Find Some History ~ Mono Monday

"Old, New, and In Between"

Imperial Cotton Textile Mill Complex



I love architecture. But you knew that. I even love saying, "I love architecture, and you knew that..." so of course today's image is from the 2012 Doors Open Hamilton event that took place this weekend. A fabulous event where buildings of artistic or historical significance, and buildings with innovative design, open their doors to the public and allow you glimpses into places you never knew existed or have always wanted to see.

You can't keep me away.

The image today is an amazing combination of original structures from 1900 and newer additions that today houses studios and spaces for showcasing and supporting local artists. I wasn't able to be choosy about the quality of light, hours of the event across the city are mid day hours and the light yesterday was harsh without much cloud cover. But you use what you're given, and when there are terrific lines, shapes, and textures supplied by such an interesting structure like this scene in the alleyway, you just go for. I particularly like the black pipe framing the Gothic style brick tower in the distance. Elements like this make me a happy photographer.

If you're in the Hamilton area, you need to check out the Imperial Cotton Co. complex and the additional site for artist support through CoBALT Connects who is out there providing innovative ways to educate artists and support local talent.

Take a ramble through YOUR city and see if they have a Doors Open event near you! Thanks gang and have a good one.

Beyond The Formal ~ Mono Monday

"Working With A Pro"



Today I thought I'd discuss something I hear frequently from other photographers. And I would be in the same boat as them when they say, "My family just HATES having their photos taken!" It's that whole "set up the seamless, point the big intimidating lights" feeling, or even just the deer in the headlights look everyone gets after dad yells "hey everyone, look over here and say cheese!"

I had to work hard around this the other day for a personal project I'm beginning, and wanted to ensure that my family wouldn't run screaming from the camera or look stiff and uncomfortable once they stepped into a shot. So here's some tips on what I did to get the moment above of father and son looking relaxed and having fun without it looking staged.

The Most Comfortable Place

When is your spouse, child, or subject most in their element? The place or spot that they're the most involved in, most proud of, most comfortable in. For my husband (and it's a tie between the him and the dog for who hates the camera most) that's his workshop. All his tools familiar to him where there, on-going projects he's excited about are there, and he proudly renovated it himself. It is the quintessential comfortable space for him. So the first thing we did was hang out in the workshop.

Find That Light

I don't mean that "inner" light either... that's later. I mean now that we were out in the workshop to photograph the father and son moment I wanted, I took a real hard look at this familiar space and had to decide where the good light was. Workshops are notoriously dusty, or have industrial type lighting everywhere. We tried opening up the big door, with all the lights on but in the end the only good light, very soft and full, was coming in a window from the south west. The windows are covered in an opaque white film for privacy and were the perfect foil for the late afternoon sun. So I backed up into the corner and had them stay in front of the window to work on their project together. If you look closely you can see the back of my husbands head still has definition in the shadows... that's from the big door we kept open for added light. That's using the ol' noodle eh???

Use The Best Gear

I could have fooled around with my flash, my reflector or additional lights, and my different lenses. However, all of those things are time consuming, and start to make your subject feel more self conscious as time goes on. And you can loose momentum. So after looking at the small area they'd start working in, I decided the best lens would be my wide angle for such a small tight space, and I'd use my tripod in case the exposure wouldn't work out for handholding the camera. I spot metered my subjects, okay with the corners or background having some shadow and that was that. After a minute they forgot I was there.

Don't Just Stand There... Do Something.

Because they were in a comfortable place, doing something they're familiar with, the last thing I wanted to do was then say "now both of you look at me!" and press the shutter. If they love the camera, not a problem. But in this instance I needed them to just interact the way they always do. So they started DOING something. They were measuring to make a cut for some trim, a simple action but enough that their focus didn't drift to me right away and I got some shots off before they realized. The fact that they got chuckling about something my hubby was trying to teach my son says that they were still comfortable and had forgotten about me for a second. And I love the expressions. I got a great "guys" moment that really represents them.

