Interpretive Nature Photography: Art and Nature

by Jamie Konarski Davidson

Ferns - Multiple exposure with spin to highlight patterns and texture.

Ferns – Multiple exposure with spin to highlight patterns and texture.

What does interpretive nature photography mean? Nature is nature, art is art, and never the two shall meet, right? For some, perhaps this is true. But only for those who have never walked in the woods, sat in a flower garden or watched the sun meet the day or settle in for the night. Or for those who have never stopped long enough to explore a dandelion or to watch a butterfly break free of its chrysalis. Nature IS art, in its finest and purest form. Capturing this essence is what nature photographers live for. It is what makes us unable to imagine doing anything else. It is what brings me peace, healing and joy. It is what pushes me as an individual to be present in the moment and to slow down long enough to see and feel and connect.

So, how do we do this and what do the results look like? Most of us begin our photographic journey with our eyes, hands and mind — seeing something, grabbing the camera and figuring out how to set the camera correctly. This is natural, as we need to see our subjects and to learn how to use our equipment to capture the moment. The sticky piece in this equation is “correctly.” True, technical knowledge is necessary. What is missing, and what makes our work express the “art in nature” is vision and heart. When we see and connect at the heart level, our work begins to shine, and what we share with the world resonates at a deeper level than a pretty picture. Continue reading

Vision and Craftsmanship by Ron Rosenstock

by Ron Rosenstock

 

“There are no rules for Technique, only solutions. Today’s Darkrooms may soon be replaced with electronic consoles. Yet after thirty years, Steiglitz’s advice to me remains constant: ‘The only thing that matters is the finished photograph.’ “

Arnold Newman, 1965

 

As a teacher of photography, I often quote Arnold Newman because he is speaking about the essence of creating a meaningful photograph.

My background is in the traditional, large-format, black and white school of photography of Edward Weston in the 1920s, and later of Ansel Adams. I worked with a camera similar to that used by Weston and Adams, an 8”x10” view camera, so called so because the film was 8×10 inches. My camera, ten film holders, and tripod together weighed 40 pounds. Cumbersome equipment, but that was just the way it was if you wanted to make high quality images. Back in the 60’s and 70’s it was called fine art photography.

Many years have passed but the basic principals are the same. In the dark room we could crop the image, increase or decrease exposure, increase or decrease contrast, burn and dodge areas to lighten or darken those areas selectively. We can do all this and more now with more ease than ever before. Continue reading