fourpointedstar

Each winter, I make a sacred trek to Peggy Notebaert Nature Museum in Chicago. They have a wonderful year-round butterfly exhibit, and those colors are the perfect break from the dull nature colors. Even when the Illinois winter blesses us with snow instead of 43 shades of brown and grey, more of nature is still monochromatic.

Typically I focus on the butterflies; small pops of color whose unpredictable nature and flight paths make them a challenge to photograph, but this visit, I was inspired by a photo that Sarah took years ago – a simple image of the end of one of the vines. What images could I create in the butterfly house that weren’t of butterflies?

I do like these photos, but … (see previous post)

I don’t click the shutter button nearly as often as I used to; it’s not that I don’t take my camera out as much, it’s that I take fewer photos overall but have a higher percentage of photos that I like. Most often, I know before I click if the photo will be worthwhile, and I’m much more willing to wait for the right shot, scene, or composition. In short, I’m much less “spray and pray” with the shutter button that I used to be.

But barns? I found it very difficult to find inspiration and compositions with the barns and other abandoned structures on our trip. It’s not that the buildings weren’t interesting; it’s that I haven’t developed the mind’s eye for it. Once I brought the images into Lightroom, I couldn’t “see” why I took the photo to begin with – or worse – I could see and now I thought it was weak or absent.

Perhaps I need more practice (I do), but as I mentioned before; there’s only so much time to take pictures, and maybe I’d rather spend it with the subjects and scenes that I already love.

At some point in life, most of us realize that we don’t have time for everything that we’re interested in – we’re forced to drop a hobby because we don’t have time.

Photography reached that point for me a few years back; I used to photograph anything, but I discovered that I wouldn’t edit certain photoshoots or would be annoyed at editing certain shoots. I enjoy certain subject matter and certain photo topics and would like to spend more time with those.

Old, abandoned buildings is one of those topics; it’s not that I don’t like the photos that I come up with, it’s that I’d rather be photographing something else. This was true on our trip to Southern Illinois with Keith French; on two days, we visited abandoned churches and barns, and I found myself wanting to wander through the woods instead.

I do like these photos, but …

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In the last ten years, I have had the opportunity to photograph several dance festivals. Over those events, I have discovered a difficulty with photographing modern dance – modern dancers are less likely to perform a particular jump at a particular time in the musical score; their movement is often more like a twisting stream than a waterfall. As I watched the various performances at Side Street’s Going Dutch Festival this past November, I realized that a long exposure could reflect the beauty of the performer’s dance and expression; as short as a tenth of a second up to a full second of exposure.

And while some movement still seems to require the “moment in time” capture, I really like how these images reflect the movement and passion of these artists.

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>other images<
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I always want for my next photo to be better than the last image; a better composition or representation, or maybe a different, unique view. I’ve photographed fireworks many times, and I’ve seen some fantastic ideas using zoom and focus that I’d love to try…but what if I took my idea from Christmas lights – spinning the camera during the exposure – and tried it during a longer exposure of fireworks?

I love these types of photos; photos where you can’t quite tell what elements are part of the foreground, background, or reflection.

I love photographic reflections because they lead the viewer to look more than once, hopefully to investigate what caused the distortion, the odd lines, or the extra shapes. This image makes me take second and third glances each time … and I took the photo!

I absolutely love that the St. Regis is reflecting the buildings across the river almost as if you were viewing a painting.

p.s. After posting this image a few places, two people chimed in: “what if you edited this to be a square and removed the trees?” and “that looks like you could give it a pop of color!”. Now we all know people who offer their opinions a bit too much, but differing opinions can add value to our lives, and in this image’s editing, I think ultimately the image benefits from their opinions.

Oh my, and to look inside that mountain outcrop?  What a wonderful spectacle of lines, shadows, and shapes!  This is definitely some kind of 3D TicTacToe game that I’m not aware of!

I love the beauty and fluidity of Chinese characters; in English, signs are typically written in block letters, but the majority of the text through Chinatown is written in a script that I would describe as “cursive”.

I’m not even sure where the puddles came from that day – it was over 90°F / 32.2°C out – but the puddles made for fun reflections.  A couple of other photographers on the walk really used them to their advantage, I just used them as an abstract framing device.

Pardon me if I’ve photographed this structure before, but I’m obligated to capture an image each time that I visit Chinatown! I do need to remember to bring a wider lens next time that I visit though; I would love to capture the staircase as the border of the photo.

As I moved around the lobby in the Hemmens, these lights moved with me creating patterns and shapes. A centimeter this way or that and the entire frame would change; it’s one of the reasons that I love architecture photography, it really does embody that statement of “right place, right time”. The colors, angles, lighting are all impacted by exactly when and where you are standing.

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I’ve heard many people say the right place and the right time are essential for a photograph, but I would argue that the right mindset is also essential. As Sarah and I were standing in the lobby of The Hemmens in Elgin, I was watching the reflections and refractions on the windows and walls. And while my mind wandered, this distant aircraft caught my eye as it traced its way through each window pane.

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I don’t ever shy away from editing an image from cropping to color correction to contrast; I almost never show an image before editing.

But every once in a while a scene presents itself that needs no editing, like this one. I did crop this, my lens simply didn’t have the reach for the crop that I wanted; and of course, I changed it to black & white. Some won’t like this image, even more will find an aspect to critique; and that’s fine, after all art is subjective.

When I attended the Lincoln Park Zoo Holiday Lights exhibit, I wanted to create something more than a record of someone else’s artwork. In the past, I have captured images that combined the lights with camera motion, and I wanted to take what I have learned in the past and apply it to this year’s visit. This abstracted tree gave me the opportunity to see the image as something more than “a tree wrapped in green lights”.

I’ve taken a few photos similar to this one; the abstract natural textures of colorful rocks. My favorite similar images are from Rockhouse Cave in Hocking Hills State Park, Ohio. But what struck me about this image is how much the color palette reminded me of the colors in renaissance art.

Upson Falls tumbles over the cascade of rocks and immediately makes a sharp right turn downriver. That sharp turn allows for this spectacular view with the sun rising “up river” and the wonderfully rich hues of morning.

When we visited St Louis with the marching band in 2022, this was the view out of our hotel room. The night before, I wandered around near the Arch, and captured some fantastic photos, but in the morning this was our view – absolutely spectacular!

The concrete and glass exterior of the building on the south side of Wells becomes the perfect canvas for abstract architecture presented by the stepped exterior of the top of the building on the north side of Wells.

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This fantastic oddity was captured from street level, and I just love all of the distortion. I’ve photographed the curved fascade of the building on the corner of Wells & Hubbard a few times, but always from the 4th or 5th floor of the parking garage with light trails in mind.
(This photo was from a photo walk that I led back in April.)

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The shadows from the melting ice or snow rolling down the glass were the perfect addition to all of the angles in this photo.

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Santiago Calatrava’s buildings never fail to impress. They’re almost always futuristic, but often can be mistaken for an animal in some kind of animated reality. Even his art installation in Chicago has a fluid and natural motion to it.

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If you crane your neck and look UP under Calatrava’s wonderful design, the view is magnificent!

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