These are just my own tips, but they seem crucial to every "stolen moment" photo I take, no matter what the variables are. I'm sure you could add to the list. And I hope this helps someone longing for better family photos that go beyond the family portrait of pasted fake smiles, dress clothes you only wear at Easter or weddings, and odd poses.

Thanks for the ramble! Have a great Monday and let's get some fabulous family photos!

The EPPC ~ Mono Monday

"Bow Thruster"

Epic Personal Photo Challenge #2

I didn't get a chance last week to blog my last EPPC image from the theme "Machinery". Since it's a B&W I thought I'd do so now. It's the propellers from outside the bow thruster of a tanker. I couldn't believe all the texture and cool lines and raking light I had to play with when I took a closer look.

If you were wondering, the EPPC has a facebook group now, and you can request to join up. So far we're 13 strong and the next theme we're currently getting ready to post this coming weekend is "Reflections". We'd love it if you joined us. It's a chance to push yourself, see how creative or observant you can be with your surroundings. And you'll meet some great people. How can you resist?

Busy day today, so it's just a short little post. But come check out the EPPC and join in the challenge. See you all tomorrow, and thanks for the ramble!

Critical Mass ~ Mono Monday

"Sky Inside Out"

It's a simple thing. But a necessary ingredient for photography. It's defined differently by everyone, and can change depending on the situation. Hopefully it's more of a conscious decision towards having it in a photo, than an unconscious one, but either way, when it's there... you know it.

I'm talking about impact. And photographs without it generally get lost in the shuffle. And it starts when you're out with the camera. I've been out with photographers on walks often and there's two kinds of photographers, or so it feels like. There's the photographer who only raises their camera when a scene or subject really strikes them as interesting or beautiful or dramatic or informative... and later they post them and the impact carries over to the viewer. And I've also seen photographers who simply shoot anything within range and then say, "that might look good in the computer later. Guess we'll see!"

Tell me that's not you. At least not all the time.

Impact. You find it everywhere but it's up to you how to make the most of it. Great shapes could provide it. Great light. Great lines. A cool perspective. An unexpected moment on a street corner, a burst of isolated color... the sky's the limit. But I don't know if we approach our photography this way enough.

And rarely can you create the impact needed later in photoshop if it's lacking somewhere in the image to begin with. I cringe when I hear new photographers decide that instead of honing their camera skills or compositional skills, that what MUST be lacking is more photoshop. I'm sorry, but processing is there to enhance what you already have. And if what you have isn't cutting it already, no amount of digital darkroom is going to make it fabulous. You can't enhance what isn't there. But on the flip side, if you have a great photograph be careful you don't lessen the impact it has by not processing an image carefully so as to preserve it either. It's a balancing act you learn over time. Add personal vision and you have the makings of a pretty great photograph if you make all your choices intentional ones.

Time to make a conscious decision to use impact as one of the first tools of the craft. Keep it foremost in your mind along with finding great light... and then have fun!

Thanks for the mini rant/ramble... have a fantastic week friends!

Using Size & Space ~ Mono Monday!

"The Guardian"

Sometimes your circumstances force you to be creative. No easy answers pop into your mind, no quick fixes will do a subject justice. Gosh darn it, you have to apply every skill you've filed away for just such an occasion. This was the situation I faced as I walked the pier by the bay in Hamilton last week.

This Algoma Central Corporation Tanker is part of the largest fleet of vessels serving the Great Lakes and St.Lawrence Waterway. And due to it's enormous size and proximity to other industrial spaces hovering near along the pier I discovered I didn't have enough focal distance or enough room to back up and include a hefty portion of her all tied up to the dock. But I liked the lines and anchor chain sweeping away from her, I liked how massive her front end looked (not a nautical term by any means but hey, I'm a photographer) and I realized that even the weight and size of her could be conveyed if I was careful.

The key to this image working well, is playing her size against the steel mill off in the distant haze. There were no dramatic clouds, there were no people I could coerce into standing in the photo to give perspective and scale...

but I anchored the remaining part of my composition and perspective onto that steel mill and suddenly this image tells a story. Those lines lead your eye down to the outside of the frame where you suddenly realize there's something in the distance and the image comes together. The contrast of size and all the space needed really worked in the photographs favor. To say I

was giddy when I realized I could work this out is an understatement. Okay, so I did a jig in the middle of the pier, but don't tell.

