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Boulders II, Canyonlands National Park, Utah View Larger Image
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Purchase This Week's Print
Boulders II, Canyonlands National Park, Utah is available as an 11"x14" Print, matted
to fit an 18"x22" frame. Each print is signed
and numbered by the photographer. Only 100 prints will
be made, so order early to secure your piece.
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Image of the Week Fine Art Print Offer
Each week, I post an image from my recent or historical work and talk a little
bit about it; the process, creative thought, and technical details that
contributed to its creation. During the week an image is featured, I offer it as
a Limited Edition Fine Art Print at a special price. Each image is printed
personally by me on the latest Epson printers using archival pigment inks on
acid-free archival paper. The prints are shipped matted and signed and can be
framed using a standard size, off-the-shelf frame from your local frame shop.
Learn more about my fine art printing process.
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Other Images of the Week
- Beulah in the Carrizo Badlands, Anza-Borrego Desert, California
- Chapel of the Transfiguration, Grand Teton National Park, Wyoming
- Cross-Country Runner Alexandra Krieg, Middlebury, Vermont
- Horse Bath, Morgan Horse Farm, Weybridge, Vermont
- Whitney, Citronelle, Alabama
- The North Window from Turret Arch, Arches National Park, Utah
- Jeff, Middlebury College, Vermont
- Hostas II, Middlebury, Vermont
- Hikers in Coyote Gulch I, Glen Canyon National Recreation Area, Utah
- Ocotillo Shadow, Abandoned Cabin, Anza-Borrego State Park, California
- Moonlit Palms, Anza-Borrego State Park, California
- Park Avenue, Arches National Park, Utah
- Ashton and Whitney, Citronelle, Alabama
- Steven
- Halladay Road III
- Fall colors and ivy-covered wall, Middlebury College, Vermont
- Maple Tree, Middlebury, Vermont
- Jesse Hamner at Grand Prismatic Spring, Yellowstone NP
- Aon Center from Millenium Park, Chicago
- Mountain Biking I
- Boulders II, Canyonlands National Park, Utah
- Hosta Leaves
- Joe
- The Pour
- Skylar
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Image of the Week
It's all about perspective.
You're out hiking, you come around a bend, and all of sudden you see a marvelous confluence of light, texture, and form
before you. You quickly whip out your digital camera, slap it on a tripod, and hastily crank
out several frames of the scene, knowing that the light can't possibly last much longer. Satisfied
with your capture, you stow your gear and continue down the trail, ready for the next found image.
Or do you?
The paragraph above closely describes what I did while hiking in Canyonlands National Park. I
rounded a bend in the trail and saw the scene pretty much as it appears in the small image on the
left. I was struck by the dramatic side lighting, long shadows, and complex textures of the boulders. I attached my digital
camera to a tripod, composed the image, and fired off a few frames.
But I didn't stop there.
With the camera off the tripod, I walked around the boulders trying to find a different angle...something
more intimate, more graphic. At last, I settled upon the larger composition pictured at right. Resetting my
tripod for the new angle, I shot a few frames with the digital camera. Because of the large depth of field
needed to capture the front and rear boulders in sharp focus, I set up my view camera, applied a small amount
of front tilt to produce the desired depth-of-field, and exposed a few sheets of film.
Walk around with your camera off the tripod and experiment with different angles and
compositions. All too often, I see photographers compose an image only after they've
attached the camera to a tripod, effectively limiting themselves to a single perspective
with pan, tilt, and zoom as their only compositional tools. You can produce some
fine images this way, but you're potentially missing out on other, perhaps stronger, compositions.
Think three-dimensionally, and don't be afraid to get on your knees.
Have questions, comments? Let me know what you think.
Technical Data
I shot Boulders II, Canyonlands National Park, Utah with a Tachihara 4x5 field camera and a Fujinon•W 150mm
ƒ/6.3 lens on Kodak T-MAX 100. The exposure, though not recorded, was
approximately 1/15 sec at ƒ/16.
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