Showing posts with label scenic photography. Show all posts
Showing posts with label scenic photography. Show all posts

Saturday, October 22, 2011

A Student of Light

Since I was twelve years old, I have loved to see the world through a camera lens.  Several decades ago, when my father gave me his much-used SLR camera, I subscribed to Modern Photography magazine.  Of the many tips I filed away from the columns of Bert Kepler, this one tip became my "golden rule."  He said something like, "remember when you are taking pictures, that your subject is always light."  I began to see the world differently.

I always carried my camera in the car with me back then.  I was playing at being a pro photographer, which means I wasn't really making more than small change at it and it wasn't my real occupation.  It was my passion, though, and I wanted to be as good as the pros who regularly sold their scenic pictures to Vermont Life magazine.  I became attuned to the intricate play of light on the scenes I drove through as I traveled the length and breadth of Vermont.

The scene above, Main Street in Johnson, Vermont, was one I had seen hundreds of times, as I lived in the neighboring village and drove through Johnson a great deal.  One evening in May I was on my way to an appointment on the other side of Johnson, and as I rounded the bend and came onto Main Street, I saw a quality of light on the faces of the buildings that made me pull over then and there.  I got out of the car, snapped two frames of the same composition, and later sold the image to Vermont Life.  It was light that made me pull over, but Lady Luck who kept distractions out of the scene.  There are no moving cars in the image, no dog pooping at the curb, just the classic look of a small town with two white towers lined up on the same side of the street in the light of a waning day.

For the next decade, Vermont Life used my pictures here and there pretty regularly, and I realized that I had made it into the same ballpark as the "real" pros, but that I differed from them only in the ability to allocate full-time attention to the hunt.  At some point I became more interested in growing and hybridizing daylilies.  My love of photography followed that interest.

  I gave a talk to my daylily club last night and showed them this image in a section titled, "Color and Light."  To me, light is the true subject of this image, because without the slanted rays of morning sun turning the red petals into "transparencies," the picture would be cluttered and confusing.  Backlighting converts the picture into an advertisement for the pleasures of growing "spider" daylilies with narrow segments and lots of open space in each blossom.  You can also see this particular cultivar, "Red Ribbons," from all angles here.

I said I was the only person on the bus tour who stopped to enjoy the sight of these flowers before the sun rose to a height that took away the magic of this moment.  Everyone else walked right past this vision in search of "the latest and greatest" cultivars or the breakfast snacks. 

My advice to people last night was, "when you step off the bus at the first garden on the tour, look for the light."

Tuesday, December 22, 2009

Round Barn, Morrisville, Vermont (1980)


From 1975 until 1995 I drove the back roads of Vermont, very often with my camera. I adored my adopted landscape, of course. In the fall of 1977, San and I moved to a big new house on the edge of the village of Hyde Park, about 30 miles south of Canada and an easy 2-hour drive from Montreal. We were ten miles north of the year-round resort town of Stowe, an hour's drive northeast of Burlington and the view of Lake Champlain, and about 45 minutes in good weather from Montpelier, the state capital and home of quite a nice book store and a natural foods market that sold the home-made bread of a local humanist baker, Jules Rabin. Just east of Hyde Park lay the town of Morrisville, and just outside of town, on the road to Lake Elmore and then onward to the back entrance to Montpelier, sat this round yellow barn.


Just beyond the barn was a small country home of a woodworker whose business was named The Wood Nebbish. The word nebbish, I have just discerned, means a "pitifully ineffectual, luckless, and timid person." Until the age of 13, I hadn't heard any Yiddish expressions, having been raised Lutheran and schooled with Lutherans.

I am not moving toward endorsements of any particular religious theme here. This passage is about how the notion of religion was formed in me as a cultural idea rather than a theological one. My father, the architect, recounted a fateful letter home from boarding school at the age of 15, when he informed his father, minister of the Lutheran church in the small German-speaking town of Hamburg, Minnesota, that he was not going to become a church minister, musician, or teacher like his 9 siblings. This declaration was not a separation from his church. Church-going was at the core of his way of life. It was the same way with Mom, who had been raised in the Catholic church and had become a Lutheran before she met Dad.

