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I’m in Yangon and, shock of all shocks, I have wireless at the Trader’s Hotel. I’ve been traveling here since 1986 … this is first. I don’t know why… but it means that I can tell you this tale:
I’m at lovely Shwedagon Pagoda, as the full moon begins the wane, I’m staring through star candle lanterns at the spire, photographing and reveling in the joy of the moment, and I hear a voice, “you aren’t just looking at the light, you are absorbing it”. I turn and there is a young Burmese monk with a friend, of gentle demeanor, yet sharp eyes. I say “Yes, it is tasty!”. And we proceed to converse. “Where are you from?”, they ask. “USA. New Mexico”, I reply. “Ah, yes … Land of Enchantment”, says the rakish friend with a baseball cap. “How did you know that!”, I exclaim. He says dryly, “It is on your license plate.” “Well, I know that, but how do you?” “I read it in a book.” And, we continue to have a wonderful conversation ending with me saying thank you in Burmese and he said “Da Nada”. I love to travel!
I’m mid-flight from New Delhi to Bangkok, and then tomorrow I’m on my way to Myanmar. I have just enough time to reflect a smidgeon on the photography tour I just led for National Geographic to Rajasthan. One of many things I love about National Geographic tours is that they are so international in nature; there were avid photographers from the US, Canada, Hong Kong, Thailand, and France. It was a group of singular synchronicity and fun.
We had many lively discussions. They had very thought provoking questions for me as we went bumping along in our magical bus through the desert of Rajasthan, such as “What is the element that is most important for a photograph?” What makes a photograph great? I’m sure all of you will have your own answer but here is mine, quite simplied.
Those of you who have taken workshops with me know that I talk about how photographs have the possibility of great Color, Light, Action (large in your face action or just a twinkle in the eye), or Pattern (or you could say Composition). CLAP, if you need an acronym.
You need two of these elements to create a photograph but to make a memorial one, one that SINGS… you need an added factor. It could be a punctuation of another element (as I discussed in an earlier blog post). However, I think it is more than that…it is when there is a harmonic convergence of the emotion of the photographer with the emotion of the moment (even if it is inanimate). In a way it is a photographic epiphany. These are rare, but it what all virtuosos of light aim for in their art.
And, because they are rare, this is why I continue to photograph. I don’t expect to reach my photographic Everest; I just love the journey through the ups and downs and many plateaus.
© nevada wier India, Jodphur. Evening Street Scene.
© nevada wier India, Rajasthan. Early morning Pushkar Fair.
© nevada wier India, Agra. Taj Mahal.
October 28 Update: I just arrived at the Pushkar camel fair and have 15 minutes (and a good Indian cell/bluetooth connection) to explain a bit about the images I posted the other night. The updates are in this color red.
October 26: I don’t have much time to write but here are a couple of images from Rajasthan on the sand dunes! I’m leading a National Geographic Expeditions tour and we are having an amazing time. More on the photo technique tomorrow. but for now enjoy … the natural light and exuberance
This image was taken with a 100-400mm lens probably close to 400mm. It is not easy to find the perfect sand dune – where people and camels can walk right on top of the ridge so you can see their feet kicking the sand. So this was a find! We were riding our camels in the evening, spotted some local girls and enticed them to come with us to dance on the dunes. Because of the dusty sky the sun did not flare into the lens. I have so many great ones that it is hard to choose my favorite. I surely do not mind that!
and here is an image combining natural light with a bit of off-camera fill flash with a warming gel
This image was taken the next night at Jamba. This is a spectacular place but not the “perfect sand dune” for silouhettes showing feet so I bent very low, almost lying down, and photographed upwards. I had a slightly amber gel inside a diffuser on my flash which was held by my left hand outwards and upwards, at -1 EV. I took a light reading off the sky (about 20 minutes after sunset) and held the camera as steady as I could with my right hand. But I wasn’t worried about camera motion or the fact that 1/3 sec. at f/3.2; I knew the flash would give the illusion of sharpness. I positioned myself so I could see the two men and the camel in the background. I love images with depth.
