A Couple Falls at Hanging Rock

Saturday, February 10, 2018

So this is how my day played out.  Sierra was at my Mom's, Toni was at work, and I was at home alone for the day.  Times like this I enjoy taking advantage of by getting outside and doing a little bit of photography.  The problem....rain.  According to the weather forecast, there was going to be rain pretty much all weekend long.  I can shoot in the rain, but I try to avoid it because of all of the concerns with getting water on the lens, and having to dry my equipment out.  That kind of meant that I was going to be staying home and watching TV.  Boring!

When I woke up, I could see that it was foggy outside, and had been raining.  However, it didn't look to be raining currently which was a nice surprise.  I poked my head outside and found that there was a slight mist that was associated with the fog.  I could deal with that if I decided to go out.  I looked at the weather and saw that there was a brief period where the rain would likely stay away.  TV, or going out and enjoying nature.  Well...you know how that discussion went.

I decided that I would find some waterfalls to shoot.  Since I didn't have all day before the rain returned, and I didn't want to spend the entire day driving, I wanted to go somewhere close.  That pretty much meant Hanging Rock or Stone Mountain.  Stone Mountain only has one waterfall that I am particularly interested in, and I wasn't really feeling like working that one today.  Hanging Rock had several falls that I liked to photograph...five named falls with another two unnamed falls.  I would have much more to choose from if I went there.  That made the decision easy enough.

In about 45 minutes I was pulling in the parking lot under a heavy drizzle.  Nothing like an accurate weather report huh?  Well, I was here, I might as well get to hoofin' and see what I can capture.  I had decided that since there was a slight fog in the air, I really wanted to try window falls which has some really nice textures to play with.  I could also stray down another trail and get a few of Hidden Falls along the way.

By the time I got to Hidden Falls, the rain was a little more steady, but still bearable.  I didn't need to put the all weather cover on the camera, but I did need to use my hat to shield the front element from the drops.  I was using my 24-70mm lens with a B+W CPL on it which just didn't have the coverage needed from the lens hood.  I tried to get something different from my normal compositions at this waterfall, but kept finding myself repeating those standard shots.

I backed up a little bit and went wide with the lens.  That gave me the opportunity to include some of the greenery to the left which added a bunch of depth, and helped to accentuate the fog that was hanging over the waterfall.  I had done this composition before, but the water wasn't flowing as nicely, and the falls got lost in the overall composition.  This was working out much better today.

Weeping Rocks
Leaving my camera built as it was, I continued down the trail to Window Falls.  I was pleasantly surprised that the water was flowing much better than the last time I was here.  In fact, it was prominent enough that I was convinced that I could get a decent overall image of the waterfall which I was unable to get last time.  I had the right lens on to get the job done, I just needed to flip the camera on its side to shoot the scene vertical.  I ended up setting the tripod on top of a system of roots from a fallen tree as I stood on a muddy slope.  I didn't fall, and the composition was well worth the uncomfortable shooting position.

For many years, I would stop with this particular angle and turn around to make my return trip.  I have, however, found that there is a lot more that can be done with this waterfall from the other side.  I worked my way around to the other side of the falls, and started to look for compositions.  What I like from this side is that the rocks take on a completely different look.  There are more curves, and the composition becomes more dramatic overall.

A Subtle Sigh
There are clues which will tell you this is the same waterfall, but unless you are expecting it, it is not immediately recognizable.  That is what I like about this composition since this waterfall is photographed so many times every month.  In fact, that is the problem with all waterfalls.  They have all be shot so many times by so many photographers that all of the pictures start looking the same.  I try my best to get something a little different when I go to shoot waterfalls.

Careless Abandon
I have found that this waterfall has a few different isolations that work very well.  With the water flow today, I found that some of my isolations would actually work very well.  I got in close and cropped in tight to the areas that I wanted to capture.  The trick here was to get the textures in addition to the moving water.  I positioned myself so that the brighter parts of the rocks in the background lined up with the main shaft of water.  The idea was to create an optical illusion that the water was pouring from a hole above.  The cascades at the bottom become my foreground and visual anchor.  The composition is simple but effective in getting the viewer to look ever closer to determine exactly what they are looking at.

