A Color Transparency Gallery
All of the images in this gallery were originally color transparencies shot with various formats. These include the familiar 35mm slide format, and medium formats of 6×4.5, 6×6, 6×7, & 6×17 centimeters. As I recall the sizes & the films it will be mentioned. As transparencies they all had to be scanned onto a computer.
Early in my photography experience I sent a few transparencies out to commercial labs for prints. Often the prints came back out of focus, dull, and muddy. I also attended photo workshops. The workshop instructors looked at the printed images then compared them to the original bright, sharp, and saturated transparencies. They wondered if it was the same photographer. I did too. It was very disheartening. The difference from transparency to commercial print was as clear as mud. Try as I might I couldn’t seem to find a consistent commercial printer.
By the late 90s I was shooting a lot, but printing little. A few of the commercial prints were good enough to be proud of. These were framed and hung in my office at work.
At that time I handled all of the commercial printing for the company I worked for. My vendor of choice was Castle Press in Pasadena, CA. Castle Press had a drum scanner, an extremely expensive machine at the time. They didn’t do scans unless the resulting image was going to become part of a printing run. If you wanted scans of a few photos they were not the place to go because that wasn’t their business. But their salesman admired the prints on my walls so he proposed a test. He borrowed a transparency and a few weeks later brought it back with the print it produced. The results amazed me.
The owner of Castle Press learned about my photography through the salesman. They were doing a calendar for their clientele and needed photos. They asked if I could supply 12 images for their calendar. In exchange I asked for the 12 full size computer files of the images they used along with a few calendars to give to family and friends.
It may not have been a big deal for them, but it was a big deal for me. Suddenly I had 12 of my photos scanned by a top of the line scanner all on computer readable media. That was at the end of 2000.
By the next year I bought a good photo printer and a new Nikon Cool Scan 8000 scanner. The scanner cost a lot of money, but it gave me something I never had before, complete control over my image output. This excellent scanner could handle up to a 6 cm x 9 cm piece of film. At the time I don’t think there was anything else available at even 3 times its price that could touch its quality. It is no longer manufactured or supported, but can still do a creditable job today. I spent hours with the machine, usually on weekends or nights. I never became a scanner ‘guru’, but my prints improved greatly.
Even with the improvements it seemed the scans always lost a little color and contrast when compared to the original. I learned to bring some of this back with Photoshop, but it was obvious to me that the file from the scan was not a duplicate. Instead it was a lesser generation of the original.
By the middle of the decade a large number of things conspired to keep me away from photography. From mid 2004 to mid 2010 I hardly shot a single photo. At the same time digital took more market share, film photography lost much of its popularity, Nikon left the scanner business, it became very hard to find reliable transparency film processing, and of course my expensive color printer broke down & had to be trashed.
That is not to say I ignored photography. I followed it in the magazines and played with a few of the digital cameras during that time. By summer 2010 I felt the capability of full frame 35mm digital cameras had become quite robust. I traded in all of my film equipment for digital, and bought a new printer. I left film technology behind except I kept my old transparencies.
Of those thousands of transparencies about 100 are here. Like some of my other galleries they are shown chronologically. This may be a little strange for some viewers, but I find I keep them in my mind best when sorted by date. It also serves as a visual reminder to me of how my photographic skills have evolved, or devolved as the case may be.
I did this partly to flesh out the website. I also felt it was time to display some of my work in one place for all to see.
These photos are not the best of what you will find on these subjects anywhere, but many of these images are pretty good. I’ve tried to avoid including photos that have a personal meaning to me only. The few I do include should be humorous. Hopefully, the rest of these images will appeal to a broad audience, and can stand on their own.
Ideas of composition, clarity, & color change over time. In that respect, 2013 seems to be no different than 1991 when I got deep into the hobby. At that time I found bright, saturated photos were all the rage. I still see these, but now I also see less saturated or muted color palates. I think this is a good thing. It seems to indicate the composition has gained importance over eye popping colors.
My first landscape transparencies were on Kodachrome. When Kodachrome began experiencing processing problems in the early 1990s I moved over to E6 films. I tried many different types of Fujichromes and Ektachromes, but start to end I tended to gravitate toward Fuji preferring their Velvia and Provia. Maybe that helps explain the saturated colors, and deep blue skies. I still like bright, saturated colors. A look at my Digital Color Gallery should make that clear.
