In the Moment:
Michael Frye's Landscape Photography Blog
by Michael Frye | Feb 15, 2015 | Composition, Light and Weather
Ross’s geese taking flight at sunset, San Joaquin Valley, CA, USA
It should come as no surprise to any photographer that the interaction between subject and light is important. In fact, I’d say that this interaction is the essence of the whole thing; it’s what photography is all about.
But which comes first? Do you look for an interesting subject, and then find the right light for it? Or do you look at the light first, and then find a subject that fits the light?
I think both approaches can work. But having said that, I almost always think about light first. What’s the light now? What might happen to the light in the next five minutes, ten minutes, hour, or two hours? I try to anticipate how the light and weather might change, decide what kind of subject(s) could work with that light, and only then decide where to go.
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by Michael Frye | Jan 26, 2015 | Vision and Creativity
Sunrise above a fog layer, Sierra Nevada foothills, Thursday morning; focal length was 75mm
As I mentioned in my last post, the fog display on Thursday morning might have been even better than Wednesday morning. It didn’t look very promising at first. There was no fog at our house, and none in Mariposa either, so I knew I had to go lower. Claudia was with me this time, and we decided to take a back road that headed west into the lower foothills. At one point we crested a ridge, and there, below us, was the sea of fog.
Again I was fortunate to find a good viewpoint looking toward the southeast. This time there was a layer of high clouds above the fog, already starting to turn color with the sunrise. Best of all, a double-peaked hill was poking up out of the fog in that direction. The image at the top of this post is an early one from that morning, with a brilliant sunrise above the fog and hills.
After the sun rose, the fog lifted into some nearby ridges, getting high enough to almost – but not quite – obscure that double-peaked hill. Soft backlight filtered through the high clouds, bringing out beautiful textures in the fog (see the two images below).
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by Michael Frye | Jan 25, 2015 | Light and Weather, Vision and Creativity
Fog and southern Sierra peaks from Mt. Bullion at sunrise, Mariposa County, Wednesday morning
After the episode of dense fog in the Central Valley that I mentioned in my last post, the fog lifted into what meteorologists call a stratus deck last week – essentially a layer of fog that’s slightly above ground level. From the Central Valley the stratus deck would look like a low overcast. If you were to drive out of the valley into the Sierra, you’d climb into the clouds, and into a layer of fog, and then eventually get above the fog and into sunshine. And if you could find a hill or ridge that rose above the stratus deck, you’d be able to look out over a sea of fog.
That sight should be familiar to people who live in the San Francisco Bay Area, or anywhere along the California Coast. When I lived in the Bay Area in the early ’80s, I remember driving along Skyline Drive on the Peninsula and looking out to the west over a sea of fog covering the ocean. At that time my interest in photography was in its infancy, but it was a beautiful sight. I’ve had that mental image in my mind ever since, and have long wanted to make photographs from above a sea of fog.
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by Michael Frye | Oct 29, 2014 | Photography Tips, Vision and Creativity
Late-afternoon sun in an aspen grove, Eastern Sierra. Backlight makes autumn leaves glow, but to avoid lens flare you have to either shade the lens (if the sun is out of the frame), or partially hide the sun behind a tree, as I did here.
Light is a vital aspect of any photograph, and always the first thing I think about when deciding where to go with my camera. The more you understand light, the better your photographs will be.
Any kind of light can work for fall color – under the right circumstances. But some kinds seem to work better than others. While photographing and leading workshops in the eastern Sierra, I was usually looking for backlight or soft light on the aspens – or best of all, soft backlight.
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by Michael Frye | Dec 22, 2013 | Announcements
Mist rising from cottonwood trees, Yosemite NP, CA, USA
Looking back through this year, I realized I’d written many posts about light. But this isn’t really surprising, because photography is the art and craft of capturing light. Nothing will help your photography more than understanding this most essential element of the medium.
While many photographers watch and anticipate how the light might strike Half Dome, or El Capitan, or other big landscape scenes, we often overlook the profound affect light can have on smaller scenes. Light and Mood With Intimate Landscapes, from March, looks at how to find and anticipate small-scale lighting events, and use them to add emotional power to your photographs.
But many times intimate landscapes can work with just soft light – shade or overcast. In Praise of Soft Light explains how to create extraordinary images with this most ordinary kind of light.
In May and June I spent several weeks in the redwood country along the northern California coast. Photographing a redwood grove in dappled, late-afternoon sun prompted me to write about how to capture this difficult but beautiful lighting situation for this post called In Redwood Country.
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