Heavenly Overlook
Since the rain was starting to get pretty heavy now, I decided to seek a little bit of shelter under the rocky wall where the waterfall originates.  While I was there, I started looking through the waterfall at the overlook just up the hill.  While I normally don't care much for photographing the man made parts of this scene, something just felt right about it.  I was imagining how it would look with the water blurred and just a hint of the overlook in the distance.

I went ahead and set up the shot.  There were a couple of really nice rocks that I was able to use as a foreground.  To close the upper portion of the frame, I included the steeply sloped wall that was providing me cover.  A nice long exposure blurred the water into several distinct shafts which became the focal point of the composition.  Just beyond those streams of silk is the overlook.  It is worth noting that the position of the camera is crucial here as I wanted to keep the stone columns visible and out of the way of the water.  The wooden boards were less important to me, and I wanted to keep the vertical elements going.

Ethereal Gathering
As I was wrapping up, I realized that the rain had let up once again.  I wanted to get one more shot before I left.  I moved out from the cover I was in, and started to inch my way across a large rock that I had been shooting beneath earlier.  With the elevation and perspective, I was able to get the top part of the waterfall in a way that I had no captured it before.  The angle provided enough separation between the streams of water that I could space them out across a vertical frame.  The curve of the rock seemed to embrace the water as if trying to gather the streams.  The first set of cascades below became the lower framing element of the image.

The composition of this shot made this image my favorite of the day.  It had the mood I was after, and the composition was complete with natural framing elements.  I had textures, muted colors, and depth.  Everything really came together well for this shot.  

As you look through these six photographs, keep in mind that there were only two different waterfalls that were shot.  Five of the six are of the same falls, but look nothing alike.  I always consider that a success when I can get multiple images with different personalities from the same subject.  Always look deeper at what is in front of your camera.

On Assignment in Ramseur, NC

Monday, February 5, 2018

Country Home
When it comes to photography, my normal process is find a scene that appeals to me and then shoot it.  I've done it that way for many years now, and have found getting lost is usually the best way to find myself.  There are other times I am more directed in what I am shooting which changes things up a bit.  Occasionally, I'll have a client request that I photograph a particular subject, or location.  This can be a little daunting for me because it is my style that has drawn them to ask that I photograph something that is special to them.  I no longer have the luxury of finding a subject that fits my style.  Instead, I am making my style fit a subject.

I had the opportunity to embark on one of these adventures for this trek.  A few weeks ago, I was contacted by a client to photograph the family home in Ramseur, NC.  The reason was one that I could absolutely understand.  This was a childhood home for my client, and there were so many memories tied up in the home.  Not only the home, but the tree off to the side of the house.  As she was telling me about the house, I could just picture the tree growing from a sapling into what Google Street View was showing as a huge, mighty tree.  I was intrigued at the project to say the least.

Family Tree
I had a couple of different rough directions to go with this project.  The tree was important to include, as was the home.  One of the biggest problems was that the house was currently painted yellow.  My client expressed a desire for it to be represented as white since that was the color that it was throughout he childhood.  Of course, I was not really thrilled about changing the colors as that was going to be digital manipulation which I wasn't really comfortable doing.  I discussed the possibility of doing it as a B&W image which would show the pale yellow as white, and also give it a timeless look.  That seemed to fit with her vision.

I wasn't under any real time constraint, which was a nice thing.  I had my choice of seasons, and weather conditions.  That should make it easy enough.  I agreed to the assignment and started to research the location.  I could tell by the satellite view that there were houses on either side of it, and there were more behind the property.  The trees around were huge, and I expected any fresh foliage to block a lot of the light and the view of the house.  That would be a problem in the Summer.  The house was situated with the front of the house facing North.  In order to get illumination on the side of the house with the tree, I was going to have to shoot in the morning with some diffused light.

