Valley of Darkness

It has been a struggle recently to engage in photographic creations. I must be going through a transformation of schemata in what I want or want to see in the world around me. Since the range of these schemata or modes or ways of visualizing what is before me is infinite, I must rely on my deepest intuitions to non verbally grasp them and bring them into the light of conscious thought.

The tactic I have chosen to accomplish this, at least at this particular time, is to review my most recent photo shoots, and try to pull from them elements that I find attractive. In other words, I find the living moment of actually taking a photograph  to be too challenging to focus on exactly what I want. If I may impose an analogy it would be that of a football quarterback who is a rookie versus a quarterback of pro standing. For the rookie time moves too quickly, for the pro time moves slowly. So, only on reflection can I acquire what I want; the lived moment is too fading to control.

That being said, I am still at a loss as to what my spirit or photographic eye really sees. It appears that I am drawn to the shadows. If shadows do not exist, I want to create them.

Also, I found that on my Chappaquiddick photo shoot that I had to compensate again in post processing what was lacking in optimal conditions while on the island. It was very windy and lighting was unpredictable.

I found that my long exposure shots were salvageable, especially of subjects as coastlines, sky and water. One shot drew me to often revisit it simply because of the grass. It seemed the long exposure of the grass in the particular light created an oil-paint-pallet. I stayed with the grass with that paint-like effect and kept the water more contrasted and the sky even more so in On1 Photo 10 software program. The final posted photo is of Katama Bay. The camera was a Canon 5 Ds with a Canon EF 16-35mm f2.8L lens @ 16mm, with settings of f/16 and speed of 36 seconds, ISO 100.