The equipment I used for these images covered a lot of ground. There were Leica R5, R6, & R8 camera bodies. The Leica lenses ranged from 19mm to 180mm. There was my trusty Canon A2E and later a much better Canon EOS 1v. The Canon lenses ranged from a 20-35 zoom all the way up to a 300mm f/4 prime.
In medium format there were Hasselblad 500, 501 and 503 bodies, and once upon a time I even had a wonderful 903 SWC. Lenses ranged from the fixed 38mm on the SWC to the 250mm f/5.6. I started with Hasselblad 6 cm x 6 cm backs, but later moved to 4.5×6 backs. For me the 4.5×6 was better for landscapes. It also gave me more exposures per roll of film.
There was also a Pentax 67 & a Pentax 67 II camera body. At one time or another I used 45mm, 55mm, 75mm, 105mm, 135mm, & 200mm Pentax lenses. Despite its bone-jarring shutter the Pentax 67 cameras shot wonderful transparencies. The reasonable price of that series belied the great work they performed. By the end of my film period the Pentax 67 II camera was my medium format camera of choice.
There was also a Linhof 617 panoramic camera with a 90mm Schneider lens. This camera demanded more attention, concentration, and patience than anything else I used. With a center graduated ND filter it made wonderful photos. It also chewed up a roll of 120 film yielding only 4 exposures per roll. The camera had no rise or fall, but otherwise it was as demanding as a field camera. The Linhof was a strict teacher. Everything had to be right or you wasted film.
When I used cameras on tripods I usually used a cable shutter release. In those days my tripods were always Gitzo aluminum with various ball heads by Velbon, Arca-Swiss, or Gitzo. I used all sorts of flash equipment. They were built in, shoe mounted, or bracket mounted “potato masher” style. Some were OEM & some were 3rd party.
Great photographers and their editors often shape the public’s perception of the photographic arts. I don’t often offer my photos commercially. That means taste is in the eye of the nonprofessional beholder. Keeping that in mind I try to respond to criticism in a positive way. If you don’t like something and don’t find an explanation here then I will try to explain my mindset at the time of the photo and take your comments seriously. Any photographic skill I may have is still evolving. When I read or hear a valid criticism I try to change my photography to incorporate it.
This gallery will change over time as I scan more transparencies. Photos will be added and photos will be dropped.
This, then, is the best of my film work. Mostly, I am more proud of it than my recent digital work. Is it selective memories warmed and faded by passing time? Or are these really good? You decide.
The Casino, Avalon, CA on Catalina Island, 1-91. Shot with a Leica R5 or R6. It was probably the 24mm f/2.8 lens. A trip to Avalon is a trip back in time except for their prices. Those are quite modern.
Sand Tufa, South Shore near Navy Beach, Mono Lake, CA., 3-91. Shot with a Hasselblad 500 Classic & a 6×6 back on Fuji Velvia. A monochrome version of this appears in the Black & White Gallery. Most of the Mono Lake photos seen in this gallery are also in the Mono Lake Gallery on this website.
Animal Traps, Kern County Museum, Bakersfield, CA, 7-91. Shot with a Leica R5, probably with the 50mm f/2. Kern County Museum had a strict policy on photos at the time. As this image is not for sale I hope I am below their event horizon.
Rainbow Falls, Devil’s Post Pile National Monument, CA., 7-91. Shot with the Hasselblad 500 Classic, the 80mm f/2.8 lens, & a tripod. I probably had a polarizer on this. A slow shutter was needed to get the proper texture of the falls.
Old Cars, Bodie, CA., 7-91. Shot with the Hasselblad. probably the 903 SWC, on Fuji RDP film, probably Fujichrome 100. For a more interesting shot of the 1937 Chevrolet in the background see the September, 1998 photo in this gallery below. Also see the War Birds Museum Post from Santa Teresa, New Mexico, Oct. 20, 2012 for a fully restored ’37 Chevy.
Red Rock Canyon State Park, CA., 4-92. This is with a Hasselblad, probably the 903 SWC mounted on a tripod & shot on Fuji Velvia. The sun had not set, but had fallen below the rim of the hills to the west. A beautiful diffuse red light briefly developed which I was fortunate enough to capture. This is one of my earliest “golden hour” shots. Other photos of this general area can be found in the Black & White Gallery.