I still wasn't fond of the the color version when I was editing, so I decided to process in Corel's Platinum b&w filter and warmed it slightly with a Nik plug-in called Skylight to remove the starkness from the image. Now shape and space and size are the main characters... and the Algoma Guardian now looks as if she's watching over the harbour.

I've missed focusing on monochromatic photographs. I hope to have some more ready soon. In the meantime, enjoy your day. And take the time to photograph something. Have a good one folks, and thanks for the Ramble!

Mono Monday!

"The Power Grid"

Thought I'd post a fun shot from a recent challenge I'd taken on, with a good friend of mine last week. You can see Dave Pratt's work on Flickr.

I wound up in the very industrial section of Burlington Street in Hamilton and allowed all the unusual and interesting shapes along all the different power grids and steel mills to become subjects all on their own. I don't have anything overly wise to say today, but I think I'll let the photograph speak for itself.

It's the first official day of March Break for my family and I and I see pancakes in my future... so you understand why I'm keeping this short and sweet.

Have a great Monday gang, and thanks for the ramble!

Dreary Equals Industrial ~ Mono Monday!

"Guardian at the Docks"

I find the weather swings from gloomy to startlingly bright and cold with no happy medium in the last few weeks. Hardly ideal conditions for inspiring photographs. So today's post is another rant on working with what you've got.

The image above was taken down at the docks in the Hamilton Harbour a couple weeks ago. I had wandered around the pier and bay front trying to find something fascinating but felt like everything was coming up short. Ever have those days. I'll heartily admit that I do. I decided the best locale for finding some interesting material despite the bland weather would be the industrial docks. With a dull sky, and light rain, I had a chance to simplify my photography. Once in this mindset, everything began to have potential once again.

Simply put, I decided on this particular day that dreary weather equaled industrial type images. I stopped looking for inspiring aesthetics and started looking for aesthetics that conveyed power, durability, and the relationship between the water and the ever present steel mills. 

When I worked with what was at my disposal, I began to get photographs that reminded me of the ways we naturally interpret this part of the city, and the industrial heritage it contains. And they felt right.

Dreary equalled industrial. Tomorrow it might represent something totally different. That's the joy of photography and working with what you've got.

Thanks for the ramble gang! Have a good one!

Albumen in Winter... Mono Monday!

When the chilly weather hits, my lens seems to seek out architecture once again, more than any other subject. The hard, short winter light gives angles and lines what they need to stand out. And a trek through the city to photograph large columns and portico's supporting the city's rich history means warming up later over lunch at the local diner or pub.

Ah... the perks of being a photographer in the great white north.

I liked the angle of this solid bank on the corner of James St. and Main in Hamilton, with the empty space in camera right being filled with the contrasting mess of bare branches.

Processed in PSPx2, the Albumen filter gave it all some warmth and aging without being too stark as a B&W. But this winter light is great for Monochromatic images, so you know I'll be heading out with the camera...

Thanks for the quick post! Happy Monday gang!

The Flower and the Flash ~ Mono Monday!

Lilly #1 ~ A Study in Flash

A teaser image for a new post coming soon on Flash Photography. Meaning, I really have no time to truly blog today so a sneak peek at a new project is what you get.

I am just learning what my solitary speed light is capable of in terms of light. In commander mode, in manual, outside, inside, it is truly broadening my scope of how I can add drama to any subject and it is allowing me to shoot no matter what the circumstance. This is big for me, I cannot tell a lie.

That I waited for almost five years before I really decided I had enough of being terrified of flash says... well, I'll let you decide what it says. But be nice. At any rate, the first thing I know is that still life and florals have expanded possibilities now that I can play with flash exposure. Today's photograph in B&W is proof. Highly defined subject details, easy use of negative space, lots of drama due to the variety of tones and the contrast created by the seamless back drop. I kept my speed light with a big diffuser very close to the subject, with reflectors to control the light back towards the subject... am working on documenting a shoot to show you exactly what I did for the upcoming post. But for now, if you're not even sure how to activate you speed light, I found this video very helpful last year for the true beginner, as well as this longer video here. If you're not a Nikon user, all you need to do is search YouTube for your flash name and you'll be able to filter through tons of demos.

