Earth is truly beautiful when viewed from space. The U.S. Geological Survey has released a new selection of particularly interesting images from the Landsat 5 and Landsat 7 satellites, prolific sources of data for earth scientists. WIRED magazine selected their favorites from the USGS’ Earth as Art collection, which will take you on a tour of the world from the glaciers of Antarctica to the deserts of Algeria.
Here are a few of the keepers participants made during last weekend’s White Sands 2010 workshop. Sunrise and sunset locations were complemented by midday reviews. We’ll do it again in 2011!
Here are a few of the keepers participants made during last weekend’s Santa Fe 2010 workshop. We had great locations – Tent Rocks, Red Rocks, Ghost Ranch, Echo Amphitheater, White Place, Taos Gorge, and Great Sand Dunes National Monument. Sunrise and sunset locations were complemented by midday reviews. We’ll do it again in 2011!
Here are some of the selected images from this years Maine Fall Foliage Workshop.
Find out about my digital photography workshops here.
I recommend you seize every opportunity to photograph a location in the air.
When you go , take two cameras with different focal lengths. Use high shutter speeds (1000 plus). Ask your pilot to circle the most interesting areas and vary altitude. If possible, go doors off to reduce reflections. If it’s not, wear a black long sleeve shirt. Keep your lens/shade out of the wind. Shoot fast. As you fly, so will time.
Photographing the Sossusvlei dune fields by helicopter was a highlight for all of us during my recent workshop in Namibia. The views were simply divine. These images are all panoramic merges. We did a full 360 degree pano from the helicopter, just for fun.
Learn more in my digital photography workshops.
Paul Tornaquindici (top) and I (bottom) walked together many times in Namibia.
Standing a few feet apart, we made very different images.
Walk with someone and photograph together.
Then compare the results.
You’ll see a different way of looking at the world.
You’ll also have an opportunity to see how you see more clearly.
Even when the images you make are the same, you’ll learn that some results are driven by convention and this can prompt you to push further, to find something new, and to make your images more personal. Sometimes these differences can be found in context with your other images.
The comparisons and contrasts you’ll see by photographing with someone else can be extremely useful.
Find more resources on Creativity here.
Learn more in my digital photography workshops.
The National Museum of American History’s Blog features preliminary sketches, both physical and digital, that detail my creative process while developing images for my series Correspondence.
Line drawings, pastels, and digital sketches were all used to explore possibilities before committing to the final composited results.
“… by exposing the time and planning the photographer took to create his final print, these sketches highlight the fact that today’s works of art, though digital, nevertheless do not simply fall from the sky. In a world that is increasingly instant, this documentation of a digital art photographer’s process reminds us of the importance of slowing down and going through experimental drafts before committing to a final decision, a timely reminder for artists and patrons of the arts alike.
Despite the time-saving advantages technology affords us, or perhaps because of them, it’s safe to say we’ll always want to know where things come from and how they are made. An idea’s journey from conception to realization will always be something we want to know, and as Caponigro’s attention to process shows us, even the digital world strives to leave its trace …”
Read more on the NMAH blog here.
Here’s an interesting sampling of images from my upcoming exhibit – New Work 2010.
All of the source images for the ground in these composites are drawn from Iceland.
While the body of work (Reflection) isn’t site specific, it’s interesting to note that many of the images are drawn from similar locations. In the case of the ground exposures a majority of the sources came from Iceland, Utah, and California.
When successful work becomes more site specific like this I ask “What was it about that place that worked so well?” or “What was it about my experience of that place at that time that worked so well?”
Then I plan to return to that location and/or that state of mind.
Find out about my Iceland workshop here.
Preview the book here.
Learn more about my upcoming exhibit here.
Here are some first pass image selects from my recent Death Valley workshop. They won’t all make the cut, so this may be the only time anyone will ever see some of them. I’m really excited about the material I collected for composites.
We had such great locations, weather, and participants that I scheduled my Death Valley February 18-21, 2011 workshop today.
Find out more about locations in the Death Valley map we’re building right now.
Check out alumni Harry Sandler’s blog posts from the workshop.
I comment twice about one of my top images from Joshua Tree National Park in this new Gallery feature.
Explore my Joshua Tree Google map here.
Find out about my Joshua Tree workshop here.