Moon & Bristlecone Pine near the Patriarch Grove, White Mountains, CA., 7-92. This is with the Hasselblad 903 SWC, a 6×6 back, tripod, & cropped. There is no filter on the lens. For another shot later that day see the Nightmare Tree in my Black & White Gallery.
William Carson Mansion & Ingomar Club, Eureka, CA. The mansion was begun in 1884 and finished in 1886 by William Carson, a redwood lumber baron. The building is considered to be the finest example of Victorian Architecture in the United States. It is not open to the public and is currently operated by the Ingomar Club, a private group. At about the same time this photo was shot if you bought AutoCAD software for a PC you got a digital front elevation of this mansion. If you’ve ever been to Eureka you know how hard it is to have a clear, sunny day.
Totem Face, Saxman, AK, 7-92. Shot with a Hasselblad 500 CM, the 80mm f/2.8 normal lens. I have a note that says this is with Fujichrome 100, but my memory says this is one of my last (or last) photos on Kodachrome 64 or any Kodachrome film. Its about 1/125th second at f/16 with a KR 1.5 filter.
Rainbow above Manly Beacon, Death Valley National Monument, 2-93. Death Valley became a national park in 1994. Photo on Fujichrome RDP on a Hasselblad, probably with the 80mm f/2.8 lens & a polarizer. I shot this at about 9 am one morning from Zabriskie Point.
Dusk, Moon, & Figure, The Pinnacles near Searles Dry Lake, CA, 4-93. This is about a 1 second exposure shot toward the setting sun to get a silhouette effect. I was using Fuji Velvia 50 film in a Hasselblad 500 Classic with the 80mm f2/8 lens. There is an enhancing filter on the lens. I hung this in my office for many years then moved it to my living room where its been for over 10 years now. The person in the photo was one of my employees at the time. I made two prints of this. He has (or had) the other one.
The human figure, the crescent moon, and the strong forms of the tufa make an interesting shot. Rather than show the photo in its original square form it is shown here in a 1:1.25 aspect ratio (that’s the same as 8×10).
Matanuska Glacier from Matanuska Park, AK, 7-93. Not the best photo by far, but one of my favorites because of its controversy. Whenever I show this at a photo workshop the composition riles everyone up. Some say crop it here. Some say crop it there. When all the criticism is over no one can agree on the best composition, least of all me. Here it is as shot with a Hasselblad, the 80mm f2.8 lens, & a 6×6 back on a tripod, using Fujichrome Velvia. Actually I had to lean the tripod and myself over a foot or so to get the photo. The tripod was on 2 legs, not 3.
Denali (Mt. McKinley) & Tourist Bus, Denali National Park, from the Stony Hill Overlook, AK., 7-93. This was shot with a Hasselblad 500 Classic & cropped to enhance the subject. Stony Hill was as far as our tour went that day. The sky was clear so we all got a great view of the peak. I have others without the bus and the tourist, but the color of the bus appeals to me as a counterpoint to the blues and greens.
This was shot on a late afternoon in February, 1994. My nephew Keith and I were driving home to Orange County from a ski trip in Mammoth. I told him I was going to stop to photograph the memorial.
When we finally found the monument I wanted my photograph to have a defining sense of place. The majority of photos of the monument I have seen are from the parking lot side looking west with the Sierras in the background and show the monument up close.
By this time of the day the sun was getting ready to set behind the Sierras. It was obvious if I shot toward the Sierras I would get a silhouette. I walked around the barbed wire looking for a place to shoot. Facing the Inyo Mountains gave me good light to work with. This was on the opposite side of the fence from the parking lot. It also allowed the rising moon to be in the photo.
I began to look for a way to get a close up. Then I realized there would be much more power to the image if I shot the monument surrounded by its barbed wire fence.
I placed my camera and encountered a problem. There was an automobile car parked in view. The owner, an amateur photographer, rather than move it wanted to talk. First, he complained about all Ektachrome film. His father had used Ektachrome when he was a child and it had all faded. He said he was very unhappy about his child hood photos fading out and would never used an Ektachrome again. Then he wanted to talk about the Japanese interns. First he complained about the government and how it violated the rights of citizens and how it must have been a land grab. But slowly through his exclamations and expostulations he began to take the government’s view finally stating there was no other way to deal with the Japanese problem at the time except to intern them in concentration camps.
