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- New Harold Davis posters from Editions Limited
- Flickr and me, and stock photography: Adventures in photo licensing in the Internet Era
- The Photoshop Doctor is in: take two webinars and call me in the morning
- Making the Artisanal Inkjet Print
- My Best of 2014
- Being and Becoming
- Workshop Demo on a Light Box
- When is a photo not a photo?
- Heidelberg Student Jail
- Early Registration Workshop Discounts Ending Soon
- Gotic Quarter
- Peonies and Poppies
- Scanning a Purple Flower
- A Rorschach for MFA’s
- Face of the Deep
- Artist Harold Davis Uses Moab Paper for Artisanal Inkjet Prints
- Katie on the hiking trail
- Photographer's Dream Tour of Italy
- Review: Domke Next Generation Chronicle Camera Bag
- New Webinar Sessions with Harold Davis
- Selective Sharpening in LAB Color webinar recording now available
- Isuien Garden
- Waterdrops via Otus 85
- New Harold Davis Photography Workshops Added
- Free Photo Critique with Harold Davis
- Ruined Kasbah
- Seasons Greetings: Graced with Light!
- Flash Craftsy Sale
- Artist Harold Davis Uses Moab Paper for Artisanal Inkjet Prints
- Review: Domke Next Generation Chronicle Camera Bag
- Photographer’s Dream Tour of Italy
- Katie on the hiking trail
- An Amazing Amalgamation of Anemones
- When is a Harold Davis rose a Georgia O’Keeffe?
- A Photographer’s Creative Companion and Workbook
- The Harold Davis Email Survey–Thanks Everyone!
- Flowers of Spring’s Desires
- The worst mistake you can make with customers
- Flickr and me, and stock photography: Adventures in photo licensing in the Internet Era
- Blue Irises for Simplicity
- An amusement park for adults
- Book Review: “Forever Changed” by Linda Mornell
- Cotter Pin
- LAB Color Adjustments
- What do mountain men, trains, and old barns have in common?
- The Photoshop Doctor is in: take two webinars and call me in the morning
- New span of the Bay Bridge
- If not now, when?
- Making Memorable Travel Photos and other Webinar recordings
- Wabi-Sabi Anemones
- Preview my Craftsy Photographing Flowers course
- Bouquet of Anemones
- Anemone Fun
- Interview with Rick Smolan
- Wanted: A few good photographers for Italian Photo Tour
- 2015 Special Harold Davis Print Offer
- Night Photography in San Francisco with Harold Davis Workshop Feb 20-22, 2015
- Books by Harold Davis
- Webinar Recordings
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Category Archives: Photography
Renowned photographer-artist-author-teacher Harold Davis can’t imagine letting someone else print his images. Printing is how he fully realizes the image he envisions before he even snaps the camera shutter or opens Photoshop. Read more of this profile.
If you are like me—and most other professional photographers that I know—you will have acquired over time an extensive collection of camera bags. Some bags fit some gear, but not other gear. Some are backpacks—which means better ergonomics for trekking, but less access to gear on the fly—and others are shoulder bags. Still others are hybrids, or designed particularly with transiting through airports, or being able to submerge in water, in mind.
I am always looking for the perfect camera bag, and with my Domke Next Generation Chronicle I may have finally hit the jackpot.
The Domke bags were originally created by photojournalist Jim Domke, whose hobby was collecting camera bags. Started in 1976, the Domke company was acquired by Tiffen, a leading manufacturer of photo accessories, in 1999. You can visit the Domke page on the Tiffen website by clicking here (opens in a new window).
Over the years, many professional photographers have provided input into the design of the Domke camera bags, and they have received numerous professional accolades, such as being named the official bag of the White House News Photographer Association.
It’s clear that no one bag will ever fulfill all of my photographic needs, or hold all my camera gear—and, as Jim Domke would be the first to admit, it is highly unreasonable to have this as an expectation. Within the constraints of a soft-sided journalist-style shoulder bag, my Domke Chronicle Camera Bag is truly wonderful. This is not an inexpensive camera bag (the discounted retail price is probably about $300), but the old saw about getting what you pay for applies, and the materials, finish, and detailing are top-of-the-line throughout.
