Blog - My blog, entitled "Motivation", is an ongoing discussion related to images, ideas and thoughts about photographic topics. I typically post about once or twice a week. Please feel free to have a look. However, you might want to have a look around here first, as the link does take you away from this site.
The Twin Jewels Of Western Pennsylvania - This article, which was a publication related to my Pittsburgh Parks Portfolio, was published in the Fall 2008 issue of Nature Photographer. It discusses the history of McConnell's Mill and Moraine State Parks, along with a photographic essay.
Photography And Truth - Published on Uwe Steinmueller's The Digital Outback website, this article discusses whether fine art photography need always depict 'the truth'.
An Unconventional Recommendation - This article, which was originally published in the September 2005 issue of Mike Johnstons "The 37th Frame" discusses the basics of using Contax Zeiss lenses on Canon (or any other non-Contax) cameras. Click on the title to read the article.
THE TWIN JEWELS OF WESTERN PENNSYLVANIA
HOWARD GRILL
NATURE PHOTOGRAPHER: Fall 2008
Driving through the small town of Portersville, Pennsylvania, one is totally unaware of the natural beauty that can be found just two minutes away on either side of the main road. Veering off in one direction brings you to McConnell's Mill State Park, while a turn in the opposite direction brings you to Moraine State Park. These two relatively unknown natural areas in western Pennsylvania offer a variety of scenic vistas that range from the calm stillness of Lakerthur to the rugged terrain of Slippery Rock Gorge. It has been a personal project of mine to photograph the beauty of these two areas, which I call "The Twin Jewels".
Hell's Hollow Falls. Canon 1Ds, Contax 28mm lens, F-stop not recorded, exposure 0.8 second, patterened metering mode, ISO eqivalent 200. An easy one-half mile hike from the parking lot, Hell's Hollow Falls is the largest waterfall in McConnell's Mill State Park.
This land, that is now representative of how western Pennsylvania must have looked hundreds of years ago, was not always so pristine. Beneath the natural beauty of Moraine State Park lies a history of longstanding environmental abuse that is difficult to comprehend. Nonetheless, unlike most environmental stories, this one has a happy ending. The areas transition from a poluuted wasteland to one of western Pennsylvaia's most beautiful state parks is an example of what can be done to reclaim land that has been poisoned and return it to its natural state. One can only hope that what was accomplished at Moraine will serve as an example to be followed elsewhere.
The landscape that is now Moraine was created during the Ice Age, when the local creeks became dammed by glaciers and several large lakes were created. The glacial movement also carved the surrounding area, leaving behind rolling hills and the 400-foot deep Slippery Rock Gorge, which lies within nearby McConnell's Mill State Park.
White trillium. Canon 1Ds MkII, 180mm F3.5 lens, f/11 at 1/20 second, pattern metering mode, ISO equivalent 100. In the spring, portions of the forest floor in McConnell's Mill State Park become a carpet of trillium. Though plentiful in western Pennsylvania, they are a protected species in many parts of the United States and Canada.
In the 1800s, the discovery of coal laid the foundation for what could have been the beginning f the end for this wondrous area. The land was first deep-mined for coal, and then subsequently scarred by strip-mining. The mining severely polluted the local streams and waterways. By 1900, the area was also being drilled for oil and gas. Once the natural resources had been depleted, the wells were abandoned, leaving them unsealed and leaking.
The tide began to turn in the early 1920s when Frank Prseton performed a careful study of the area and developed a deep appreciation for the land formations. He ultimately formed the Western Pennsylvania Conservancy to purchase the land and attempt to restore it to its native state. He recognized that there was much work to be done, but made the commitment to see it through. By 1970, Mr. Preston's dream had become a reality. A dam was built to recreate the glacial lake (which was named Lake Arthur), the strip mines were filled in, and the deep mines and open wells were sealed off. Fifty years after Frank Preston began the project, the area was officially dedicated as Moraine State Park.
Icy River. Canon 1Ds MkII, 70-200 F2.8L IS lens, focal length 100mm, f/16 at 1/6 second, pattern metering mode, ISO equivalent 100. From the overlook at the old mill in McConnell's Mill Sate Park in winter one can see a beautifully curved river meandering through the woods.
