Engaged

With an autumn chill in the air this morning, I chose this image today, the official last day of the summer, hoping that the season will continue well into September.

Last week I met friends at Meschutt Beach, a narrow strip of sand on the Peconic Bay, where young families gather to enjoy the seaside. On Friday evenings, a band plays while adults munch on fried food and their children swim safely in the calm water.

As my girlfriend and I talked about our busy week, I had one eye on the kids running in and out and splashing about. Now that my daughters are in their twenties, it had been years since I had sat in that spot savoring the sight.

"Excuse me," I said to her in mid-sentence, "I have to go get my camera." Luckily, I had stashed it in my car, but left it there in hopes that I could just sit back and relax. Returning to my beach chair ten minutes later, I switched to my long lens and started shooting.

Quickly I focused on this group who had been seriously hunting for crabs since I had sat down. Because I like to engage with my subjects and capture their expressions, it's rare that I opt for a telephoto lens and shoot from behind. But in this instance, facial features were not required; their stance and the evening light warming their skin tells us everything we need to know.

Twofer

One of the first things I learned when I began to take photography seriously was that you have to take a lot of pictures in order to get one photograph. Years ago while in a workshop with Joyce Tenneson, who is now a renown art/fashion photographer, she said that if you find one good image on a roll of film with 36 frames, you're doing well.

After discovering the couple under the red umbrella that I posted last week, I was surprised, therefore, to find another captivating pair on a patch of sand adjacent to that same pier that afternoon. Spread out on their backs, scores of horseshoe crabs lay there glistening in the sun, their golden color so different from the steel gray, much larger specimens I had seen on that beach before.

"Look at the color!" I immediately blurted to my student.

"What happened, why are they all dead?" she asked.

"I have no idea," I said, "I've never seen this variety here; bigger, darker ones come here to spawn in the spring." Maybe it has something to do with climate change, I thought.

Lifting our cameras, we moved in close and started shooting. I was immediately drawn to this mother and her baby, cuddled together, soaking up the sun, perhaps hoping it would bring them back to life. The baby appeared to be smiling, maybe just happy to be close to its mother until the very end.

Seurat

Continuing my study of couples--a series that seems to be newly developing this summer--I was inspired to post this image taken a few weeks ago. When a student and I took a walk down to the town boat launch around the corner from my home, we immediately spotted the red umbrella and moved closer. I was excited to discover such a vibrant focal point amidst the panorama. Although it's quite dramatic and constantly changing depending on time of day and year, the wide open space that I pass by each day is difficult to photograph.

Lifting our cameras, I instructed her to play with the composition by deciding where to place the object (and therefore, the couple) in the frame. As she did so, I followed suite.

Afterwards, when reviewing the images, I was enchanted to find this one reminiscent of George Seurat's famous painting, A Sunday Afternoon on the Island of La Grande Jatte. I'm always amazed at how the French Impressionists influence my work and contemporary art in general .

To enhance its painterly effect, I can't wait to see how the photograph looks when I print it on watercolor paper.

Comfortable

At the reception for the Westhampton Artists Studio Tour on Friday evening which took place at the Full Moon Arts Center in East Moriches, I spent some time photographing kids, couples, and families in a treehouse overlooking a huge tent--where the artwork of about 50 artists (including me) was on display.

Mission accomplished, I was anxious to join the party that was winding down below. Coming down the steps, I spotted this couple nestled in a hammock. The light on their hats, the tilt of their heads, their comfort with one another warmed my heart. Scurrying toward them from behind, I tried to get close without intruding. But when I arrived, I found it difficult to focus on their faces due to a lack of light and the high contrast in the background.

Fiddling with my camera, I motioned to them announcing my intention and ultimately opted to use my flash for some fill. Luckily, they remained comfortable and continued to enjoy themselves and each other.

Spinning

"My head is spinning." How many times have you heard that? I know I've uttered those words aloud and to myself quite often. Especially these days when we're texting, talking, driving, working, all at the same time. Multi-tasking, it's the mantra of our times. I wouldn't be surprised if the Earth's rotation has picked up speed.

So a few weeks ago for the final session of a kids workshop, we spent time experimenting with motion. After showing the group of 11-year olds one of my Manhattan images of a man leaping in Times Square that I call Billy Elliot, we stepped outside of Amy's Ark Studio in Westhampton. The girls ran directly up a hill toward a swing tethered to a tree. One jumped on and started spinning like a top.
As her long brown hair swirled around her, the rest of us started shooting, trying to freeze her in the frame as she spun by. Not easy since she was moving so fast. To exaggerate the blur and create a moire effect, I chose an extremely slow shutter speed--1/8 second.

"Just keep shooting," I encouraged them. That's the beauty of digital technology, no wasted film; you can keep going until you get a good one. And that's exactly what I did; of the twenty frames expended, I was satisfied with just this one.