The outer material is a durable, water repellent form of thick coated cotton duck, manufactured to military standards. Hardware, such as zippers and clips, are very high quality. One thing I like best is that the exterior, while attractive, is non-descript. If you remove the external Domke badge, which is easy to do, no one would ever know this was a camera bag. I carry thousands, or tens of thousands, of dollars of camera gear through all kinds of environments, and an extremely important component of personal security is not giving away what I have with me unnecessarily (partly for this reason, I also replace the branded straps on my camera bodies with plain straps).
Inside, the bag is flexible and expandable, and also protects my gear. Did I mention that this is a softside bag that is lightweight? I’ve carried it happily with one camera body and two lenses, and I’ve also used it fully loaded with several bodies and five or six heavy lenses. The customizable divisors allow a great deal of flexibility about how much gear I carry, and how it is laid out.
The layout of pockets for things like filters, memory cards, extra batteries, iPad and iPhone, and so on is very well thought out. Two features I particularly like are the excellent and secure strap for placing the bag on a wheeled suitcase extension handle, and the closure of the main compartment. The main compartment is secured with heavy-duty steel clips, but if you forget to clip it and just throw the top over, velcro takes over, and your gear will still be safe.
My one complaint about the bag, and I have only one, has to do with waterproofing. The material the bag is made of is inherently highly water resistant, and the main compartment is designed with flaps that can be arranged so that water does not leak into the bag. This arrangement is probably more than sufficient for the intended primary users of the bag, who are photojournalists. If it starts to rain hard, the photojournalist probably stops into a handy cafe and interviews sources while sipping a Pernod or Ouzo, and maybe puffing on a cheroot.
In contrast, my way of working sometimes requires me to be out with my gear in extremely foul weather. My requirements for a bag include a completely waterproof (not water resistant) cover, either included as integral to the bag, or carried as an accessory in a pocket. Domke does not provide this, so Phyllis helped me sew a jury-rigged elasticized waterproof raincoat for the bag that I always carry in a pouch in one of the pockets.
Full disclosure: I was provided a Domke Next Generation Chronicle Camera Bag for the purposes of writing a review by the Tiffen Company, and tested it under many widely varying field conditions. While I didn’t pay for my Chronicle Bag, I never would have trusted my gear to it on several continents if I didn’t think it was a great, convenient, and well-made camera bag, and my opinions are always honest and outspoken.
As a matter of principle, and so I can stay objective, I do not carry advertising or affiliate marketing links on my blog. Domke Camera Bags can be purchased from most quality professional photo suppliers.
Peter is a neighbor and a good man. These days, he mostly takes care of his disabled adult son.
Photographed hand-held with my Zeiss Otus 85mm lens at 1/3200 of a second and ISO 500, wide open at f/1.4. The Zeiss Otus 85mm f/1.4 is a masterful portrait lens.
On a beautiful spring Sunday with glorious clouds and shifting light I took my four kids for a hike in Tilden Park. We parked a car near Lake Anza (Phyllis helped with the logistics), then drove to the trail head at Little Farm. We walked around Jewel Lake, ascended the Upper Packrat Trail, switched to the Memory Trail, crossed Canyon Drive, turned left on Selby Trail, and proceeded on Selby Trail back to the parked car. You can see a park trail map by clicking here (opens in a new window).
The route was probably about three or four miles, with plenty of up and down, and tired us all out. But the kids did wonderfully, with only a little whining from Katie towards the end, and only a little stick-and-sword play from the boys.
The image was photographed using my iPhone camera, and processed on my iPhone.
Over the past few days I’ve had some amazing tulips as well as an amalgamation of anemones to play with. I have to admit to some inspirational thoughts looking through Georgia O’Keeffe paintings as research, although the reference isn’t clear in this image, the first I’ve processed from the many I’ve made. More work will follow as I have the time to process it.
To make Amazing Anemones, I used a Nikon D810, my Zeiss Otus 85mm f/1.4, Adobe Camera RAW, Photoshop processing using LAB color, and shot on a light box using a tripod. As opposed to many of my light box images, with this one I limited the light on the front of the flowers, so that essentially all illumination was coming from behind—through the flowers. Back lighting emphasizes the translucency of the petals, and the transparent colors that are reminiscent of stained-glass.