By comparison, McConnell's Mill State Park has a relatively uneventful history. The gristmill for which the park is named was buolt in 1852 and bought by Thomas McConnell in 1875. The land was transferred to The Western Pennsylvania Conservancy, the same organization that saved Moraine, in 1942, and the park was able to be dedicated in 1957.
The views these lands offer are very different from those a hiker would have seen in the late 1800s. The water is clean and the land appears pristine and untouched. There are hiking trails, campgrounds, and boating on the lake. Various habitats beckon to be explored, from open meadows and marshes, to rough, rocky hills and gorges.
One of my favorite locations in Moraine is a marsh that actually abuts the roadway - which makes accessing it easy. To my eye, the most interesting and beautiful portion of this unnamed area is clearly visible from the road, but oddly enough, I have never seen anyone else stop to take pictures or spend time here. Magical things happen at sunrise. Depending upon the time of year, there may be beautiful reflections in the water, abstract layers of ice and snow, or my personal favorite, incredible soft lighting coming through mist and fog. When I photograph here, I find it important to try many different camera angles and to get down particularly low to see the various types of reflections and lighting effects in and on the water.
Foggy morning. Canon 1Ds MkII, 70-200 F2.8L IS lens, focal length170mm, f/11 at 1/15 second, pattern metering mode, ISO equivalent 100. The edge of a marsh in Moraine State Park becomes covered in fog on many autumn mornings. Before the fog lifts, it reflects the warm tones ofsunrise, giving the shoreline an eerie and beautiful glow.
While in McConnell's Mill I am particularly attracted to the rushing, turbulent water and waterfalls. They provide a wonderful contrast to the calm water found at Moraine. Using a long lens, I often isolate small araeas of turbulence, and by using a long shutter speed and polarizing filter, make abstract images of the water's movement - each composition unique.
Hell's Hollow Falls, the largest waterfall in the park, is located in a low-lying area surrounded by tall trees, which makes it ideal to photogarph, since it doesn't receive direct light until late morning. I often bring wading boots with me so that I can climb onto the rocks in the middle of the stream to photograph the falls from different angles. Right next to the falls is a spectacular tree with twisted, gnarled roots that give it a mystical appearance. The half-mile walk from the parking lot to the falls is wonderful in any season, but particularly in spring and fall. In the spring, the forest is filled with a myriad of white and yellow trillium, and in the fall, the ground becomes a swirl of orange and red leaves.
Color in motion. Canon 1Ds MkII, 70-200 F2.8L IS lens, focal length 170mm, f/22 at 1/4 second, pattern metering mode, ISO equivalent 100. Rather than fight the wind, I always find it better to work with the hand that Mother Nature deals on any given day. One windy morning in Moraine, I made many images of the trees blowing in the wind to get just a few abstract images that seemed to work.
One of the best aspects of photographing locally is that you can revisit locations in all types of weather throughout the four seasons. Sping at Moraine and McConnell's Mill is filled with signs of earthly renewal. Wildflowers abound and there is a profusion of trees and plants with buds of different colors and shades. Summer is a symphony in green, while the colors of fall, as in most of western Pennsylvania, are marvelous. Winter brings a sense of serenity, as there are few visitors and the lonely park seems willing to give up all of her secrets to the few that are willing to come and keep her company.
Moraine and McConnell's Mill State Parks have come a long way indeed. I feel
certain that Frank Preston, would be smiling if he could see the culmination of his
dream today.
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PHOTOGRAPHY AND TRUTH
HOWARD GRILL
PUBLISHED IN DIGITAL OUTBACK PHOTO: OPEN YOUR EYES, EXPRESS YOUR VISION #4
I have never understood why photography is essentially the only artitic medium in which people seem to expect literal, factual interpretations of a subject. It is not at all unusual for someone, after looking at and seemingly enjoying a photographic print to turn around and question if there has been 'manipulation' of the image because of the intensity of color or contrast, the perspective of a particular lens or the use of shutter speeds that provide an unexpected appearance. Unfortunately, many of these comments are made in a derogatory fashion; there is seemingly no artistic vision or expertise involved if there were 'adjustments' that were made......it is as if to say "aha, once you are allowed to make adjustments I could have done that as well", and therefore the perceived 'value' (and I am not talking about monetary value here) is lessened.