Dad and Mom were different kinds of Lutherans, but neither was given to discussion of religion. For them, a code of beliefs was a fixed point in life, an anchor. It was in a Lutheran Sunday School that I had a transformative experience that gave status to questioning and opened the door to interpretation. So I became a third kind of Lutheran, more in league with my cousin, Walt Bouman, one of several theologians in the family. I became the kind of Lutheran who could inquire into other religions, stop attending church, and one day welcome a marriage ceremony conducted by a Buddhist priest who lived in a monastery in Jemez, New Mexico. I, too, am anchored by a system of beliefs. I, too, have something one might call a theology, or a cosmology. What I might call it doesn't matter to me. That I have it at all is what links me to my parents' cosmology and to yours, Reader.

A propos of the Christmas season, I discovered the fervor of Dad's convictions when I was in 7th grade and said I wanted the Elvis Christmas Album for Christmas. I might just as well have proposed that he give me an encyclopedia of satanic practices. He exploded in rage. There is no better way to say it. He didn't break up the house or batter me. Remaining in his easy chair, he simply "went balistic" as we would learn to say a decade later. He didn't use the term "blasphemy," though it applies to his reaction.

I did acquire that LP record, though not through any act of his! He did not seize it, ruin it, confiscate the record player, or prevent my memorizing its satanic verses. To this day I do a fair imitation of Elvis's "Blue Christmas," if you're not paying much attention and have other things on your mind.

This began with "nebbish" and the exoticism of Yiddish expressions. In junior high school they buzzed around me left and right. My 9th grade girlfriend, Arlene, liked the word "meshugganah" (crazy). I never asked her to translate it and I never used it myself. I sensed these terms were "cultural property." The absurdity of violating those cultural boundaries is one of the jokes in the movie, "A Mighty Wind." Another word I heard a lot and never understood until just now was, "schlemiel," meaning a habitual bungler.

Last Saturday Kathy and I watched the Metropolitan Opera HD broadcast of Les Contes d'Hoffmann. It was a fabulously theatrical experience, true Grand opera, and one peripheral character in the third tale is named Schlemil. Nothing about his deportment suggested he was a bungler, though.

Well, enough reminiscing about how we form ideas about ourselves and others.

My photo of the round barn is the first of a series of desktop wallpaper images I'm going to post to my Flickr site for any and all to enjoy. I'm using the round barn this week as my desktop image.

Once I started growing daylilies, farm fields like that always caught my eye as potential daylily farms run by me. I imagined acres and acres of vibrant color and I went on like that for several years before it dawned on me that someone was going to have to do a tremendous amount of digging, washing, dividing, and weeding. I didn't have to ponder the scale of that labor very long before I scaled back my dream to a scope that I could possibly manage if everything went well for me and I developed the strength of Hercules.

My heart goes out to those who have lost their mothers recently. My mom died peacefully, slipped away during a surge of misplaced optimism about her imminent release from the hospital after her final COPD episode. Mom only had to endure 9 months in the nursing home. It may have seemed like an eternity to her. Until the big hurricane in 2004, Mom had been able to live independently, in a manner of speaking, with very limited eyesight and intensive visitation by my sister and brother-in-law. The stress of the hurricane or simple progression of her disease made it untenable for her to live without continuous monitoring. On Sunday evenings before her transfer to the nursing home she and I had weekly chats. I remember the sound of her voice on the other end of the line as if we just spoke last night. She had an earthy sense of humor, having been raised on a farm in New Jersey, and it served her well when there was nothing to do about various indignities except extract a laugh with a play on words. Her response to word play led me to name my big, raspberry 2010 daylily MOM'S MIRTH. The flowers are as colorful and big as her sense of humor.



San, too, had a laugh the night before the life ebbed out of her. I recall her last days as if I just helped her through them. My daily life seems nested in memories like those Russian wooden dolls-within-dolls. When Kathy recounted her day for me yesterday I was sure I discerned the 10-year-old who carries a bubble of joy up through the layers of memory to the adult Kathy I married in July.

The turn of another year approaches; the light of days lengthens again; our sorrows and joys disperse and blend within us and like geraniums in the window we lean toward the light.

mb