So, don't be shy, keep shooting. But don't forget to edit by deleting all the bad ones from your memory card so you're ready to go next time.

If you're in the area this weekend, you can see this image on view during the Westhampton Artists Studio Tour at Amy's Ark Studio & Farm where I will be displaying a new series of prints from this blog called Texture. Call 288-1954x241 for tickets.

Reading Room

As we enter the dog days of August, the lazy days, when all I want to do is sit under a tree and read a book, I thought it fitting to post this image taken in Manhattan. Having just emerged from the Metropolitan Museum of Art where I saw the Picasso show with a friend, we headed into Central Park with our cameras.

Around 5:30pm, the sun skimmed low producing long shadows and dramatic afternoon light. While these conditions appeal to the naked eye, the high contrast can be quite blinding and difficult to render through the lens. Therefore, it's important to come up with an average light reading between the darker and lighter spots. While it's best to have a hand-held meter, you can compensate by bracketing, which means shooting the same image three times: first according to your automatic reading, then over and underexpose by one stop on the manual setting. Some digital cameras offer a compensation button which makes this simple. Later you can decide which one is most pleasing to your eye.

Strong light also requires a strong composition. As I moved closer and closer to the subject, I realized that I could use the limbs of the tree to create structure. In effect, they separate the light from the dark green and frame the girl off to the left in her own reading room.

Three's Company

"Two's company; three's a crowd." How many times have we heard that old adage?

As the oldest of three children, I can't agree more that three or any odd number is challenging when it comes to relationships between people. "The love triangle" and "the fifth wheel" are two prime examples.

However, when it comes to visual relationships in photography--or any of the arts for that matter--three seems to be just the right number. Unlike our psyches which strive for balance and symmetry, the eye seems to prefer when things are thrown askew.

So during a recent workshop on still life at the Westhampton Library when we took a walk down the street to a little farmstand, I pointed out these three onions thrown haphazardly into a basket to my teenage students.

Looking downwards, one lifted her camera and peered through her tiny viewfinder. The corners of her mouth turned up, then she nodded and pressed the shutter. What more could a teacher ask for? I haven't seen her version yet, but this is mine.

Double Duty

This month I'm conducting three workshops per week at various venues in the area. While I start each session with landscapes and progress to still life, students seems most interested in learning how to take better pictures of their loved ones.

My philosophy, however, is that one needs to learn about composition and light before trying to capture things that move. So as I began to plan the upcoming lesson on portraiture, it was apropos that my most active subject, my three-year-old grandson, arrived at my doorstep Saturday to spend the morning with me while my daughter went to work.

"Where's Copper?" he asked as my six-month old puppy bounded toward him. For the next few hours, they played like siblings indoors and out while I ran after them making sure that the dog wasn't too rough with the boy and visa versa and that Copper didn't eat Brody's toys.

When they finally relaxed, Copper hopped onto the window seat in my front room, his favorite spot, and Brody followed. Quickly I grabbed my Canon and set it on the portrait setting. No time to fiddle with the camera; just enough time to capture the moment.

Junked

Alas, I've finally gotten back to shooting film! Although I'm thoroughly enjoying the instant gratification of my Canon Rebel digital SLR, there's still nothing like film.

Taken with my Hasselblad which I was using almost exclusively before buying the Canon last summer, this is the first image I've selected for a new series I'm developing with two other women photographers, Elizabeth Holmes and Mia Wisnoski---who also continue to shoot film and share a love for the nostalgic aspects of the area. Decaying buildings, vintage trucks, rusted wheels; we all seem to be drawn to what's old or not too new.

Every few weeks since the summer started, we've been driving around, mostly on the North Fork, with our cameras with the idea of presenting the East End from three different viewpoints. To get back to film, I've decided to used this medium-format camera; notice the square format and the color saturation; a warmer yet more formal format to my eye.

Next June, we'll be mounting a show at the new Westhampton Library showcasing the results. While I love to wander on my own, it's nice to have a break from the solitude and enjoy the company of like-minded souls.

Spotting

People watching, it's one of my favorite pastimes and one of the reasons I started taking photographs in the first place. So when I went down to the Quogue dock with my friend, Julie, on Friday evening where I heard a Reggae band was playing to kick off the holiday weekend, I made sure to bring my camera.

Working our way through the crowd with the sun glaring in our eyes, Julie pointed toward the dock on the periphery where we headed and took a seat. Perfect, I thought, as the sun sank behind my right shoulder casting a crystal light. Men wore shorts, women donned hats, boys and girls pushed scooters and rode bikes; it was Norman Rockwell, circa 2010.

I waited and watched...then out of my left eye, I spotted them, the perfect family, some with two legs, some with four. Quickly I changed lenses to my long zoom and set my f-stop to F11 to ensure there would be enough depth of field for the foursome yet throwing the two posts, that framed the image so nicely, a little out of focus.

"Do you think they have kids?" I said.

"Nah," Julie replied, "looks like they've invested in dogs."