Winter Blues

I don’t often find scenes, here in New Jersey, that make me want to reach for my camera. This field is one of the exceptions, especially in the winter. I have photographed it many times and last year, I used a snowy version on our Christmas cards. Yesterday was proper cold, not Manitoba cold but cold for this Brit who spent six years living on the equator. Days like this are magical, they sharpen your senses, fill you lungs and mind with clear air and thoughts.



I dipped back into photography this week after a post by Leigh Tate. She was asking about camera recommendations and has started a 30 photo challenge. Her joy and excitement clearly shows in her posts and it’s infectious. Can I drift back into photography without all the mental baggage? Can I just enjoy being an artist without the self destructive self criticism? Well, this is a good place and not a photography forum, so I’m not over thinking what other people think, which is a really good thing.

If your interested in photography and art, then here are my thoughts on this picture.

I want your eye to get drawn into the picture. There are shadow lines which are easy to follow, towards the brightest part of the image, which happens to be about a third in from the edge and where the biggest, tallest tree is located. The trees are warm, something else we like. All of these are tools used by photographers, especially landscape photographers. It ticks a lot of boxes. I like it for its simplicity.

As a south-facing slope, my mind is buzzing with permaculture possibilities! However, it’s a place where people train their dogs, picnic with their kids, fly kites and toboggan when the snows come. When the humans aren’t about, it’s a good place for deer. The perimeter is rich with fruit trees and bushes. As far as a field of grass goes, it’s better than most.

Early winter sunset in Montana

Edward Norton wrote:Can I drift back into photography without all the mental baggage? Can I just enjoy being an artist without the self destructive self criticism? Well, this is a good place and not a photography forum, so I’m not over thinking what other people think, which is a really good thing.

I sincerely hope so. I know that inspiration and technique must work together in the creative process. Also, that mastering technique can be a frustrating chore at times. But when we lose joy it seems creativity will suffer. One thing about Permies, there's no competition here. We all find good ideas and inspiration from what others do.

Edward Norton wrote:I want your eye to get drawn into the picture. There are shadow lines which are easy to follow, towards the brightest part of the image, which happens to be about a third in from the edge and where the biggest, tallest tree is located. The trees are warm, something else we like. All of these are tools used by photographers, especially landscape photographers. It ticks a lot of boxes.

I've been thinking about this, particularly the lines. I tend to see pictures and scenes in terms of color and the shapes and patterns the colors make. So, I'm trying to notice the lines in what I'm looking at, what makes them, and where they lead the eye. It's a new and interesting way to look at things. (For me!)

Leigh Tate wrote:
I've been thinking about this, particularly the lines. I tend to see pictures and scenes in terms of color and the shapes and patterns the colors make. So, I'm trying to notice the lines in what I'm looking at, what makes them, and where they lead the eye. It's a new and interesting way to look at things. (For me!)

I had some great teachers. One of them used to take a picture, flip it upside down, convert to B&W and then ask us what first caught our eye. We are definitely drawn to colours, patterns and also things subconsciously. His exercise helped us to be more conscious of how our visual brain worked.

Leigh Tate wrote: Winter in the Southeastern US is mostly gray, brown, and green.

Did you choose to line up the gate with the red building? Did you choose to position the object of interest one third in from the edge? Was this something you knew to be ‘good technique’ or did it just feel right?

Edward Norton wrote:Did you choose to line up the gate with the red building? Did you choose to position the object of interest one third in from the edge? Was this something you knew to be ‘good technique’ or did it just feel right?

Thought provoking questions. My first college major was art, so I've received some instruction in composition. However, I'm not sure how conscious I am of that anymore. Also, I have a subjective preference for asymmetry; I like things offset. Maybe it felt right because a combination of the two?

I'd like for my photography to be intuitive, but composing with a camera is different that composing with pencil, charcoal, or paint. I know what I want, but I have to think more about how to get it. For the building, it was a matter of positioning myself to get it where I wanted it.

I had some great teachers. One of them used to take a picture, flip it upside down, convert to B&W and then ask us what first caught our eye. We are definitely drawn to colours, patterns and also things subconsciously. His exercise helped us to be more conscious of how our visual brain worked.

This is a great idea! Thanks for passing it on.

In thinking about how I "see," I realize that as a fiber artist, I've learned to look at scenes and photographs in ways that I can interpret for weaving and knitting. That means thinking primarily in textures, blocks, and stripes. I like that using a camera is challenging me to see in new ways.