Exciting isn't it? So Friday, I'll begin my series on exploring flash...

I hope you'll join me!

As you were. Thanks for the ramble!

Right Back Where You Started ~ Mono Monday!

"Salt & Pepper Skies"

Ever feel like you're being taken back to school in order to move forward? To go back to where you started just to get to where you're going? Caught yourself wondering if the author of this blog has a clue in her pretty little head... never mind, don't answer that last one.

I feel like this is what's happening with my photography lately. After reading several books on photography and art over the holiday season, not only did I feel inspired to keep photographing what I love, but to do it with the intention of creating themes, stories, and showing content with real quality. Something I had left out of the equation lately.

Yesterday I scouted an area about an hour from me where I knew there were some fabulous structures and examples of architectural design. I really took the time to make photographs that will lead to more photographs, if that makes any sense... I had never been to the area before with the camera, so I simply went with the intention of bringing home visual notes if you will, photos that will remind me of the approach I want to take the next time I go back. Not that I didn't get photographs I like, I did. But I'm determined to learn to bring more to the table visually. To do that I had to make sure I could remember to shoot with purpose.

And that starts with the beginning. What lines are powerful? What shapes need featured? What POV is the best vehicle for why I saw what I saw? Is there something I'm neglecting? Should the photograph be improved by switching the time of day? Switching what season I take it in? And do I keep it simple in Processing? Or do I choose to present certain ideas through editing?

Today's photograph is a start. Nothing more. I have loved the look of these urban condos since their early construction. And they tower over the other residential buildings, perched way up in the sky. The glass and metal patterns reflecting the sun, nearly blinding the camera's sensor, but accentuating the wavy aesthetic of the architectural design. I immediately think of them as salt and pepper shakers! Taken from an adjacent parking garage, I chose to compose the shot to eliminate the scrubby landscaping below, instead, giving them a feeling of isolation, which is how I think it would feel to live so far above everyone else in a building so different from the surrounding habitats. I think I knew right away it'd be B&W, it resonates with the lines against the cloudy skies and adds to it a more formal feel.

But in the end, it's a simple photo. I'm okay with that.

More photographs from yesterday to come, some better evolved, some revolving around one simple concept. But I knew what to do and how to shoot, when I remembered to go back to the beginning and went from there.

Thanks for the ramble... have a great day!

Channeling Escher Again ~ Mono Monday!

Which Way Up?

I'm short on time today... was playing with some old architectural photos from last December. Thought I'd post one for you here.

I'll let you decide what to make of it.

Try something, anything, creative today... it's good for the soul.

Thanks for the short ramble! Have a good one!

Pursuit of the Better SP ~ Part II

"Finally Smiling!"

So here we are with Part II of my quest for a better self portrait. With the inclusion of some very important tips, I was able to get a few images I felt good about. This is STILL not my favorite activity of all time but it was good for me to get a better handle on this particular subject. I'm including two of my favorites today.

Here's what went down....

Last week I said my basic approach was just playing with my settings and trying to get some over all good light. But let's face it, it was boring light. In order to get some interesting light with nice coverage, I took a moment to get an exposure that wasn't being affected by the ambient light in the room at all, so basically, my test shot result was a black screen. This is the only time that this is a good thing. But it was all about to change! Enter my speedlight and reflector/light panel. The flash was about to override any available light in the room and help me get better portraits. I placed my flash fairly close to my location, at half power and aimed/bounced it behind and up into my reflector. This disperses your flash light evenly and with better quality than just the flash aimed at the subject. (Do a little experiment next time with just flash and then flash diffused or bounced out towards the subject and see the difference in editing.) 