The one way conversation was beyond weird. Both my nephew and I had to listen to it. When he was done it was like all the air had left a balloon or all his stress had dissipated. He moved his car out of the way and I was free to work my camera. When the photo came back from the lab I couldn’t get a good vertical or horizontal crop so I left it in a square format.
Both my mother and one of my aunts kept framed prints of this until their deaths. Both had Japanese girl friends who were sent to Manzanar. My mother once recalled to me her tears as her friends were bussed away.
This photograph won an “Honorable Mention” in a small Orange County juried show. It was shot with a Hasselblad 501, 6×6 film back, 60 or 80mm lens with Fuji Velvia film.
Half Dome from the Jeffery Pine on Sentinel Dome, Yosemite National Park, CA., 5-94. With a Leica R5 and a 24mm f/2.8 lens. Shot at 24mm with a warming filter using hyper focal focusing. This composition is no longer possible. The famous Jeffery Pine, dead since about 1969, fell a few years ago.
Morning, Patriarch Grove, White Mountains, CA., 9-94. Shot with a Hasselblad 500 or 501, a 6×6 back, & probably the 80mm f/2.8 lens. The colors have not been enhanced here. Barring any problems with your monitor this is how it looks on the film.
When the sun is low on the horizon at dawn or dusk the color of sunlight shifts to the yellow-orange. This is because the sunlight must pass through so much more of the atmosphere to reach your eye than it does when overhead. As light passes through more atmosphere it shifts to a warmer part of the light spectrum.
Here the dawn light traveled through the atmosphere to the horizon then continued through the atmosphere straight to my eye at the Patriarch Grove at about 11,000 feet elevation. From the photographer’s point of view the light passed through the atmosphere twice, coming down from space to sea level then continuing to where it was observed. Because the light passed through the atmosphere a very long distance it shifted way out to the red-orange area of the spectrum. When seen this phenomenon is only at great altitude.
The Road to White Mountain, CA., 9-94. Shot at about noon a mile or two north of the Patriarch Grove with a Leica R5 or R6. Above the tree line thousands of feet above sea level this is a desert. White Mountain, in the distance, tops out at 14,252’. This is not a great photo, but it shows part of California that most people will never see, never knew existed, and will never visit.
Ancient Bristlecone Pine and Moon, Ancient Bristlecone Pine Forest, White Mountains, CA., 9-94. Shot with a Hasselblad 500 or 501, a 4.5×6 back, probably with the 80mm f/2.8 lens. I had seen this tree in 1991. Earlier in the day when I realized the moon would be in a great position I visualized this photo in my mind and knew I would go to this spot. This is probably the first landscape I ever pre-visualized. I think it is still one of my best compositions.
Mono Lake Sunrise, South Tufa area, Mono Lake, CA., 10-94. This is either a 1 or 2 minute exposure on a Hasselblad 903 SWC with a 6×6 back. The original is underexposed, but not by much. There is no filtration on the lens.
The Bergman Cabin, Lost Valley Scout Reservation, near Cleveland National Forest & Anza Borrego State Park, CA., 10-94. Operated by the Orange County Council, Boy Scouts of America, the area is now known as Schoepe Scout Reservation at Lost Valley. For years this photo hung in the Scout Shop at the Orange County Boy Scouts of America building. I’m told it has been moved to a dressing room, which may be a dressing down.
Moving Rock near The Racetrack, Death Valley National Park, CA., 2-95. The Racetrack is a facetious name given by early prospectors to this playa or dry lake. Its flat, dried, and broken surface is well known from rocks that seem to have “sailed” along its surface leaving a trail in the mud behind them. We were shooting near The Grandstand (another facetious name). This was the only rock I could find with a trail. The dry lake stretches another 2 miles to the south. Near the southern ‘shore’ the larger rocks with the bigger trails are found, but we had no time to visit the south part of the lake that day.
I’ve seen The Racetrack when it was covered in an inch of snow, and the only other snow in the area showing on the surrounding mountains hundreds of feet higher.
Grundgy Hiker and East Vidette Peak. This is at about 9000’ on the part of the Rae Lakes Loop Trail that descends from Charlotte Lake down to Bubb’s Creek, CA, 7-95. My hiking partner Stan Carl used my A2E & the 24-85mm variable zoom with an enhancing filter to record this photo of me. Shot at about noon, this is a fairly good use of an enhancing filter. The beard was exceptional repellant down at the mosquito altitudes. There is a picture of Stan below from Aug., 1996.