A rose is a rose is a rose, except when it is not. A Harold Davis rose photo is apparently a Georgia O’Keeffe rose painting when you search Google Images for “Georgia O’Keeffe” (opens in a separate window, may be a number of rows down) except when it is actually Kiss from a Rose by Harold Davis (shown below). I’m really pretty flattered by the association, as Georgia O’Keeffe is certainly one of my great artistic heroes.
I was alerted to my photo made in homage to O’Keeffe being mistaken for a literal O’Keefe by a reader who wrote, “Hi Harold! Love your Rose Photography. I see on Google your work is confused with Georgia O’Keeffe’s paintings!” While this case of mistaken artistic identity mostly involves Kiss from a Rose, some of my other images such as Eye of the Rose and even the book cover for my Photographing Flowers also occasionally show up categorized as O’Keeffe’s.
The conflation of Harold Davis photos with Georgia O’Keeffe paintings get even more pronounced on Pinterest, where a number of “boards” have “pinned” my image as a Georgia O’Keeffe’s. (See www.pinterest.com/terper1234/georgia-o-keeffe/ (my rose is called “a lush red O’Keeffe”), www.pinterest.com/nicolenotch/artist-o-keefe/ (once again my rose is ascribed to O’Keeffe) as examples, although this Pinterest Fakes and Mistakes board notes correctly that “NOT GEORGIA O’KEEFFE >>> this is a photo by Harold Davis”).
By the way, I really have a bone to pick with Pinterest. Trivially, the user interface is inept and fascistic, insisting that I create “Boards” and “Streams,” when I all I want is to browse, and failing to correctly find search terms. More significantly, Pinterest encourages appropriation of my intellectual property: nowhere I have authorized my images to appear on Pinterest, and the company behind the site is apparently getting massive venture funding and purports to be for-profit. Class action lawsuit, anyone?
Photographed Friday on my light box using my Nikon D810, Zeiss Otus 55mm f/1.4 at f/16 and ISO 64 on the tripod. Eight blended exposures at shutter speeds from 8 seconds to 1/15 of second. Processed over the weekend using Adobe Camera RAW, Photoshop, Nik HDR Efex Pro, Nik Color Efex Pro, Topaz Adjust, and Topaz Simplify.
Please see my FAQ for more info about how I made this image: Photographing Flowers for Transparency.
I have been a Flickr member for almost a decade (since 2005). According to Flickr’s dashboard, there have been more than 5,000,000 views of the 4,500+ images that I have uploaded to the site. It’s my general practice to upload a low resolution JPEG to Flickr with every important photo set I make, which accounts for my almost 5,000 images over ten years. On average, it amounts to about one uploaded image a week.
Statistically, I am probably somewhat unusual as a serious professional artist and photographer, and widely-read author, with an active and ongoing Flickr presence. One reason I maintain my Flickr persona is that over the years I’ve got a lot of photography business from my Flickr images, including prestige publications as well as assignments. This comes and goes, and is not something that can be counted on, but I find the best publicity one can do for one’s images—when one produces something unusual, unique, and striking—is to get them up on the Internet.
I like to say that when it comes to image licensing “the Internet giveth and the Internet taketh.” Against a background of racing to the bottom with things like microstock sales, and the pronouncement by Marisa Mayers—the head of Yahoo, the owner of Flickr—that “with cameras as pervasive as they are [today] there’s no such thing really as professional photographers,” I have been contacted by legitimate upper-end image acquirers from around the world because of my presence on Flickr. Of course, you have to have a unique and compelling offering, but these companies never would have found me in the past.
I do find there is a certain amount of image “appropriation” based on what I’ve uploaded. I combat this by being careful to only upload low resolution, small files—so my potential losses are limited, and tends to be things like individual wedding invitation usage, or for personal notecards. When these people do the right thing and contact me, I grant permission, and request a small donation to a charity that benefits children. I usually see this as a teachable moment, to help educate people out there about issues of copyright and image ownership.
Probably the most unusual licensing request I’ve ever had via Flickr was to use one of my cherry branch images as the basis for a tattoo extending pretty much the entire length of a woman’s back and up onto her neck. Since the request was made after the fact, there wasn’t much I could do about it (although scenarios resembling Shakespeare’s Merchant of Venice do tend to come to mind). But I asked for some photos and was pleased by the beautiful tattoo—my cherry blossoms had become living art.
