January 26, 2020 — The Thórbergur Center, South Coast, Iceland Minimalist mountain, even more minimally. Redone for a competition entry. Closer to what I originally had in mind. (Canon G5X II. RAW processing in DxO PhotoLab 3.1; Editing in Adobe Photoshop.)
July 12, 2020 — Marin County Headlands, California; September 24, 2020 — My Office …realized. I woke up at 4 a.m. with a different treatment of an ICM image from a previous shoot in mind. I went back to sleep with a smile in my face. A few hours later, not even halfway through my first cup of coffee, there it was. And here it is. Despite what it says below, this was all done […]
January 26, 2020 — Jökulsárlón, South Coast, Iceland Iceland’s south coast has lots of berms. The ones parallel to the beach are breakwaters and, presumably, the ones perpendicular to the beach are for flood control. Iceland also has lots of clouds — at least in the winter. This photograph has both. Iceland also has powerlines, which — much to my annoyance — clutter what would otherwise be many great shots. I normally do all I […]
January 23, 2020 — Snaefellsjökull Peninsula, Iceland Iceland is volcanic. Very. Many mountains are volcanic black. Rocks are black. Sand is black. Snow, however, is white. (Nikon D850, Nikon 24-120mm f/4G VR. RAW processing in DxO PhotoLab 3.1; Editing in Adobe Photoshop.)
August 25, 2019; Cuckmere Haven, The Seven Sisters, East Sussex. This is a follow-on to yesterday’s post. The day was such that we came to be standing quite happily knee-deep in the English Channel doing ICM (Intentional Camera Movement) shots of the water (yesterday) and the cliff named Haven Brow, which you see a vestige of above. Both shots are processed to a fare-thee-well — and done so with wild abandon equal to the shot […]
August 9, 2019; Totensee. The sky was subject to rapid mood shifts: this was shot just fifty-two seconds after the image in the last post. It was post-processed after arriving home following a week in London immersed in Constable, Turner, and Monet. Rothko too, of course. Inspired by Constable’s clouds, Turner’s unfinished landscapes and seascapes, Monet’s monochrome* winter scenes, and a good dose of minimalism from Mr. Rothko, this is one version of what came […]
…different take on the same original image. Some images lend themselves to many interpretations. I’m sure the rose herself had no idea she was so adaptable. (Nikon D850, AF-S Micro NIKKOR 105mm f/2.8. RAW processing in DxO PhotoLab 2.3; Editing in Adobe Photoshop.) More fine art photography at www.amagaphoto.com
Enveloped in fog. (Nikon D500; Nikon 28-300mm f/3.5-5.6G ED VR zoom. RAW processing in DxO PhotoLab 2.2; final editing in Adobe Photoshop.)
December 7 and 8, 2018, Point Reyes National Seashore. Horizons are beautiful in their simplicity. Engaging in their subtle complexity. Their moods are varied. They have endless color and texture possibilities. For all these reasons I never tire of them. But there’s another reason as well. Horizons are calming. Soothing. Stabilizing. Horizons are therapeutic. Stand on a bluff looking outward over the sea for only a few minutes, and if you’re like most people you’ll […]
June 14, 2011, the Tate Britain, London. If I had to pick one favorite artist, it would be J.M.W. Turner. I think of his work as the bridge between Romanticism and Impressionism and in my opinion he often outdid both. I find his later work, especially, to be transcendent. In June 2011, my wife, nephew, and I went to Europe to visit family, surf (one of us), hike, and absorb culture. The first stop was […]
Abstract comes from Latin abstrahere “to pull away, detach.” Abstraction pulls away and detaches from the representational and moves into the conceptual. These were taken at Point Reyes near Chimney Rock. The views are 180° apart, taken within minutes of each other. One looks back toward Drake’s Bay and the hills of the Point Reyes peninsula. The other looks out to sea. (Nikon D850, Tamron 24-70mm f/2.8 G2.) More fine art photography at www.amagaphoto.com
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