And now I’m off to enjoy Pushkar! more camels. more images. more fun.
I’m on my final flight to New Delhi. I never bemoan long flights because I enjoy the time to read and revel in the fact that I’m not on a steamer ship (plus I use my frequent flier miles to upgrade to business class).
Last year I wrote about Packing Camera Gear for Flights which is still relevant (see below for the new luggage in which I put the Pelican case for flights). So this time I thought I would mention a few travel and photo items that might interest you.
No one will ever convince me that digital photography is less expensive than film. Sure, I don’t have to carry around hundreds of rolls of film but I do bring an abundance of hard drives, accessories and wires. Since I have seen almost everything fail that can fail, I quake with paranoia. All it takes is one bitty wire to break down a system. Therefore I have to bring backups of usb, mini usb, micro usb, firewire 400, firewire 800, firewire 400 to 800, ipod cords, adapters, and endless power chargers. And, all those cords take up lots of room. Thanks to an article in MacWorld a few months ago Shrinking your Mobile World, I was spurred on to abandon my long cords supplied with the devices and search for short ones (sadly short cords are not less expensive, au contraire). The links on the MacWorld site helped but finding short firewire cords wasn’t that simple. Finally I stumbled upon www.usbfirewire.com. And here are some of the wires I’m bring with me. None are over 9″ except the usb extension cord in case I do need a long one. I love them!
I also found a great travel vest from Scotte Vest. This is not a photo vest but a vest to be worn on planes and other travel situations. It is very evolved and even has little cards in each pocket explaining how it can be used. There are conduits in the vest for ipod cords, a clip for a micro cleaner cloth, hidden pockets for change, etc. At first I thought there were too many pockets but at least they are all slim lined and not bulky.
However, it is definitely not made for tropical weather.
I was roasting inside the Bangkok airport (and it is air-conditioned). I will have to reluctantly abandon it for the rest of my travels in India and Myanmar. Pity… maybe they will make a tropical one soon! I also like that they are tapered differently for women and men.
Someday I’m going to design the perfect lightweight photo vest, because I have tried and rejected all of them. Stay tuned for WierGear — a series of unpadded, lightweight stuff that we all need!
… Now I’m in New Delhi; jetlagged and up at 5am to finish this blog post. I had to take the vest off in the New Delhi airport and it is packed away for my return international flight in December. It certainly will be cool enough at that time to wear it.
Here is one more item that I have been traveling with for years and years — the Eagle Creek Market Pouch
I swear by it because it means that it is always hooked to my belt so I yet to lose a passport, money, and I always have a sundry of small useful items with me. Plus it fits under my camera bag waist strap so it is hidden away from searching fingers.
Look at all the stuff that fits in it! (I have an older model but the new ones look similar). I’ve spread it out on my bed for you and I think it is quite impressive!
Yes, that is a small bag of hot red chili because I can’t live without it (although it does seem strange that I have add chili to India food but they never believe me that I like it really spicy). And I keep a compass, flashlight, and Purell on that small carabiner swinging from the pouch; children covet it.
I have been a BIG fan of Eagle Creek stuff since they first began as a small company eons ago.
So while I’m on the subject of Eagle Creek — I purchased (yes, the world does not shower me with free gear) for this trip two new bags. One is the new HC2 Hovercraft Upright 25 which fits my Pelican Case (plus other stuff) perfectly; it is rigid enough to protect it for international flights. And a new carry-on roller since I had utterly destroyed the last one and even duct tape wasn’t doing the job any longer — the HC2 Hovercraft Upright 22. Yep, my Lowepro Orion fits inside as well as two extra camera bodies, an extra lens, 2 Rugged Lacie harddrives, a jacket and other stuff. I just wish I had gotten blue ones instead of black because everyone has black luggage and it would be easier to identify off the luggage carousel. So instead I have electric blue luggage tags. And, last year I purchased the HC2 Hovercraft Duffel 30 for my clothes since it is lighter, a bit bigger, and less rigid than the Upright but it still has those magic wheels.
Another essential travel item is a flat sink stopper and powdered Ivory Snow because I refuse to pay for outrageously priced hotel laundry.
