shutter speed is determined and coupled with the sensitivity of the capture medium, forms what is called an exposure.

The aperture of a lens is that physical parameter that will ultimately determine how much light will get into the camera to make the photograph a reality. A large aperture will let in more light than a smaller one. While a smaller aperture will, for that given lens, increase the depth of field and a large aperture will limit the depth of field. This property of optics, depth of field, is the perception of how many elements in the scene will appear to be in focus. As technically only one distance from the camera will actually be in focus – the distance focused to on the lens, all other distances closer to and further from the camera will not truly be in focus. The size of the aperture will either enhance the perception of focus or reduce it.

The shutter speeds determines how long light will be let into the camera to expose the light sensitive medium.  The shutter too has both technical and artistic consequences.  Where the aperture was concerned with the perception of focus, the shutter deals with the perception of time.  Time is an interval over which some action takes place.  The shutter speed chosen will either elaborate time by showing action occurring through the perception of motion-blur or remove time from a scene by freezing objects in the frame. With a fast shutter, in other words allowing light to enter into the camera for a very short amount of time, motion can be stopped and time frozen in that instant.  Conversely, with a slow shutter, one in which the lens is open for a very long time, any motion occurring in front of the camera will be captured as such and give the perception of action occurring.

So as the technical settings are set, the photographer still needs to be thinking about what he or she wants to convey in the photograph and how.  In addition to that, determining the right amount of light to let into the camera is of probably the most important step in the bottom-up process.  Determining this amount of light is what most call exposure.

Unfortunately it is the failings of understanding the basics of exposure, the very foundation of capturing the very light that caught the photographer’s fancy in the first place, that renders a photo unsuccessful.  It is here that the foundation of any photograph is formed.  By observing the light, measuring its intensity with a light meter and setting the tonality of the subject being photographed to a tone that comes as close to how the photographer’ eye sees it, the photographer can start building up the photograph so that it can convey his or her intent.  Once the tonality of the subject is assessed and set on a tonal scale where the ends of the scale are pure black and pure white now allows the selection of the aperture and shutter speed such that the tonality of the subject is rendered as seen in the resulting photo.  With the first photograph formed, the photographer can asses if it resulted in conveying what was originally ‘seen’, and if not variations in either the technical or creative elements will be made until the image is deemed successful.

Tailbone Falls - Winter Run

Tailbone Falls - Winter Run

The entire process could take moments, hours, days, months or even years to make one successful photograph of any given subject.  Learning the photographic process is a long term endeavor.  Learning how to make good technical photographs takes a person on a journey through the bottom-up process of understanding light as a physical quantity, learning how to measure it and control how much gets into the camera and how it will look in the final photo.  Learning how to convey what is seen, or even more difficult, learning how to see in the first place requires a person to be immersed in the light and look at it over and over and cognitively observe how it effects mood, emotion and state of mind.

It is a step by step process that can provide a lifetime of learning and enjoyment.  Taking it stepwise in concise classes or in an intensive immersion in the whole process with an instructor devoted to communicating with light is right way to proceed.  Organic Light Photography offers many such classes and workshops.  In addition if none of these offerings suit you, contacting us about what you want we can tailor instruction to your needs and if not we can recommend other fine instructors that can help you.  It all starts with you.

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“Whoever is not grateful for blessings is asking for them to vanish.  Whoever is grateful for them ties them up with their own tether.” ~ Ibn ‘Ata illah

All to often life takes hold of us and runs us so ragged that we forget to appreciate our blessings.  From our health to our homes to our friends each is such a blessing that words fail to adequately describe.  I don’t know if we ever really understand or appreciate the significance of these blessings.  I do know that I am guilty of forgetting and when confronted with the loss of a blessing, only then do I realize what a blessing it was.

The great spiritual Guide of the 13th century Ibn ‘Ata Illah in his famous Aphorisms said “Whoever is not grateful for blessings is asking for them to vanish.  Whoever is grateful for them ties them up with their own tether.”  2009 was a hard year for most of us.  We have seen much good fortune vanish.  Businesses have disappeared, jobs lost, homes foreclosed on, people left homeless and in some cases worse.  I need not remind  anyone of all that as we are still in the midst of the fallout, and we probably would all like to forget all that and move on to better times.

The consensus among all those who have written commentaries on the Aphorisms of Ibn ‘Ata illah is that we show ingratitude for our blessings when we misuse them.  Blessings are a gift from the Divine for us to use to bring us closer to the Divine, to recognize the Divine, to give thanks to the Divine and to show appreciation for what we have.  I think we could all understand how we would feel if we graciously gave someone a gift who then scoffed at, ridiculed and disregarded that gift.  We would be hurt, regretful for giving it and possibly wish that we could take it back.  It is chilling to think that being heedless of the good things in our lives would result in those very things being snatched away from us, but it does happen.

To tether our blessings we must appreciate them.  We must use them properly and care for them.  I am sure, like me, we all have more blessings than we can enumerate or even realize.  Nevertheless I want to reflect on two.