The trails in the Sierra Nevada are physically remote, but socially not so remote. During the hiking season it is unusual to walk for more than an hour or two without crossing paths with someone you don’t know.
Tufa Covered Rocks in the Lagoon at Little Norway Island, Mono Lake, CA., 10-95. This and the following two were taken on the same boat trip. See also the Black & White Gallery & the Mono Lake Gallery.
Crater and Cinder Cone, Paoha Island, Mono Lake, CA., 10-95. This is one of the most amazing and one of the most remote places I’ve ever been to. The fact that paved roads are within 6 miles is meaningless. First you need to know how to get here. Then you need a boat. Don’t expect to hire one on the lake, there are next to none for hire. There are also no launching facilities. To get to this place you swim or paddle a few miles. When you get to this spot you have to climb up the volcanic pebbles to this ridge. You should also wear at least 10” high boots because you will sink into the pebbles. As you sink you raise a lot of dust. It is a 2 step forward, 1 step sliding back routine. Or is it 3 then 2? I was pooped out at the top.
On a good day you will get this view. Something white in nature is usually ephemeral like snow, clouds or flowers. This is a mineral and it jumps out from the black rock surrounding it. This is shot with a Canon A2E & the 24-85mm variable aperture zoom lens on Fuji Velvia film. Focal length was 24mm. I spent some time resolving the visual relationship of the top of the cinder cone and the mountains in the distance.
This was my first time here, the other time in 1998. A drawing of this place appears in Israel Russell’s Geological History of Mono Valley published in 1888. On this trip Stuart Scofield was with me and shot some black & white photos. On the 1998 trip my nephew Keith also shot some photos. With that being said I have seen a lot of the literature of the Mono Lake area. Other than these sources just mentioned never, ever have I seen or heard of another representation of this place.
Tufa Towers, Lee Vining Tufa Area, Mono Lake, CA., 10-95. Shot with a Hasselblad, 120mm f/4 short telephoto lens, a 4.5×6 back, a skylight filter & Fuji Velvia film. The blues of the original are more realistic. This is the test scan from the salesman mentioned in the introduction. It became the cover of the calendar and ultimately got me to buy a serious film scanner. The blue palate, although not quite real, is still believable and amazing.
Lone Tufa Tower, South Tufa Area, Mono Lake, CA., 10-95. Shot with a Hasselblad 500 series camera, a 6×6 back, & a tripod. I visited this place multiple times from 1991 to 1998. Sometime in the late 90′s this particular tower fell into the water.
Near Ubehebe Pass in Winter, Death Valley, 12-95. Shot about 9:00 am with a Pentax 67 type I on a tripod & probably with the 75mm lens. It may also have a polarizer. This shot from The Racetrack Valley Rd. near Ubehebe Crater, Tea Kettle Junction & the Racetrack.
Ore Tramway & Terminal, Keane Wonder Mine, Death Valley National Park, CA., 12-95. Keane Wonder Mine is an abandoned mine in the Funeral Mountains of Death Valley National Park. After a few years of profitable operation it was closed about 1912 or 1913. Since then it has been slowly deteriorating. Some of the areas near the mine are closed to visitors. The terminal of the tramway, although in disrepair, was open to visitors. This could still be the case.
Yosemite Valley from the parking lot of the Wawona Tunnel, Yosemite National Park, CA., 5-96. This is one of those few places in the world where it is almost impossible to take a bad photo. There were 4 of us lined up at the fence that afternoon each using a Hasselblad on a tripod. For the next 6 years the trees in the foreground grew to fill in & partially block the view. I haven’t visited this spot since 2002. You will just have to go there, hope the trees don’t obstruct the view, and take your best shot.
Stan Carl getting a Tetanus Shot, Philmont Scout Reservation near Cimarron, NM, 8-96. Probably my best action shot ever. Of course I don’t do action shots. I got my Tetanus shot next. Stan was one of my hiking buddies & shot the photo of me in 1995 above.
Black Mountain Camp, Philmont Scout Reservation, near Cimarron, NM, 8-96. Shot handheld with the Canon A2E & a 24-85mm variable aperture zoom. The cabin is almost 100 years old in this photo. It is a lot older today.