I simply don’t get it! I have never heard anyone complain to a painter that their work wasn’t good because they painted the sky bluer than it was on that particular day. No one tells a writer that something couldn't have looked as they described it. Sure, people may not like the painter's or writer's style, but that is quite different from not liking an artist’s work because it does not portray reality.
As an aside, the whole situation reminds me of a famous story regarding Picasso, which goes something like this (who even knows if it is true at this point). A tall patron asked Picasso why he portrayed people the way he did, despite the fact that ‘they don’t really have angles like that’. Picasso reportedly asked him if he had a photograph of his wife with him and asked to see it. The person did and showed it to Picasso. Picasso then took his thumb and forefinger and, in an animated fashion, used them to measure the size of the woman’s head in the photograph. He then held his now separated fingers up to the light and said to the tall patron, “How odd, your marrying a woman with such a small head.” Point well made.
The issues and concerns regarding manipulation have certainly ‘gotten worse’ in the digital era, where anyone can cut out their bosses head and place it on a monkey’s body. Clearly, however, ‘manipulation’ occurred long before the digital age by making choices as simple as deciding what focal length lens to use or even what type of film to load into the camera. For more complex manipulation using film, one need look no further than the type of magnificent work Jerry Uelsmann does today using ‘only’ film and the darkroom.
"Leaves And Falls"
An example of a short focal length induced change in perspective. In reality, the pool of leaves was smaller and the waterfall closer than the image would lead the viewer to believe.
What it seems to essentially boil down to, at least in my mind, is that most people expect photography, even if presented purely as art, to accurately reflect reality. This presumption is simply not present in essentially any other artistic medium.
I suspect that the main reason behind the expectation of a photograph portraying ‘reality’ (which, by the way, ignores the fact that what one person perceives as reality might well be a bit different from the way another perceives it) is the historical use of photographs in journalism. This raises two issues. The first is whether one should expect the same ‘rules’ that apply to journalism to also apply to fine art photography, and the second is just how much ‘truth’ is depicted in an ‘unmanipulated’ journalistic photograph.
There exists a certain ‘code of ethics’ regarding the use of photographs for journalistic purposes. One can certainly understand that images used in this way should not be ‘altered’. But, in reality, an ‘unaltered’ image doesn't necessarily depict total truth either. As previously mentioned, the choice of focal length used will effect the apparent facts in the image. Exactly how far away is the subject, as opposed to how far away does the photographer want the subject to appear to be? Does the subject know they are being photographed?
But, I believe this issue is a minor one compared to the issue of in-camera cropping. What is just outside the frame and left out can, at times, tell as much about the situation as what is included. I will never forget a piece that I read which showed a photograph of a young person seemingly caught in the act of violent revolt. This image had been used as news in many prominent newspapers and magazines. One photographer, however, had the wherewithal to take a photograph of the overall event. What was actually occurring was that there was a group of perhaps 30 or so photographers all crouching down (just outside the frame) and taking the same image. The subject was now seemingly ‘enjoying’ his portrayal of revolution. Meanwhile, each of the photojournalists had independently and conveniently cropped out all the others. There was no apparent enemy and the photographers certainly did not seem concerned about exposing themselves to danger.
Viewed from this standpoint, the story seemed to change. It now appeared that the subject was posing for the shot and the image seemed more like propaganda than news. Was it real? Can the presence of one camera change reality? What about 25 or 30 cameras all trained on the same subject? What urging, either actual or subliminal, might have been taking place to get the subject to perform?
Just to be clear, I am not a journalist and have never been one, so I apologize and am certainly willing to accept correction if any of the details above are erroneous. Nor, I should add, am I a conspiracy theorist. However, it does appear to me that, at least to some small extent, every image coveys only the reality that the person behind the lens wants it to. It would appear, then, that there are some similarities between journalistic and fine art photography.
"Gerlach's Point, Uncloned"
The tree in the water had fallen after a storm the night before. It was never there before and would presumably wash away in the next few weeks. Is it 'fair' to clone it out when making a fine art print? I think so.
"Gerlach's Point, cloned"
Same photo as above, but with the fallen tree removed.