Photography is something that fell into my life that I never intended on.  It was truly a gift as it has helped me realize how beautiful a world we live in, which is an amazing blessing in its own right.  Every photo I make has significance to me and hopefully to others as well.  One photograph that I made in the spring of 2003, ‘After The Rain’, has risen head and shoulders above all the rest.

After The Rain

Photographed on the foundation of respecting another’s property while most were violating it, After The Rain, reached the 250th print sold late last month!  Most photographers that I run into on the art show circuit that offer limited edition photography limit their editions at 250, at such high number it is assumed the edition will really never be discontinued.   Reaching this number is a hallmark for me, a mark I never thought would occur but very grateful it was met and hopefully it will continue to meet new marks.

The caption that accompanies this photo eludes to showing gratitude for the rain – “As gentle rain falls from the sky it moistens the hard sun baked hills and the Earth drinks to its fill. Seeds, from a generation of grasses and flowers long gone, drink as well. And with that drink they start to come to life by the Mercy of the Merciful. In their gratitude for the Mercy of life they come out in blazing colors glorifying the One who sent them the Rain and the One who gave them Life. The Mercy of God, the Creator, follows the rain, as the Rain is God€™s Mercy. For without it, all life would cease. Be grateful for the rain, the flowers are.”

However, our gratitude needs to encompass much more than the rain and we need to appreciate every moment we have, the sweet ones as well as the bitter ones, for without the bitter moments, the sweet ones would not be as sweet.  At that level, we would find all of our blessings well tethered.

Desert Fare

The second blessing that I want to reflect on is the patron.  As an artist in business the patron is absolutely crucial.  In fact whether the business is art or the manufacturing of microwave energy wave guides for communication satellites, the end customer who seeks your product is king and needs to treated as such.  Even if you are an employee you still have a manager that comes to you for your contribution to the end product, a manager who must be pleased with your contribution, and then takes it and promotes it to the next level.  Displease your pseudo-customer and you could find yourself …well let’s not go there.

I have always known that customer service and satisfaction is key in business and I have always done my best to treat my patrons well.  And even though I was always grateful for a sale, a registration for instruction or any request for any of my many photographic services, I don’t think I was ever truly appreciative of their patronage until this past year.  Patrons were definitely far and few in between in the economic desert of 2009.  Much like the desert wildflower bloom of 2006, one of the meekest on record, as depicted in the photo ‘Desert Fare’ above, patrons were still there.  That spring did not dazzle photographers nor the viewers of the photos captured, but we photographed it anyway.  And like that, I still provided my services to those that still appeared from the barren economic wasteland we find ourselves in.  However, now each patron was the most important patron I ever had, for without them my ability to exist as a photographer would be put in jeopardy.

So I think that is all I have to say right now.  I know I lost some pretty heavy-duty blessings this past year and so I will definitely be tethering what I have left, you included – you are appreciated more than you know.  And hey if you think Organic Light is anything of a blessing in your life…well, I’ll let you put 2 and 2 together about how to tether it.

Peace to you all, and a better 2010!

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Achieving excellence in my endeavours has always been a top priority for me. I could never bring myself to do work that was half way, and if I could not produce top rate results in what I was trying to do, I either worked harder at it or decided that my efforts could best be served doing something else. When I finished high school I was very fond of woodworking and making fine furniture. That was nearly 30 years ago, and I still have a fine birch table that I made in my senior year. I left high school seeking to work as a furniture maker. I ended up working that first summer in a factory that made rock-band speakers building the speaker cabinets production-line style. Not really my idea of fine woodworking. So at the end of that summer I signed up for community college, not exactly sure what I was going to do.

Oak Net

Oak Net

I spent the next 6 years working towards a bachelors degree in engineering. I quickly became obsessed with earning high marks in all my classes. Something that was new to me, as I was never driven academically in high school. I devoted those six years to my studies, from dawn to late into the night, sometimes putting in 20 hour-days for weeks on end. All my work was elegant, solutions to problems meticulously carried out step-by-step, with every problem in the texts solved. I went above and beyond what my professors asked for. I did not need to do this, but I was driven to produce only the best work. At times I hated that I worked so hard, but I could not bring myself to do anything less. In the end it was all worth it, graduating Summa Com Laude with a 3.94 GPA.  I was proud of what I had accomplished and it gave me the ranking that earned me the opportunity to attend Stanford University where I was given a research assistantship that paid for me to study there for another 6 years where I earned Doctoral degree in Mechanical Engineering.  However, when I finally finished my studies and decided to enter into the corporate world, I quickly discovered that quality work was not as prized as it was in academia.  Cost was the driving factor and unreasonable deadlines usually drove the outcome.  That was a hard pill for me to swallow.

During those six years at Stanford I picked up photography as a hobby and then it too became an obsession and finally as my livelihood.  At first I was concerned with learning how to master exposure, which by the way only took about 8 years.  Then later working hard to master composition and further than that how to produce a photograph that would move some one’s heart the way mine was moved at the time I experienced that moment depicted in the photo I made.  I still struggle with that.  It has been a long and arduous journey learning how to do this.  Along the way I met with many brick walls that almost forced me to stop.  At times when I felt my work was not up to par, that it could not compete with the work of other photographers that I admired it was not hard to convince myself to just give up.  However something inside kept pushing me.  In school it was a level playing field, my work was compared to my peers and we were all learning.  But with my photography, I compared my work against that of the masters and it was falling short in a very serious way. 