Mono Lake Sunrise, South Tufa Area, Mono Lake, CA., 10-96. This was the September photo of the 1999 Mono Lake Committee Calendar. It was shot with the Pentax 67, the 45mm f4.5 lens, no filter & a tripod. It was shot at about f/19 on the lens and was at least 5 seconds. This photo shows elsewhere on this website with a longer story.
View from Little Norway Island, Mono Lake, CA., 10-96. This photo doesn’t do justice to the blues and greens that showed to the eye. The colors were amazing to see. Shot with the Pentax 67 & either the 45mm or 55mm lens. The pointed structure on the next island in the far middle distance is what is left of a movie set from Fair Wind to Java, filmed in 1952, released in 1953.
Autumn Colors, Lee Vining Tufa, Mono Lake, CA., 10-96. Shot with a Hasselblad & a 120mm f/3.5 lens a few minutes after the photo above. This, along with the Mono Lake Sunrise a few photos above, were 2 of the 20 photos featured in the Mono Lake Committee 20 Year Anniversary Exhibition in Lee Vining in 1998.
Barbershop, Calico, CA., 2-97. This was strictly a grab shot with the Canon A2E & the 24-85mm variable aperture zoom. The room was closed to the public. Otherwise the dust & cobwebs would be disturbed, and people would fall through the floor. Walking by I saw this, put the lens against a window pane to get rid of any glare and snapped two frames. I thought nothing of it until the film was developed and I looked at the slide. It is one of my best.
Swiss Guard, Vatican City, Rome, 7-97. Shot with the Canon A2E & the 300mm f/4 prime lens. The photo is an amazing coincidence of actions. For an instant the sun came out from behind the clouds, the crowd parted in front of me, and the guard took this stance with a dark tunnel behind him. Two seconds later everything had moved and it was all gone.
Antelope Petroglyph, Little Renegade Canyon on the China Lake Naval Weapon Station property, near Ridgecrest, CA., 11-97. Shot with a Leica R8 and a 35mm f/2 lens. Little Renegade Canyon has over 10,000 petroglyphs carved into its rocks. This one is a long hike down the canyon. Access is via a Maturango Museum tour.
The Pinnacles at Sunset, near Searles Dry Lake, CA, 11-97. This is shot with the Pentax 67, the 45mm lens, a tripod, & an enhancing filter. It is cropped to a panoramic format. A different version of this appeared in the Castle Press Calendar.
Valhalla & Hamilton Creek, Sequoia National Park, CA., 8-98. This is 10 or more miles into the Sequoia backcountry on the way to Hamilton Lake. It was our 3rd morning out from the car. About 20 minutes before this photo an adult brown bear ran across our trail not 50 feet from us heading down a steep canyon at a full gallop. He insulted us all by ignoring our presence completely. We watched as he disappeared into the distance.
Crater & Cinder Cone, Paoha Island, Mono Lake, CA., 9-98. This is the photo from the 1998 trip shot higher up the ridge than the 1995 photo. It is from the Pentax 67. I had carried the Hasselblad up the slope also. For my efforts I lost the plastic lens cap to the 40mm Distagon lens. It was as black as the surrounding rocks. I suspect it is still hiding there someplace.
1937 Chevrolet, Bodie Ca., 9-98. I shot this in a light rain using a Hasselblad 503, the 40mm f/4 Distagon lens, & a 4.5x6cm back. I set up & waited 10 minutes for tourists and cars in the background to disappear before taking 6 transparencies and 6 more color negative shots. My nephew Keith, a good photographer in his own right, followed me with his photos. Then 2 more photographers, impatiently harrumphing for a turn, set up and shot theirs.
This is another of my best. Everyone who sees a print seems to love it. Near the beginning of this gallery is a different scene of the same area shot in July, 1992. Some photographers I’ve met call this Chevy the most photographed car in America. One summer a few years ago I saw 4 different renditions of this car within a few hours at the 3 different Laguna Beach Art Festivals. I’ve been told the car is no longer there, but I haven’t been back to look since I shot this photo.
Albuquerque Airport Theme Statue, Albuquerque, NM, 5-99. Shot with a Pentax 67 & the 45mm wide angle lens. A pedestal was in front of the statue & I placed the camera on that for stability. The exposure is about 2 seconds. I saw the statue & the way the pillars and joists were arranged above it. It immediately brought to mind the Salvador Dali painting “The Sacrament of the Last Supper”. And there you go.