Finally, I have decided that an Amazon Kindle is a worthy purchase (wish I had the new International one). I am a voracious reader so bringing books on trips has always been a weight issue. Now all I have to worry about is not losing the power cord!
And I’m off to Jodphur tomorrow. I’m thrilled to be out photographing again soon! More blog posts to come.
Excelsior!
I suspect that 98% of the travel images in the world are taken straight on with one subject in the frame. That is fine if there is a compelling reason to do so–the expression is remarkable, the action compelling, the light god-like radiant, or it just had to be composed that way.
I have done my share of straight-on shooting. Most of the time I was just being lazy or bereft of vision. Or, maybe I was just having a good time walking down the streets of India, Vietnam, New York or anywhere with my camera. An interesting person, or a pretty door, or a splash of color does not insure a great photograph of these subjects. So, I better have an inarguable reason when I choose one of these images as a select!
Fortunately, when I get to a situation that beckons to me as a photographer I can often pull myself together, back away from the straight-on shot, and elevate my creativity.
Here’s an example of an extremely interesting person that first I photographed as a straight on head shot. It is okay, not terrible, but certainly not exciting.
I rethought the situation and MOVED and looked for more texture, depth and expression. It is still straight-on but now there is a reason.
© nevada wier Myanmar, Chin State
It meant changing my perspective (the physical distance and angle from myself to the subject). Moving is one of the best ways to become a better photographer (especially if you are using a mid-range lens).
Last year I was in Mongolia photographing the Kazakh eagle hunters. I often take this kind of image so that the person gets used to having me photograph them, or so I can send back a print I think they might like. But then, at the end of the edit they usually end up in the trash.
In this composition there is a clump of horses in the background, the horizon is in the middle of the frame, and there is empty space that has no purpose. It is just another boring shot of an interesting person.
Since everything has to matter in a frame, I moved right under the eagle, and laid down on the ground, in order to shoot up at the sky. It almost looks like the eagle wants to swoop down and eat me (maybe it did!).
© nevada wier Mongolia. Far west.
I am always looking for an interesting angle. Not long ago I was in Southern India. It is so easy to photograph in India that I feel I have to work extra hard to create a compelling image! I had a wonderful encounter with some pilgrims at the lovely Meenakshi Sundareswarar Thirukoil Temple.
© nevada wier India. Madurai.
I knelt down with my wide angle lens, exposed for the sky (I often work on manual mode), and added a touch of flash. (I will discuss my use of wide angles and fill flash in future posts). I think you can now image that a straight-on shot would be rather mundane in comparison.
So take your straight-on “insurance” shot — then think, feel, and move!
Recently I had the good fortune of being interviewed by two top-notch photographers who have very forward-looking blogs: Ibarionex Perello, The Candid Frame; and Matt Brandon, The Digital Trekker.
The interviews took place months apart but they happened to be published days apart. This is not the first time I’ve been interviewed on a podcast, but it made me pause and think about The New World Order for photographers.
The Candid Frame #80 – Nevada Wier
Depth of Field: Nevada Wier Part I
Depth of Field: Nevada Wier Part II
(You can also find these podcasts on iTunes)
There has been a steady, gradual shift in the business of photography over the past few years, but I really see a major tectonic shift this summer.
When I started out it was all about magazines. I wanted to be published in magazines; whenever I was interviewed it was in magazines. Editors were The Great Barrier Reef that all photographers had to penetrate.
Magazines are still around but they are not the only forums for photographers, and they have less and less circulation and influence. Conversely, there is an increasing abundance of alternative venues for photo stories (with and without audio), single images, and videos. It is quite exciting, overwhelming, and much more democratic.
But, I can’t help but wonder …who will be paying for it? How will professional editorial (current event, travel, nature, etc.) photographers survive in this New World Order? And, it seems so much more work to me than writing proposals and figuring out to crack into specific magazines.