With my flash being controlled totally by the camera, it made it easy to change settings too instead of running over to the one and then the other. I had my reflector on a stand, clipped at an angle and positioned just in front and to the right of me. I positioned the camera at eye level, and quite close to create a more intimate portrait. Still using my 50mm prime lens at a softer aperture of about 2.8 - 4.5 meant getting a depth of field with some drama. And the smaller the aperture, the more powerful the flash setting needed to be. Why? Because the light I ultimately wanted for the shot needed to break through the available light currently in the room. When I first learned this concept, flash photography really began to make sense to me as another type of artist's tool, and not something scary to overcome.

I did start out with the flash at it's maximum sync speed, but decided artistically that dialing it down to half created a light I liked.

At half power, I started to get very subtle soft shadows. This adds volume to the image and avoids looking harsh and flat. Later in processing, I used curves to ensure that there were also nice highlights to balance out the shadow areas without having too much contrast. Skin tones in portraits need to seem soft and clean. Save your edgy, clarified, high pass sharpening skills for more editorial or street photo type portraits. There's nothing worse than razor sharp wrinkles and features with deep contrasting lines within a classic portrait. What I did pay attention to in processing was the odd blemish, and the detail around the eyes. And I'm deathly opposed to making people look like wax figures with that often overused skin-softening tool. So just the make-over brush was used to even skin tones in the odd spot.

I've done one in B&W and one in color today... I may yet attempt to get a better B&W done. Am not sure if I like so many dark areas in the final one above. But it's much improved from last week's portrait and that was the point of this exercise. The moral of this pursuit? Everything takes practice, your flash is a wicked tool the minute you remove it from on top of your camera, and that if you truly want to know how many wrinkles you have, just smirk into a 50mm portrait lens.... you can count each and every one. Sigh.

"Yours Truly"

Thanks for following along on this journey not yet over, and have a

super Monday gang!

Direction and Decision ~ Mono Monday!

"Autumn's Last Gift"

Dug into my files for todays image. Truth be told, my photography seems to be in a holding pattern for now. I'm trying to make some decisions, ones that will help my full time approach to photography, and expand my portfolio, and am starting to feel overwhelmed I guess. I'm sure you've all had those days.

The question is "where is all this taking me?"

I have to answer this question in the not too distant future. Not sure how. But I will say this. I'm excited to step out of my comfort zone a bit. If I've learned anything this year it's that there aren't nearly the amount of rules I thought there were as a photographer. So what am I waiting for? I can make my photography go anywhere I want it to! You can too!

Where DO I want my photography to go next?

I'll let you know, when I know.

Massive Architecture On The Brain ~Mono Monday!

"Union's Majesty"

Oh what I wouldn't give for a decent fisheye lens, or ultra-wide angle right about now. Because when I think about photographing massive architecture like the powerful looking and massive Union Station in Toronto, I always want to include as much of it as possible. And it's hard to do with a modest, run-of

-the-mill wide angle. Even a Tilt-shift lens would have been doable.

But I gave it my best shot. Those other lenses will come in time.

The other obstacle in photographing this grand terminal is that it sits right up against the street... and I don't know about you but it's never fun being run over by hectic Toronto traffic while on a photowalk. Maybe that's just me.

As I worked on photographing Union Station, I decided if I couldn't use the actual size of the entire building to create a sense of power, then I would have to rely on wide lines, distorted perspective, and a sense of symmetry to convey the same feeling. The strong visual lines up and across engage our sense of space, allowing us to understand the possibility of a bigger picture. The perspective influences our perception of height, and we reason that it's towering over us, as opposed to in front of us. And symmetry seems to add weight to a photo. It worked in this case because the sculpture itself is symmetrical in shape and in it's placement on the grounds of the property. It's okay in this instance for the eye to continue returning to the center of the image, there is engaging subject matter there and makes sense.

Converted to a classic platinum B&W in Corel with some slight tweaking in curves and such, and I think I'm content with today's image.

But the minute I have a wider lens, you'll know. I won't be able to help myself. I'll always have architecture on the brain. 

When Trees Are Enough ~ Mono Monday!