Near Angel’s Window, North Rim of the Grand Canyon, Grand Canyon National Park, AZ., 9-99. Either shot with a Canon A2E or if done with an EOS 1v then my date is about a year off. No filtration on the lens. The orange color was this deep. I think Jack Dykinga has a photo like this somewhere.
End of the Road, Interstate 10 east of Blythe, CA., shot sometime in 2000? I think this is at the Ford Dry Lake Road off ramp, but it could have been Corn Springs Road off ramp instead. It is an attempt at photographic humor and still gets grins today. The sign is long gone. Shot with the Linhof 617 & 90mm Schneider Lens, & a tripod, then cropped.
Church, Lincoln, NM, 3-00. Handheld, no flash, the exposure is about 1/15th or 1/20th of a second, probably at 24 or 28mm. Photoshop was used to balance out the lighting. The church had access blocked off except for the little area behind the pews where this shot was made.
The Cape Neddick “Nubble” Lighthouse, York, ME, 7-00. This light station sits on an island just off of the cape. The cape & the parking lot are pretty much the same thing. Except for the sky, most photos from land will about the same. Handheld, shot with the Canon EOS 1v and the 28-135mm zoom lens.
Rolling Stock, Conway Scenic Railroad, North Conway, NH, 7-00. Shot with the Canon EOS 1v and the 28-135mm zoom lens. The best information I can get is Engine #573 is still operational, #6505 was sold & operates elsewhere, & #501 is out of operation, but on display. A look around this website will show that I love to shoot locomotives, lighthouses, and landscapes.
Passenger Steamboat Ticonderoga, Shelburne Museum, Shelburne, VT., 7-00. Shot with the Canon EOS 1v and the 28-135mm zoom lens. The Ticonderoga is a walking beam side-wheel passenger steamer. It was built in 1906, and operated until 1953. It is fully restored, perched up on blocks, and has been at the museum since 1955. The walking beam can be seen behind the smoke stack.
Old Dodge Truck, Cow Canyon Trading Post, Bluff, UT, 8-00. Shot with a Pentax 67 II camera and probably the 75mm lens. This photo is a bit saturated, but it was very hot that day and the colors play into that theme.
Fran & I were driving by this site when I saw a photographer shooting with a Pentax 67. I stopped to show him my new Pentax Type II. The photographer turned out to be Tony Worobiec accompanied by his wife Eva. Tony and Eva are internationally known photographers. Their book Ghosts in the Wilderness / Abandoned America features an amazing body of work showing how the passage of time has treated parts of rural America. Anyone interested in older artifacts on the land should get this book.
Goosenecks of the San Juan River, 8-00, near Mexican Hat, UT, 8-00. Shot with the Pentax 67 II, the 45mm wide angle lens, Velvia film, & a tripod in the heat of the mid afternoon.
HooDoo near the Entrance to the Valley of the Gods, near Mexican Hat, UT, 8-00. Shot with the Pentax 67 II, probably the 135mm short telephoto lens, Velvia Film, & a tripod. This is in the early evening. A photo shot a few minutes earlier than this is one of the rotating panoramas on the masthead of this website.
Rainbow above Canyon de Chelly National Monument, along Indian Route 7 at the White House Ruin overlook area, near Chinle, AZ., 8-00. With the Hasselblad and probably the 120mm short telephoto, about ½-1 second exposure with a polarizer. Earlier in the day we toured the canyon with a Navajo guide. By early evening we were on our own driving along the south rim of the canyon. As I was standing at the White House Ruin Overlook this rainbow appeared. I ran back to the car, got my camera and tripod. The rainbow persisted & I got a number of shots.
BNSF Locomotive #4931, Fullerton, CA., 4-01. With the Canon EOS 1v and the 28-135mm zoom, hand held. The engine behind this is still painted in the old Santa Fe colors. I had a ride inside this engine from East Los Angeles to Fullerton.
Lower Manhattan from the Empire State Building, New York City, NY, 7-01. This is taken about 7 weeks before the World Trade Center buildings fell. I put the front of the lens against the grating (that keeps people from jumping off) of the tourist deck and held the camera as still as I could while the meter did its work. This is about a 2-4 second exposure. I believe the Flatiron Building shows in reflected light at bottom left where 5th Avenue & Broadway cross.