But I look at the issue as “spoilage”: if you don’t put your work out there, no one will see it, and no one will license it. But I also need to be nuanced, and take some care, which is why I am careful about releasing high resolution files “into the wild.”
I also do select the “All rights reserved” setting within Flickr, and include my copyright notice beneath each of my images. Some people who contact me need to be educated about what this means, but for the most part, contemporary art directors regard Flickr as just another image pool—perhaps the world’s largest database of imagery—and understand that they need to contact me to get permission to license or use my work (or to obtain a high-resolution version, if they need it for their usage).
So Flickr is part of my business strategy. An important part, but not a vital part—not as important to me as, say, my blog. I’d hate to lose my Flickr presence, but it wouldn’t be the end of the world for me, and it is perpetually irritating to be working within a hierarchy of people running Flickr who seem to be most interested in amateurizing and dumbing down the interface and patronizing the serious photographers who do use the site.
Now a word about stock photography. First, let’s consider the way stock photography is licensed. Stock photos are licensed under two general schemes: royalty-free, and rights-managed. When you license a royalty-free image, you can use it for anything you want (except, usually, for reselling it as part of a stock collection). Often, royalty-free stock photos are sold for pennies, or as part of a downloadable collection where the end-user can download a certain number of photos per subscription period.
Obviously, an individual royalty-free stock photo is not worth very much, and the hope, of course, is to make it up on the volume: either in the number of purchasers or (from the viewpoint of the photographer) from the sheer volume of photos that an individual has licensed as royalty-free stock. If you have 100,000 photos that are royalty-free licensed, even if you only average $1.00 per photo per year, obviously it adds up.
In contrast to royalty-free, rights-managed licensing demands a higher price, and often includes exclusivity for a given usage, sometimes limited by time. Generally, if you had a distinctive and special collection of images, you’d want to employ rights-managed licensing as opposed to royalty-free licensing, since the best royalty-free images tend to be a bit generic so as to be more ubiquitous. Distinctive collections of work also tend to be concerned with branding, may want to avoid certain kinds of usages, and can be involved with furthering the career of the artist involved.
In fact, leaving licensing aside, it is a truism that the images that are shot for stock, and those that do well as stock, tend to be bland and generic. There’s a contradiction in terms between saying that an image is striking and creative and unique, and at the same time is likely to be widely in use as a stock image.
Personally, over time, and as the stock photo industry has transformed, I’ve become increasingly skeptical whether my work as a place in it. I’m happy to consider rights-managed licensing of my work for appropriate usages, and in some cases have worked with industry-specific agents. I’m not opposed to paying commissions, and have had a long and fruitful career with my book agent over many years.
But I’m just not that interested in licensing away the control and rights to my own work. I’ve sweated hard enough to create it, and risked enough to create my body of work, why should I lose control of it now? As the photographer Henri Cartier-Bresson put it, giving up the rights to my work is like giving up the skin on my eyeballs.
This is not to say that this anti-stock stance is right for everybody. I have at least one pro-photographer buddy who makes a very good living via stock photography sales made by a number of prominent agencies. And speaking of stock photography agencies, it’s become apparent over the years that I’ve been posting to Flickr that stock photography is increasingly being managed with business efficiencies in mind. The stock industry has consolidated, with many smaller agencies now being subsumed by Getty Images, the incumbent behemoth in the stock photography business.
This brings me somewhat indirectly back to the topic of Flickr and stock photography. Maybe three or four years ago, some brainiac at Yahoo-Flickr looked at the fact that they had this huge image repository, and figured they could make some money on it via stock sales. Of course, this imagery didn’t belong to Flickr (it belongs to the individual contributors) so Flickr would only be making a commission. The other problem was that recognizing that some Flickr contributors were of marketable or publishable quality opposes the no-nothing pseudo-populist spirit of Flickr’s ideology that “there are no professional photographers” anymore (which implicitly flatters the amateurs).
A concrete manifestation of the prevailing lack of respect for professionalism and image ownership at Flickr was the encouragement of uploading imagery with the default Creative Commons license—which allows usage without permission if certain conditions such as attribution are met. (One form of the Creative Commons license only allows non-commercial usage, but that is a side discussion.) As I’ve noted, I’ve always eschewed the Creative Commons license, and uploaded images to Flickr as “All rights reserved”—which is what I generally recommend.