"Hidden Forest Paths"

I love the Bruce Trail. Ask me how much. Go on. Ask me. No, don't even ask me cause I'll tell you anyway. I love it more than pizza. I love it more than Harry Connick Jr. I love it more than reruns of Bob Newhart. "Geez," you think, "she must love it a lot!" How'd you guess?

Because Hamilton and beyond is anchored along the Niagara Escarpment, it means I and my Nikon have access to the many threads of the Bruce Trail on a whim. Yesterday was so warm and sunny for the end of October that the whim was, shall we say, overpowering. So out I went with the camera, and it wasn't long till I was surrounded by trees, trees, and... oh yeah, more trees.

"Escarpment's Edge"

I long ago decided that anyone who could photograph a dense tangle of trees and still make it look like it was deliberately composed and executed, was a photographer to be reckoned with. And I also decided long ago to isolate what one needed to see past the forest and photograph the beauty of the tree, no matter where I was. Over time I began to learn that besides good light, you need to be able to really see layers, shapes, groupings, and the way all those things relate to one another to form a composition. When you can do that, then you find the vantage point that emphasizes that composition, and adds interest to the space you're visualizing in the lens. What you wind up with is a photo that the viewer can imagine themselves stepping into, or at the least, a photo that still draws the eye through every area of the scene.

The Bruce Trail lets me hone this skill, stretch this skill, and learn new things about it all. Focusing on trees as a subject alone is enough to strengthen my craft. Don't know if I'll ever fully master it but that's okay. I like the "trying" to attain it! The process is so darned enjoyable when it's about something you love and are passionate about. And I'm passionate about nature AND photography.

I love them both. Go ahead. Ask me how much.

Conveying Space ~ Mono Monday!

"The Meeting House"

Old Order Mennonite Meeting House, Elmira, Ontario

Another photograph from my recent ramble through St.Jacobs and Elmira, otherwise known as Mennonite country. What do you do when you go hunting for a historic setting, and what you find is relatively flat, open, and almost devoid of character? This was the challenge when we pulled up to this historic and well maintained meeting house... so well maintained that at first glance my first thought was "boring!"

But upon taking a closer look, we realized the entire property held a simplistic significance that needed photographed. There was a pristine beauty and a simple story to be witnessed in the quiet countryside. I just needed to change my definition of great composition. I needed to utilize a tool at my disposal that I hadn't really relied on in a while... and when I did, my perspective corrected itself. Literally and figuratively.

Since no one detail stood out above all others, I chose to rely on the overall sense of space to anchor my composition. Gosh, when was the last time I used space to my advantage in a shot like this? After berating myself for growing lax with such a valuable element of photography, I got to work. The first thing I had to address was the most powerful vantage point from which to shoot from. I quickly decided that the repetitive shapes of the centuries old grave stones could be the element that draws the eye right into the image and up to the meeting house, and the diagonal lines add interest as opposed to aiming past them. This also adds an asymmetrical element and gives a better sense of depth to the shot. Suddenly your eye travels around the rest of the image and back once again to the main subject, shining white and pure in the sun, fitting for such a simple place of worship.

Lastly, I knew I needed to include the sky... and when I saw the clouds angled in perspective with the rest of the scene I knew the sense of space was complete. The combination of each simple element combines into a dynamic shot. After I realised what I had, I knew this would be a B&W photograph no matter what. And taking it into Corel to convert it, reducing the blue channel, pumping up the red channel, and adding some clarifying tool, I quickly had a scene I would not soon forget.

After you locate your subject, an image is never just about that subject anymore. It's then about the best principles of design and compositional approach to emphasize that subject, according to the kind of light you have and the kind of story you want to convey. Space can be a very powerful tool. Let's use it more!

Thanks for the ramble, and have a good one!

At War ~ Mono Monday!

"Flight and History"

Today is my 170th post. Where has time gone? Anyone? I can tell you where it's gone... it's been slipping away while my daily battle to be equal parts pro photographer, student, business owner, mentor, mom, and wife is being fought. On days where I'm feeling creative, but must fill orders, bookings or get projects in on time for Christmas, it feels like I'm at war... with myself!

