My last two posts on this blog have featured abstract photos, and black and white photos, that I took in Edmonton’s river valley on September 17th, 2018. In this post I conclude sharing some more photos from that same photo session. These ones though are a bit more typical of most people’s expectation of colorful fall photos:
The season known for its expressive color also has a beauty in a black and white expression. Here are photos taken in the river valley of Edmonton in early September 2018.
In my last post I shared five abstract photos emphasizing the colors of autumn. It turns out that I have more images from that photo shoot (in Edmonton’s river valley) that really appeal to me and I hope that you will like too:
Autumn is famous as the season of glorious displays of color, but that doesn’t have to be all that intrigues a photographer at this time of year. Here are some black and white images of what has caught my eye this early October:
Especially on a wet fall day the strong contrast of tree trunks makes for a dramatic image.
The autumn season is also when the river is at its lowest level, exposing sandbar “beaches” not normally seen. And those beaches reveal some interesting forms, very suited to black and white (or mostly monochromatic) presentation:
The above photos were all taken October 1st and 2nd (2016), in the river valley in Edmonton, Canada.
Here are some color photographs from early October 2016, featuring the colors of the season (or not particularly)!
Three recent (2015 October) photos – abstracts, in that what makes them interesting is the simplification of, the focus on, certain geometric forms.
Autumn is overwhelming – so many leaves, so much color!
I am often drawn to the broad sweeps of vivid color in the fall landscape but I also like to enjoy the natural artistry in the details. My camera encourages me to slow down and look at the beauty on a smaller scale – the beauty of each single leaf.
Ah, the seductiveness of the colors of autumn. Every year I am awed by nature’s spectacle.
“But not this year!”, I told myself as fall descended on my part of the world. It seemed every year I took pictures and I’m sure if I went back and actually looked at images from previous years I would find the same scenes and colors repeating themselves. The golden trees against the deep blue sky have become so cliche – it’s not just me, everyone is taking the same photos!
But you know what? I couldn’t resist. I’ve taken photos of those autumn leaves again and I will share them again. I will however try to share those images that are a little bit different.
It is mid-September here in my part of the world and that means that autumn is arriving in a hurry. There is an exciting burst of color that will soon give way to 7 months of greyness. Fortunately images captured, can be images savored (and perhaps painted), during the long wait til spring.
As the days of autumn get shorter and more of my waking time is spent in dim light my photography has changed. Perhaps not surprisingly but it s also getting darker – not just physically but also subject wise. I’m finding my favorite images have a mysterious, dreamlike to them quality. One is not sure what one is looking at and that can lead to a feeling of cautiousness, apprehension.
So how have I created the dark, ominous feeling in these photos? By keeping the edges soft the viewer is not able to focus in what is seeing and that gets the mind racing, bringing the viewers imagination into play. I frequently achieve those soft edges by using a long exposure (like 2 seconds) and I deliberately move the camera around. I will walk into the scene during the exposure and frequently also be shaking the camera as I do so. I also let the darks dominate in the image, sometimes with strategic highlights and increased contrasts and sometimes with an overall low contrast. Finally I find that black and white can really add to the mystery but as you can see I have also let a dark but saturated blue dominate in this last image, but still managed to convey that mystery that I was looking for.
What to you think makes these images work (in mysterious ways). Do you have any techniques or approaches for achieving similar moods?