The now well known, cloned Reuers photo by Adnan Hajj. Was it 'fair' to clone in extra smoke in a news photo? I think not, despite the fact that the inherent meaning of the image was not changed.
However, bringing the discussion back to the topic of fine art photography, I think the biggest issue involving ‘truth’ as it applies to photography in the digital era comes in the form of ‘innocent’, as opposed to overt, manipulation. What is this rather sinister (said sarcastically) impediment to the portrayal of truth. Why, none other than the RAW format itself!
While the casual point ‘n shooter typically sets his or her in-camera parameters and shoots in JPEG format, all the while not necessarily thinking about the fact that the camera is doing its own post-processing, the serious photographer most often shoots in RAW format. The interesting thing is that RAW not only allows, but DEMANDS, post processing interpretation of the final image because the initial RAW data, which has not had any post-processing applied to it, is quite bland and just as ‘untruthful’ as an image that has been heavily manipulated. So the final result of an image taken in RAW format must then become, at best, only a representation of reality based on one person’s memory.
"The Burning Bush, Right Out Of Camera"
This image was taken in RAW format and is shown as it appeared directly 'out of camera'. Without post-processing, the image does not depict how the scene truly appeared. It is just as untruthful as a heavily manipulated image.
"The Burning Bush, Processed With Adobe Camera RAW"
The same image as above, but cropped and post-processed using Adobe Camera RAW. Post-processing allows the photographer to apply his or her own artistic interpretation to a scene and depict it either as it 'truly' appeared or as it 'felt'. The 'truth' is only as real as the photographer's memory once RAW format, which demands post-processing, is used.
"The Burning Bush"
The final image, after using Photoshop to allow me to fully express my vision.
In the end, the debate regarding digital manipulation is likely one that will never end. 'Truthfulness' in imaging, as in many other things in life, is ultimately only as honest and factual as the person behind the lens. Nonetheless, I do suppose that ultimately some conclusions can be drawn. For one, though there may be no 'right' answer about what represents truthfulness in photography, it is quite important to at least give the issue a good deal of thought despite the fact that the resultant guidelines might only serve as personal ones. In fact, since there is no 'right' answer, going through the thought process may well be more important than the conclusions.
My (current) personal guidelines are as follows:
1) For photography presented as art, I believe 'anything goes'. Viewers may not like the artist's style if it involves 'over the top' manipulation, but I don't believe that one's artistic expression should be limited simply because the medium happens to be photography. Nor do I think that such art needs to come with a 'disclosure statement' stating that it was manipulated. My one exception to this is #2.
2) I believe that wildlife photography is a separate and special situation and that it should be clearly indicated if the subject was photographed in captivity. Likewise, if anything has been done to substantially change the meaning of the photograph with cloning etc, I think that should also be indicated. It would also be acceptable to simply and clearly state that the images have been altered.
3) Though I am not a photojournalist, I would hope that images where there is misrepresentation (as in the example of the 'revolutionary' given above) would be treated as if they were manipulated.4) If asked, be truthful. Never represent known manipulation as no manipulation.
So that is my list…….have you thought about yours?
"Photography, as we all know, is not real at all. It is an illusion of reality with which we create our own private world." ----------- Arnold Newman
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AN UNCONVENTIONAL RECOMMENDATION
HOWARD GRILL
THE 37TH FRAME: ISSUE #8 SEPTEMBER 2005
As counterintuitive as it may seem, there are times when taking an advanced digital camera, using it in manual mode, and mating it to a decidedly low tech lens may be just what is needed to obtain optimal image quality. Ironically, the Canon 1Ds, arguably the most technologically advanced 35mm camera available, may well be the one that most benefits from such an unconventional union. The 1Ds’s full frame, high resolution sensor provides exceptional image detail, but is unforgiving in its ability to reveal the optical flaws of any lens. Therefore, in order to see what this camera is truly capable of, it must be used in conjunction with top quality optics. One can readily find suitable telephoto and normal focal length lenses to deliver the necessary quality, but obtaining optimal wide angle performance is more problematic given the inherent difficulty with edge sharpness and distortion at shorter focal lengths.