I'd rather be anywhere but at my desk today. But one must work at making a living. So since I can't make time today to do the fun things I love about my job, I've returned to my archive of files and pulled a couple that I'm fond of and keep coming back to when I think B&W.

"The Heritage of Flight"

I'll say it again, if you haven't taken your camera to the Canadian Warplane Heritage museum, you need to schedule a visit in. Great light, amazing space, subjects oozing history... I think about how energizing the whole morning was for me as a photographer and I feel motivated to get through my business items that swamp me today. It helps me win my personal war and promises me that once the hard work is done, I'm free to enjoy my camera once more.

It's just one way I use my passion for photography to motivate other aspects of my daily chores. Hope you do too!

Thanks for the ramble... have a great day friends!

The Hunt ~ Mono Monday!

"Come To Life"

Eramosa Karst Conservation Area Trails, Saplings & Blackberry

Fall is morphing our trails and forests with rapid abandon here in Ontario. For someone like me, aka the nature photographer, it means I go into a photog frenzy. If I don't get out to shoot the textures and colors and various weather of this season, I become feverish, mumble things like "must... find... gumboots..." and I begin to channel Grizzly Adams.

Well, maybe it's not that bad.

But I spend almost every waking moment looking for great subject matter. And if you haven't visited one of the many trails in Ontario yet with your camera, you're missing the showstopper known as Autumn. It's even a great season to work in B&W believe it or not.

Tonal values seem heightened this time of year. Contrast and texture can be found in almost any light any time of the day because of how low the sun is much earlier than ever. And even midday photography has a defined and chiseled light, not as direct and hard as early summer. Find some compelling natural lines, like the small trees seen here guarding a blackberry thatch, and the late afternoon light coming from over my shoulder making them pop, and you have a gnarly and whimsical nature scene.

I could have leaned towards a very stark exposure, enhanced further with the much overused spike in contrast and sharpening that seems to be so popular the minute anyone wants instant drama in post production, whether that was the intent initially or not... but I didn`t want to downplay the soft tangle of the brambles while keeping the saplings part of the whole scene, instead of separating them too much by making them stark white. I am learning more and more about intent, and how to creatively express what my eye was impressed with, and then process the image so that it replicates that scene as closely as possibly... maintaining the scene`s integrity.

Anyway, I`m hoping that those of you that haven`t ever enjoyed an Ontario Autumn get a chance to do so, and those of you who`ve taken it for granted get out there to one of your local park or conservation areas, get some fresh air and get some compelling photography, whatever that means to you and you alone! I`d say more, but I`m feeling that call already this morning.

Gotta go! And thanks for the ramble!

My Favorite Bridge ~ Mono Monday

"Structured Beauty"

A short post today revisiting an older image. It's my favorite bridge in the greater Hamilton area to photograph and has been a popular print in my collection. If you'd like to see a larger version click here to visit my website. 

I love a subject with repetitious lines, and no matter what part of this skyway you photograph, you get 'em! They emphasize perspective and create elements your eye travels to throughout the image. I can't resist this structure. And the obvious choice was to go with B&W.

I'm on day trip with the family today, and of course I'm taking the camera... so I thought I'd make this a quick post and hit the road! But I really should go back to the Burlington Skyway soon, it's been too long since I last shot it.

Have a fabulous day gang! Thanks for the tiny ramble!

I Feel Gritty ~ Mono Monday!

"Just Your Typical Alleyway"

Gritty back alleys are the theme today. Couldn't tell you why. I think I just needed to forget about flowers and roses, (my personal project, vintage florals) take a break, and plug my creativity in elsewhere. And I came across this shot. And it made me stop. And that was good enough for me.

I love gritty street shots. Lonely corners, shadows from the steel mills beginning to cut across the closest walls, leaving ominous shapes. And the only sign that anyone even knows the alley exists is the tagging on a solitary door.

Took this last spring, with the last of the dirty snow still sitting in pockets of old lots. And it's just the antithesis of the lovely summer day right outside my door as I type. But I was still drawn to it...

Where's all you B&W enthusiasts out there! Let me know if you have any monochromatic images you want to show off... and the rest of you, have a super grit-free day!