In any case, the first iteration of the attempt to monetize Flickr’s image library was an arrangement that allowed Getty Images to troll the Flickr user base. Getty could enroll the Flickr photographers by invitation in a Getty library (this library always seemed something of a second-class citizen compared to the more orthodox Getty libraries). In addition, Flickr photographers could be invited by Getty to enroll in a program that added an icon to the images in their Flickr stream. Viewers could then request a license to specific photos, and Getty and Flickr would then intermediate to make sure the paperwork was in order, and to deliver a file to the license purchaser. Both schemes primarily involved royalty-free licenses. Presumably, Getty paid Flickr some share of the proceeds, but the exact terms of this arrangement were never to my knowledge published. As you’ll see, the business probably didn’t work very well for either party, as Flickr canceled the arrangement at what was their first opportunity, two years into it.
Getty Images in fact asked me to join their Flickr program, and for a brief while I did, mostly out of curiosity. Apparently, one of my images—a fisheye photo of the great Hoover Dam—was quickly requested by a client, so to see what would happen I opted it into the Flickr/Getty royalty-free program. I don’t know how my image was used, but I do know that my share came to a grand total of roughly $80. Following this experiment, I left the program, and continued to use Flickr the way I always have.
In mid-2014 Flickr announced that they were ending the relationship with Getty, and starting a new in-house stock program called at first Curated Connections, then termed the Flickr Marketplace (more info about the program here).
The idea behind this program was that Flickr’s curators would get everyday members of Flickr “discovered.” Flickr would handle the paperwork and business details, and place images with prestige outlets including the New York Times, and (somewhat curiously) Getty Images. Beyond licensing opportunities with photo agencies, other opportunities were held out: “We will look for ways to showcase your photos on the Flickr blog and across other Yahoo properties like News and Travel. We’ll also try to connect you with original photo assignments!”
In mid-February 2015, I received a communication via the internal Flickr mail system:
We love your photos! Your beautiful and genuine photos could be in high demand in today’s global photo marketplace. We want to work with you to increase the visibility of your photos across multiple platforms such as wall art, photo agencies, editorial placements on Flickr and Yahoo, and other media outlets.
If your photos are selected and sold in the marketplace, we will share 51% of the net sales with you through your PayPal account. There is no fee to join and you control your level of participation.…
Once we receive notification that you have enrolled, our curatorial team will select photos from your photostream and be in touch to see which ones you would like to approve for inclusion in the new Flickr Marketplace!
In the interests of science, I took care of the formalities involved in program enrollment, and waited to see what would happen next. I didn’t have long to wait. I did note that I would only be interested in the rights-managed program (as opposed to Flickr’s royalty-free offering).
The Flickr curators sent me an extensive list of my floral imagery—almost all flowers photographed using my transparency technique—that they wanted to add to the collection.
I wrote back to the curators noting that many of these were already subject to licenses for art reproduction, and that I needed to be able to use my images for my books and the prints that I make. Would this be okay? (The program FAQ allows artist “limited edition” prints, but this isn’t a term that specifically covers what I do, since many of my editions are not, in fact, explicitly limited.)
In response to whether I could carve-out rights already granted, I got a boilerplate negative:
Because you requested that your photos only be included in the Rights-Managed exclusive collection, we would need you to opt out anything that is licensed elsewhere. For photos accepted into the rights managed collection, exclusivity is required due to the type of rights that may be granted to a buyer.
Since higher royalties are often generated from this type of sale, the photographer is not allowed to (1) license the same photo to any other source (past, present or future) and (2) license a “similar” photo.
I never really received an answer as whether “limited edition” prints included the prints I make in my studio that are not in fact limited, or whether use in my books constituted a permissible promotional use: “You are still allowed to use the photos enrolled in the rights managed collection for self-promotion and as limited edition prints, so long as the prints are not sold exclusively. For the other two parts of your question, I am still waiting to hear confirmation and will get back to you.”
Often, as a freelance artist in business for myself, and supporting my rather large family essentially by my wits, I am struck by how hard it can be to decide if something that comes along is an opportunity or a pitfall. The opportunity is all the nice things that these Flickr curator people were saying they were going to do for me. The pitfall would be to tie up some of my best work for years. I like to tell a story about a cleric caught in a great flood. The religious gentleman ends up on the roof of his house. A helicopter comes along and offers to rescue him, but “No, no, God will rescue me.”