Sunset, San Xavier del Bac, AZ. Shot with the Pentax 67 & probably the 105mm lens, 5-02. San Xavier del Bac, near Tucson, AZ is one of the great building façades in the United States. It never fails to interest me or thousands of other photographers. A different photo of this series is shown in my Black & White Gallery.
Old Tow Truck, Vaughn, NM, 5-02. This is a perfect example of how a photograph tells only the story you compose for it. It was necessary to place the tripod very carefully. Three feet to my left the speeding cars on the US 60 bisecting Vaughn would have run me down or swerved to avoid me. If I had pointed the camera far to the left, right, or behind me modern buildings and convenience stores would come into view.
This Utah series, all of them in or near Bryce Canyon, was shot over a 6-day period. We had moderate late summer weather, snow, rain, and clear cool autumn weather in that order. See also the Black & White Gallery. I may have gotten the names of the places wrong.
After the Snowfall at Sunrise Point, Bryce Canyon National Park, UT., 10-02. Shot with the Pentax 67 II camera, probably the 75mm lens, & tripod. I have had some people react very positively to this photo. Others dislike it because they are disturbed by the skeletal roots of the tree.
Mono Lake from County Road near Lee Vining, CA., 3-03. Shot with the Linhof 617 camera, 90mm Schneider lens & a center grad 1 stop neutral density filter all on a tripod. There is no other filtration on the lens. This appeared as a small fill in shot in the 2006 Mono Lake Committee Calendar.
Ocotillo in Bloom, Saguaro National Park (Eastern Portion), near Tucson, AZ, 5-03. Shot with the Canon EOS 1v and the 28-135mm zoom. This was shot from a tripod. Just to the left out of the frame is an asphalt road.
Saguaro at Sunset, Saguaro National Park (Western Portion), near Tucson, AZ., 9-03. Shot with the Canon EOS 1v, the 28-135mm zoom & a tripod. Aperture was f/16 or f/22 to get the star effect. The Sunset was more spectacular the following night, but I was in another place shooting the next photo.
San Jose del Chama, Hernandez, NM, 8-04. Shot with the Canon EOS 1v & the 28-135mm zoom. This is the church seen in the famous Ansel Adams photo “Moonrise over Hernandez”. This was shot during a brief moment when the sun broke through the clouds and the rain stopped. Then it began to rain again for the next few hours.
Since this photo has been taken a handrail has been added to the front of the church. I don’t know if the cross has been replaced. See the Black & White Gallery for another photo of the church.
Fran & I first saw this rainbow near Espanola. She continually urged me to stop to shoot it, but there was no foreground subject to pull it all together. As we drove I remembered this church. We chased the rainbow half an hour up highway 68 & 75 to arrive at this spot. I set up the gear & shot about a roll & a half. Near the end a thunder clap sounded, the doves flew off the roof & circled back to it appearing to fly into the rainbow. This is 1 of the 3 shots of the birds in the air. A few minutes later the conditions changed. The rainbow rose into the clouds like it was being sucked up a straw.
Shiprock, NM, 8-04. Shot with the Hasselblad 503, 4.5×6 back, Velvia film, & tripod. Shiprock is one of the most magnificent places you can visit. Rising alone amid miles of plain its grandeur & power are palpable. This was shot late one afternoon. A couple of hours later the next photo was taken.
Shiprock at Sunset, NM, 8-04. Shot with the Linhof 617 & Ekatchrome E100VS on a tripod. The photo above is good. This silhouette is far better. The light lasted less than a minute. The photos a few moments before and after this one are nothing. A different crop of this image is one of the masthead photos of this website. It also appears elsewhere on this website.
Tufa and Negit Island, Mono Lake, Lee Vining, CA, 8-04. Shot at high noon from the Visitor Center parking lot with the Pentax 67 II, probably the 135mm lens, & a tripod. This became the cover photo for the 2006 Mono Lake Committee Calendar. Don’t ever say you can shoot only in the golden hours!
Summer Grass and Tufa, Mono Lake, Lee Vining, CA. Shot at dusk from below the Visitor Center with the Pentax 67 II, probably the 75mm lens, & a tripod. The only filtration is a 3 stop soft edge split neutral density filter. The darker part of the filter is at top, the split edge is at a slight angle following the shore.
My son Aaron and I were travelling north on 395 to a restaurant we knew of near County Park that is since gone. Passing this spot I saw the light change. I agonized a few seconds then told him to turn around. This was the result.