Plus there is no way to funnel the photographers who rise to the top through talent and hard work into central showcases. Magazines used to be that funnel leading to recognition known throughout out the general public, not just photographers. Now there seems to be a myriad of cells (through Twitter, Facebook, Flicker, Internet forums, etc.) providing platforms for enthusiastic photographers. This is a great boon to a wide range of photographers, but none have a wide range of followers. So it is A Wonderful New World Order for avid photographers and an increasingly stressing one for professionals. But I don’t think this is such a bad thing (ha! fooled you…no, I’m not bemoaning the situation).
I think it is time for a change. The day rate in magazines has not changed in over twenty-five years (I can’t think of any other profession where a pay rate hasn’t increased.) So pros can moan and groan, but it can be very exciting to reinvent one self. And, eventually, I think there will be a new conduit for the world at large to see the creme de la creme of photographers. And will there be will be a new God of Visual Judgment after the demise of magazine editors? (Do you think the median is the best judge of an art form? I don’t.)
I don’t have any answers; it’s exciting and thought provoking (as well as often frustrating) to be at the cusp of such a change.
As Helen Keller said, “Life is either a great adventure or nothing.”
So I watch, marvel and try to ride the surf on top of the wave! Whether I get crunched … I don’t know.
© nevada wier Myanmar. Inle Lake.
Even though I travel to so-called exotic locations it doesn’t mean that great images will automatically appear. There are the same creative challenges as photographing in your hometown (although there are very different social challenges). The main difference is that we are usually very jazzed and ready to photograph whenever we travel into our own terra incognito. Yet, this is often when the joy of travel overcomes artistic insight. Exoticism should not carry an image; it should stand by its own photographic gravity.
I have often said that there are four possibilities in a color image – the possibility of intense color, great light, strong action or gesture, and compelling pattern or composition (CLAP). There has to be at least two of these if an image is to have impact. And, sometimes one of these elements adds strong punch, zing, woo-hoo, or punctuation. Like putting an exclamation at the end of a sentence. One takes notice. The punctuation is the zing to an already commendable image.
Recently I was in Nagaland of northeastern India right on the India/Myanmar border. Literally, I was standing on the border; it ran through the middle of the headman’s house. There was serious opium imbibing in extremely dark rooms. I blessed the high ISO capabilities of my Canon 5D Mark II since using a tripod was not an option. However, I didn’t want to photograph the usual “person in front of a fire” tribal image. BTDT. Then I noticed the serrated light falling on the face of one of men. I balanced my camera on my knees, framed him on the right side, waited for the right moment, took a deep breath and let it out, then ripped off five frames. (Even at ISO 1600 with a 28mm f/1.8 lens I was down to 1/5 sec at f/1.8). As I hoped, the middle frame was sharp. And the punctuation of the light makes the image. Zing!!
© nevada wier 2009 India. Nagaland State. Longwa Village.
DETAIL OF FACE
Here is another example from an older image taken in Ladakh, India. I don’t know how long the shutter speed was (film days) but it was long enough to “ghost” out the image of the head monk crossing the room (no, it is not a curtain). I was on a tripod (no way to hand hold an image like this one) using Kodachrome 200. The punctuation is in the face peering through the ghosting, it is the only frame that worked.
© nevada wier Ladakh, India. Rizong Monastery.
DETAIL, IN GHOSTING, OF A PILGRIM’S FACE
I have increasingly becoming less interested in photographing a literal moment in time — a portrait, a moment when someone is working, an expression, a stunning landscape, and such. Oh yes, I still photograph these, but, while editing they do not interest me as much as before. I am more intrigued with the moments that a casual glance cannot see. Only a virtuoso of seeing can notice them, and only a master of a camera can express them. These images exist in shadows, fleeting expressions, and wiry juxtapositions.
I think travel (or should I say “destination”) photographers go through certain phases; I know I did:
First: Figuring out how to use a camera and just pointing the lens wherever.
Second: Clicking when you see a moment you like.
Third: Deciphering more of the camera and then clicking more deliberately.
Fourth: Feeling confident about your photographic skill and so photographing with enthusiasm but not intent.
Fifth: Starting to understand that the combination of a camera, lens, and sensor (or film) has a creative potential of its own.