The question, of course, is whether God sent the helicopter.
In the case of the Curated Connections program—or Flickr Marketplace, as it has been called more recently—I decided that the risks clearly outweighed the potential rewards. The underlying problem was the inflexibility of the program in regard to work that already had a licensing history, and also the attitude that Flickr’s curators would be “discovering” me. This seems a little unreasonable if they had taken the trouble to research me even a tad, and not what my work needs. An offer to co-market my work as a unique collection with some understanding of how best to brand it would, of course, have intrigued me. Here’s what I wrote back to Flickr, declining to enroll any of my images in the program:
“I am really saddened, because like most professional photographers I can always use an additional revenue stream, but based on your response I will not be able to work with your program.
Of course, I do understand what a rights-managed program means and implies. Of my images that the curator selected, about half are subject to prior licenses of some kind, as I noted most existing licenses have to do with art reproduction or wall decor. With an organization that understood the value of my offerings, I could probably enroll these in a rights-managed program, but of course both sides would need to exclude the rights that have already been granted. Note that my existing licenses would absolutely prevent me from licensing on a royalty free basis (and I also don’t believe in this kind of licensing as a matter of principle because it degrades the value of the art licensed).
While I could probably select a few images from the list that the curator put together that don’t have any licenses outstanding, I do need to retain future art and book publishing rights to all my work (I see that you’re still researching these areas for me). But this hardly seems worthwhile for either me or Flickr/Yahoo, considering the few number of images that I could put into your program, and the fact that I would need to retain these future abilities.
I do hope you understand, but for now I will have to pass. Should you be willing to reconsider and negotiate an arrangement that meets my needs, considering the licenses that are outstanding and my future likely uses, I think that reasonable parties could reach such an agreement, and I would certainly be willing to discuss it. By the way, my images are available in extremely high resolution versions.
But without a customized business relationship that meets the needs of a distinguished educator, professional, and artist of my caliber, I shall have to decline, and remain the sole legitimate source for rights-managed licenses to my work (if there is a specific image of mine and a use you and/or a client of yours wish to discuss I am happy to quote a licensing fee, of course).
My very best wishes, and good luck with your venture.
The devil, of course, is always in the details, particularly in anything as complex as licensing imagery that involves several intermediary organizations. I do feel that the Flickr image repository is a very real asset that Yahoo and Flickr could monetize, at the same time helping the participating photographs earn some extra cash. But I don’t think this can be done with a patronizing stance about discovering people, and the underlying attitude that Flickr’s members have full-time IT jobs and are just happy to be noticed. Nor can it be done with a “stock photography as usual” one-size-fits-all business model.
Overall, the stock photography business is if anything oversupplied, and in a dismal race to the bottom. Only those with truly unique offerings will thrive, and probably they will thrive best if they use the tools the Internet provides to dis-intermediate parasitic organizations like traditional stock vendors, and those like the Curated Connections program that would try to emulate this clearly broken model.
Here’s what Flickr should do: They should give up on the idea of curating (not their area of expertise in any case) and on “discovering” Flickr members who may already be well-known. Flickr is never going to successfully compete on the same turf as a conventional stock source like Getty. So it’s time to innovate. Create an efficient and transparent market mechanism for willing buyers and sellers of licenses, and facilitate these transactions, taking a small cut of the fees. It’s foolish for Flickr to try to be another Getty, instead they should aim to be the eBay of image licensing transactions.
Downtown Porto, Portugal’s second city, has aspects of an amusement park for adults, without being cloying. There’s a great river with boats of every kind, an old town with ancient structures—some a little scruffy, but nothing too disreputable—funiculars, cog railway elevators, and a number of bridges, including a great 19th century cast-iron structure coming from the incomparable Gustav Eiffel’s studio. Not to mention great food, and plenty of port wine to taste.
On the Eiffel bridge—Ponte Luis I—cars are relegated to the bottom. The upper level is a vertigo-inducing walkway for pedestrians, and a platform for the light rail system.
It’s hard to imagine anyone not enjoying walking around the waterfront area of this city at night. As the wind and weather changes, so do the reflections in the Duoro River—but each time and in every way the view is charming.