With these constraints in place, I set out to find the perfect morning to shoot the house.  Too many clouds and the sky would be totally white after getting the detail in the tree and shadow areas of the house.  Too few clouds, and I would have a boring expanse of blue sky above the house.  I was feeling like Goldilocks to be honest.  I was torn between the current bare trees, or to wait until Spring to capture blooms on the trees.  I decided that I would go ahead and at least get some test shots in the Winter with the trees bare.

Sipping Sweet Tea
It seemed that my available mornings were all either rainy or totally sunny.  When I had a meeting on a Monday night, I decided that I did have time to go out and give it a try seeing that there was a 26% cloud cover.  I was wanting more, but for a test shoot, I was fine with it.  I left out before sunrise, and got to the house about 30 minutes after sunrise.  That was by design to give the sky a chance to get some blue to it, and to get a little altitude to the sun so that it would help highlight the house.

When I arrived, I was not really excited about how things were looking.  Google was accurate to a point, but things were very tight between the houses and there were a lot of trees that were going to become visual obstacles to overcome.  My normal eye would have moved right past this house, but I had been commissioned to shoot this subject, and I was going to make it happen.

I spent about 15 minutes sizing things up from across the road and then from inside of the property.  I wanted to shoot isolations because that would be the best way to eliminate the visual obstacles.  I couldn't do that because it would negate the whole purpose of being out here.  I needed capture photos that would tug at the heart strings of the family.  I needed to capture the essence of the house with that all important tree.  I really had just one option...go superwide.

I fitted my 16-35mm lens that is so awesome for landscape work and added a polarizer.  I knew that distortion was going to be a problem using this lens for architecture, so I had to pay very close attention to the pitch of the camera.  I started composing shots that simplified the scene that I was in.  I was trying to minimize the impact of the neighboring houses as well as the car in the car port.  Oh, did I mention that there was a large "For Sale" sign in the front yard just on the other side of the driveway.  I'll admit it, this house really tested my abilities.

I set everything up as black and white in my head.  I looked for strong contrasts and shapes.  As I was shooting the sun was really playing with my head.  What I was expecting to be a nice illuminating element, turned into a shadow maker.  There were thick trees to the Eastern side of the property that blocked the sun from providing any foreground illumination.  I was needing more clouds to soften the sun, but that would just increase the shadow effect on the foreground, and force the sky to overexpose.  I was here, so I was going to make the best of it.

In the photograph above, I actually decided to shoot into the sun....well, sort of.  I hid the sun behind the roof and shot a four shot HDR series to get all of the detail in the house.  I liked this because it was a completely unencumbered view of the house while still including a large part of the tree as a background.  I didn't know how it would turn out, but I tried it anyway.

When I got done, I had 23 frames of digital negatives to work through.  I pulled out three that I really liked from the batch and started to process them as monochrome images.  What I really thought would turn out decent left me feeling empty and a little disappointed.  I changed gears and processed them all as color images which I actually liked much better.

Remember that one of the requests was that I render the house as being white.  Well, as I was processing, I found that by dropping the saturation in the yellows, I was able to almost get an eggshell white appearance in the house.  Since I wasn't changing the color, I could live with the saturation adjustment.  There was still one image that I really wanted to do some more work with in black and white.

Country Home in B&W
I imported the file into Photoshop and started to do a more serious conversion.  As I massaged the image, I started to see something I had missed before.  The tones were actually coming together quite well.  I finished doing the conversion and decided that I did have one picture that met my requirements for a black and white image.  This made number four that I was happy with for the day.  Honestly, for the conditions I was shooting in, I'm quite pleased with how this turned out.

I might opt to go back in the Spring to try again with some buds on the tree, but I'm pretty happy with the outcome of this trek.  It was a test of my interpretation of a scene for sure.  I do enjoy the occasional challenge, and this really fit that classification.  The true test will be whether or not the client is happy with the images or not.

A late addition to the group is a monochrome conversion of the single tree.  I had to go about it in a slightly different way, and used the Lightroom tools to make it happen.  I'm actually quite happy with it, and think that it goes well with the other conversion that I shot.

Family Tree in B&W