Sixth: Traveling further afield with a camera, feeling confident, and then the emotion of the travel smothers creative photographic expression. (An amazing travel experience doesn’t necessarily translate to amazing images.)
Seventh: The technical level excellerates and expectations rise, images become technically lovely (perhaps like a photographer you admire) yet they are soulless.
Eighth: The photographic journey eventually begins… and expressive levels become very personal.
Ninth: You hate everything you have ever done and see all the imperfections.
Ten: Photography becomes more than a record or documentation of a journey; it becomes an expression of self, place, and beyond. And it is more challenging than ever before.
© nevada wier 2009 Assam, Manjuli Island. Rass Dance.
Update on Carson-Infinity Platine Fibre Rag: A few weeks ago www.shadesofpaper sent me a test roll of this new beautiful paper. I have tested it on a number of prints and can honestly say that it is a stunning paper — equal in quality to the Hahnemule Photo Rag Baryta and Ilford Gallerie Gold Fibre Silk.
As I said said earlier, the choice of paper is very personal and should be evaluated by each person based on needs, aesthetics, and their current printer and inks.
The Hahnemuhle papers were supposed to go up in price as much as 30%, depending on the paper, at the beginning of August. However, outraged customers have forced the company to suspend their decision until September. At this moment, the Hahnemuhle Photo Rag Baryta is still my paper of choice for images that require a high D-max. I also feel that it holds the saturation better than the other two papers. I have read on forums that a few people have noticed some imperfections in some rolls and sheets from Hahnemuhle. I have not had this problem (although I have had similar problems with Moab papers). However, if Hahnemuhle does decide to raise their prices significantly, then I will switch to the Canson paper, as the HPR Baryta is not that much better than the other two papers. You can find information on the new Carson paper at www.canson-infinity.com/en/platine310.asp
So for now:
For printing my Infrared images I prefer the matte Hahnemuhle Photo Rag Bright White.
For color and desaturated color images I prefer Hahnemuhle Photo Rag Baryta.
You can find these papers at www.shadesofpaper.com. Contact Eric Mateer.
Re HP Z3200 printer: Last year when I was printing my show A Nomadic Vision, I had issues with the orange/red gamut on the previous model HP Z3100, so a number of my images had to be printed on a Epson 7800, a printer that I thought I would be retiring since I was not happy with the gamut nor detail in the shadows.
After testing the newer Epson 9900 and HP Z3200 I decided to purchase the latter since HP significantly printed more details in the shadows, even though I was not convinced that they had solved the issues with the orange/red gamut. I was afraid that I would have to continue upgrading two brands of printers (not a pleasant thought). This week I completed my tests. A big sigh of relief…the updated HP Z3200 has beautiful reds and oranges. I can finally retire my Epson printers.
Again, it is a personal matter as I know many people swear by their Epson printers. However, I found that even the new Epson 9900 blocks up the blacks on Hahnemuhle Photo Rag and Hahnemuhle Photo Rag Bright white matte papers–not as badly as the Epson 7800 but still much more than the Z3100 and Z3200 HP printers.
This is just my .03 cents based on my desire for the highest quality and for my personal aesthetics and archival longevity on the papers I have chosen to presently use.
© nevada wier Gujurat, India 2009
I recently finished teaching two workshops at the Santa Fe Workshops. I emphasize in my classes that everything has to matter in an image.
I am trained as a magazine photographer to get it right in the frame. As a personal challenge I do not crop my images after the fact. I find that if I just take a step or two forward, maybe left or right, I can tighten the frame and eliminate clutter. Or, if I just move the camera ever so slightly I can perfect the composition.
And, often negative space has as much impact as a person or an object. However, you have to delicately balance the weight of the space with the weight of the subject. It is a balancing act and the tension is critical.
It is as simple as having clean space around subjects, like this:
© nevada wier Myanmar. Chindwin River. Fog.
or space with texture and color
© nevada wier India. Gujurat. Washing.
or a big wad of space and color
© nevada wier Mongolia. Gobi Desert. Sunset. Camel.
You have to eliminate everything that doesn’t matter so that what is left does matter.
And, sometimes what matters is the beauty of emptiness.
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