Interested in seeing the world with me, and making unusual photos in night time as well as during the daytime? Check out my upcoming autumn photography trip to the Sea-Girt Villages of Italy.
Related story: Travels with Samantha.
The cotter pin, also sometimes called a split pin, is piece of metal separated into two tines. The tines are bent outwards in installation, and the cotter pin is used to hold two pieces of metal together where the design implies some movement—or even rotation between—the metal segments that are attached.
While the cotter pin is attributed as an invention of Dr Rudolph Cotter in the 1834, there is little doubt that informal variations of this kind of fastener have been in use ever since the very earliest days of the industrial revolution, when the need to flexibly but strongly attach two pieces of metal became important—probably the 1750s or 1760s.
As such, the cotter pin is a great symbol and proxy for the good side of industrial humanity, namely the inventiveness and improvisational ability with which as a species we can approach the mechanical universe. It’s a simple but supple solution, strong, and easy to implement with materials at hand.
The cotter pin shown is at one end of a counting device, probably used in a 19th century industrial assembly line.
I wanted to use my wonderfully sharp Zeiss Otus 85mm lens to photograph the small cotter pin up close and personal, but I needed to get a little closer. So I used an old Nikon PN-11 52.5mm extension tube (Nikon has long since discontinued this part). I retrofitted the extension tube with a tripod collar and tripod plate, which helped to balance the Zeiss Otus 85mm f/1.4, which is a truly extraordinary lens with a weight to match the quality of the optics.
Exposure data: Nikon D810, Zeiss Otus 85mm f/1.4, Nikon PN-11 52.5mm extension tube, 5 seconds at f/16 and ISO 64, tripod mounted.
Related story: Workbench.
When the new Sheriff comes riding into town, everyone needs to adjust. The same thing is true for photographers when a new public structure goes up, particularly when the change is striking and vast enough, like it or not, to totally change the landscape. When this kind of change happens we must assess the alteration to our familiar landscape, and seek out new vantage points to include the new element in our photographs.
The new span of the San Francisco Bay Bridge, from Yerba Buena Island to Emeryville and Oakland on the East Bay side, is this kind of change. Driving across the new bridge is a compelling experience, with the structured and regular lighting, and a mostly open feeling. In comparison, the old 1930s bridge was a bit closed-in, and far less expansive feeling.
Walking the new bridge is exciting, although the walk is mostly in the shadow of the old structure (the old roadway is shown in this linked story). With the last of the old bridge scheduled to come in staged demolition, the walkway will eventually no longer be dominated by the shadow of the past.
But none of this prepares one for the impact and resonance of the tower of the new Bay Bridge, which can be photographed from a variety of interesting locations around San Francisco Bay. I made the image shown in this story while leading a night photography workshop from Treasure Island, just across the small isthmus that connects Treasure Island with Yerba Buena Island.
Beauty should never be a hostage to perfection. Wabi-sabi is a Japanese aesthetic that recognizes the beauty in transience and imperfection. These anemones were beautiful in their prime. They are also beautiful, in a different and perhaps deeper way, as they age.
Photographed on a white seamless background using sunlight with my Nikon D810 and Zeiss Otus 85mm f/1.4 at 1.6 seconds, f/16, and ISO 64.
Related story: Tulip Wabi-Sabi.
Click here to watch the trailer for my Photographing Flowers course on the Craftsy platform. Use this link to sign up for Photographing Flowers with a special 50% off today.
I’ll also be giving two flower photography workshops in 2015, a Masterclass in Creative Flower Photography in June at the Heidelberg, Germany Summer School of Photography (class taught in English) and a Creative Flower Photography workshop at Maine Media in Rockport, Maine in August.
These pretty anemones come from Thomas Farms, and are organic (as well as locally sourced). The potential advantages of eating organic food are pretty clear, but why buy organic cut flowers? According to Thomas Farms, “Most cut flowers available in the U.S. are grown, assembled and packaged in third-world countries, where pesticide regulations are lax. Because flowers are such a high-value crop, they are doused with insecticides, fungicides and growth regulators, including chemicals that have been banned or restricted in the U.S. due to health or environmental concerns.” You can read more on the Thomas Farms website.
This bouquet of anemones was photographed with tender love on my light box for transparency using my Zeiss Otus 55mm f/1.4 lens using a Nikon D810. Click here to see close-ups of a couple of these anemones.