Incense Cedar and Lichens

Incense Cedar and Lichens

Now after 20 years of work, I no longer compare my work to the work of others, at least not in a superficial way.  I rank it by my own expectations and by the responses I receive by my patrons and admirers of my work.  If I find that a certain photograph can elicit a response from a viewer in such a manner as to indicate that their heart was moved how my was, then I know that I have been successful.  And if it further moves a person to actually purchase it for themselves, then I know I have achieved excellence in my work.

It has been a long and hard process getting to this point.  One that I would never want to trade in or change.  Five years ago I decided that I had enough experience under my belt, so to speak, that I could offer what I know to others through instruction.  I have had many students since that time.  One of the over-arching complaints my students have had when asked why they are seeking photographic instruction is that they can’t seem to make photos that represent what they “saw” at the time they made their photo.  I have found over the years that the majority of the time, the answer lied in technical proficiency, and in specific proficiency in making the “correct” photographic exposure.

Dogwood Carpet

Dogwood Carpet

One class will not bring the proficiency of making a photograph that captures what was seen at the moment it was made, and anyone promising that is lying to you.  What instruction will bring is a savings in time and effort by having someone tell you what mistakes to avoid based on years of experience.  This points the student in the right direction on the journey to making the photographs they want to make.  It will still take practice, lots of practice, and many mistakes will still be made but with an instructor concerned with the success of the student in mind, every mistake becomes a means for learning what to avoid without having to suffer the frustration of not knowing why that photo did not work out.

My instruction is step wise.  I first focus on the technical aspects of camera operation and how to expose a scene the way the student wants it to appear.  I emphasize the basics, the foundations of good photography, by learning how to control the camera manually rather than letting the camera control the student.  I instruct the student to see the camera as a tool in their image making and not as a constraint.  Once I feel the student has a good grasp of the technical, I then move on to the esoteric aspects of image making – the how and why of making a photograph speak for you.  It takes time, but I have seen great things come from the students  I have taught, and in turn they have seen their improve as well.

If learning how to make expressive photograph interests you, then consider one of my clinics, workshops or photo tours.  And if you find that my approach or offerings don’t interest you let me know and I can suggest several fine classes from other photographers that I admire.  Helping you improve in your work brings me great satisfaction, and it raises the bar of excellence a bit higher every time I can help someone improve.

For a listing of the clinics and workshops offered visit the Organic Light Photography Workshop Page, or Contact me for more information.

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Terrestrial Astro Photography – The Moon

A new special workshop is being offered on how to find and photograph the Moon, and in particular, the new crescent moon.  To find out more information and to reigister check the Workshop Page on the Website and Register Today!  Only 19 days left before the next new moon!

Many Moons Ago

Many Moons Ago

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Speaking Softly

Photography is an amazing medium to work in.  It takes planning.  Choosing a location is always a gamble.  Conditions change every moment.  The light, the very thing that is worked with, is a living thing that interacts with everything it touches, and yet you can’t touch it, hear it, smell it or taste it and for that matter you can’t see it either until it interacts with something.  I enjoy the light.  I chase after it as often as I can.  Using a big camera, like the 4×5, takes a considerable amount of work.  It’s fairly heavy and schlepping it around can be a job.  It is a slow camera to use.  It takes time to set it up, compose with it, focus it and even photographing with it as shutter times are usually on the slow end requiring a tripod.  Once it is setup, you have an investment in time involved that you want to capitalize on so you sit there and wait for the event you came to capture and hope it was all worth it.  It is very different than a digital camera or even a smaller format film camera.

Russian Ridge

Russian Ridge


With that big camera, you wait for the light to come to you rather than you trying to capture the light as it elusively slips by.  Smaller cameras on the other hand allow mobility and spontaneity.  They allow one to capture that decisive moment before it slips away.  And I think that is what has made small camera photography so popular and special, it allows us to capture that “Kodak Moment”.  Even though some of the best photographs made by some of the best photographers in the world were done with a 4×5, there is no denying the versatility and popularity of the small camera.

As I waited that evening for the new crescent moon to appear, I was glad to have a digital camera with me as well.  It not only allowed me to capture and share the new moon in the previous post the same night, but also allowed me to capture the subtleties of light that played in the fog mixing into the coastal mountains.

Softly Spoken

Softly Spoken

Yes large format photography is wonderful and becoming more unique.  It still allows the most stunning prints to be made.  It slows the photographer down in the whole process and, by necessity, forces the photographer to become part of the scene before it is captured.  But with both formats on hand, while waiting for the moment to trip the 4×5 shutter, the smaller format allows me to capture everything that is going on around me.  Do the smaller images compare in quality delivered from the 4×5?  No.  But none the less, words spoken softly can still have more impact than saying nothing at all.  And when what you say is said with light, you’d better have a way to say it.

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