Rather than debate whether a given Canon wide angle lens is superior to any other, I would, instead, like to offer an intriguing alternative. My suggestion is to consider using Contax Zeiss manual wide angle lenses with Canon EOS cameras. There are two Contax Zeiss lenses that stand out as superlative performers and which can be easily adapted to the Canon EOS system. These are the 21mm and the 28mm f2.8 Distagon *T’s. For those concerned with numbers, photodo.com rates the 28mm lens quite highly with a score of 4.3, while the 21mm is unrated. More specific optical data for both the 28mm and 21mm lenses are also available at this link.
Though the quality of these lenses will also be evident in film-based photography, their benefits will be far less tangible when they are used with digital cameras that have smaller than full frame sensors. For example, the Canon 10D's sensor, with its 1.6 magnification factor, will produce a crop from the central, sharpest area of the lens. The edges of the frame, where the greatest challenge to image quality lies and where the ability of the Contax Zeiss lenses shine, are thereby completely eliminated from the field of view.
Hell's Hollow Falls, McConnell's Mill State Park, Lawrence County, PA. Taken with a Canon 1Ds and 28mm Contax Zeiss lens.
Moving beyond the numbers, let’s focus on the ‘photographic experience’ one has when using these lenses. My personal experience involves the 28mm Zeiss, a used sample of which can be routinely purchased in excellent condition for under $250. The lens is made of metal and has a decidedly solid look and feel to it. The focusing ring action is smooth as silk. It’s almost as if there is a hydraulic mechanism at work, damping the force that you apply to the ring. Needless to say, there is an engraved depth of field scale on the lens barrel. The manual ‘click-stops’ are sure and there is a ‘precision feel’ to changing apertures. The images speak for themselves. They are crisp, contrasty, and well color balanced. In short, this lens is a joy to handle.
Rock formations at Slippery Rock Creek, McConnell's Mill State Park, Lawrence County, PA. Taken with a Canon 1Ds and 28mm Contax Zeiss lens.
However, as compared to a standard Canon lens the Contax Zeiss requires a bit of extra effort to use. To start with, an adaptor is needed to allow the lens to mate with a Canon EOS body. There are several adaptors that can do the job. I have found the one available from Stephen Gandy at CameraQuest to be superb. The Contax/Yashica RTS Canon lens adaptor is the one that is needed (for the adventurous there are also adaptors available that allow Nikon, Leica, Olympus and Pentax lenses to be used with Canon EOS bodies). Yes, the adaptor costs $175, but it is well worth the price as it is as cosmetically and functionally perfect as one can get. The appropriate side of the adaptor is fitted to the lens resulting in a Canon EF mount that can be used as smoothly and easily as any Canon lens. The adaptor contains no glass and allows the lens to retain the ability to focus to infinity. As a result, the full utility and quality of the optics are preserved.
Since the lens is fully manual, there is no communication between it and the camera body. As a result, the camera will indicate '00' as the aperture setting and the metering mode will need to be set to manual. The image is most easily composed with the lens wide open. The lens is then stopped down to the desired aperture, the shutter speed is adjusted to balance the exposure using the in-camera light meter, and focus is obtained manually before opening the shutter. Focusing is best done using the hyperfocal distance and the depth of field scale on the lens, as it is difficult to focus precisely with the lens stopped down.
Once the lens is mounted, it is important to recognize that the camera's light meter is extremely sensitive to stray light entering the viewfinder. Merely keeping an eye to the viewfinder is not sufficient to keep the meter from being fooled. One's hand must actually be cupped around the viewfinder in order to effectively keep out stray light and allow accurate light meter function. After the shutter speed is set, this issue becomes inconsequential since the settings have been applied manually and will not change with an altered meter reading. It should also be noted that the 28mm Contax lens can be used with either a filter or the Contax lens shade, but not both, as the use of both will result in vignetting.
Clearly, using these lenses takes extra time and effort. They aren’t for everybody. If you are shooting moving subjects, if you hate fiddling and if you don’t use a tripod then these lenses aren’t for you. However, if you are using a full frame digital or film camera and are taking photographs of static subjects, desire superlative image quality, and want to have an enjoyable, immersive photographic experience, then you really owe it to yourself to give these lenses a try. I found using the 28mm lens to be such a joy that I have a 21mm on the way!
Howard Grill
Special thanks to Jeffery Behr for enduring the long list of questions I had when first trying out the Contax/Canon combination
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