by Michael Frye | Mar 9, 2017 | Composition
Sand dunes at sunrise, Death Valley. 1/15th sec. at f/11, 100 ISO, 127mm.
When our son Kevin was little he loved sand dunes. For him the dunes were like a giant sandbox – and what kid wouldn’t love that?
I also like to play in the dunes. I don’t usually dig in the sand (though maybe I should), but as a photographer the dunes seem like a giant visual playground. There are lines and curves and patterns and textures everywhere you look. Entering the dunes I feel like a kid walking into a candy store with a crisp twenty-dollar bill that grandma just gave me for my birthday.
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by Michael Frye | Jan 31, 2017 | Composition, Yosemite Photo Conditions
Late-afternoon light on Half Dome from Cook’s Meadow, Yosemite
I haven’t had a chance to post here recently, but I wanted to write about the big snow in Yosemite nine days ago. California was hit by three storms in a row, and the last two brought snow to Yosemite Valley – a lot of snow. The final storm in the sequence moved through slowly on Sunday and Sunday night (January 22nd), but by early Monday morning it showed signs of clearing, so Claudia and I woke early and drove up to the valley. We found about 18 inches of snow in open areas, more than we’d seen in years.
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by Michael Frye | Nov 6, 2016 | Composition, Vision and Creativity
Autumn forest with dogwoods and ferns, Yosemite, October 13th. I stood on a log to see over the foreground dogwoods and into the forest; the focal length was 35mm.
I’ve made many images of intimate landscapes over the years, and the vast majority of them were taken with a telephoto lens (usually my 70-200mm zoom). It makes sense to use a lens with a narrower angle of view when focusing on a small piece of the landscape and trying to eliminate clutter in complex forest scenes. Telephoto lenses are also great for compressing space and emphasizing patterns – typically key components of intimate landscapes.
But lately I’ve found myself using wide-angle lenses more and more for smaller scenes. Part of the impetus for this was just buying a new lens. This past July I purchased a new wide-angle zoom (the Sony Vario-Tessar FE 16-35mm f/4 ZA OSS), and it’s natural to want to use and test a new piece of equipment, so I started pulling this lens out in many situations just to see what it could do. But another part of the impetus was just the desire to do something different. I’ve had plenty of practice composing intimate landscapes with telephoto lenses, and I wanted to force myself to look at these scenes in a new way.
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by Michael Frye | Oct 6, 2016 | Composition, Light and Weather
Sunrise on Mt. Whitney from the Alabama Hills, CA, USA
On our trip to the eastern Sierra last week Claudia and I made a detour down to the Alabama Hills. This area is a bit further from home than our usual eastside haunts, so we don’t go there often, and I sometimes forget how amazing it is. The jumbled rocks of the Alabama Hills are interesting and photogenic in their own right, but combined with the abrupt escarpment of the mountains to the west… well it’s just spectacular.
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by Michael Frye | Sep 22, 2016 | Composition
Rocks and reflections along the shore of Tenaya Lake, Yosemite. This image features both curves and circles.
I really like curved lines. I was reminded of this last weekend when my friend Mike Osborne showed me some of his junkyard abstracts on his iPad. All the photographs were wonderful and imaginative, but the ones I liked best often had curves. And many of my own favorite photographs have curves too. Curves look organic, and sensuous, and add a certain visual flow to a photograph that’s hard to generate without them.
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by Michael Frye | Aug 21, 2016 | Composition, Vision and Creativity
McMillan House interior, Bodie State Historic Park, California. The high contrast of this scene required using Lightroom’s HDR Merge. Also, I deliberately avoided having sunlit areas touch the borders of the image. A bright spot along the edge would pull the viewer’s eye out of the photograph.
As I’ve explored this place, I’ve realized that I’m not as interested in the abandoned mining equipment and machinery, as fascinating as some of those things are. I’m drawn more to the places where people once ate and slept and drank and socialized, and left behind the artifacts of their lives – furniture, cooking utensils, books, magazines, pictures, cans, bottles, a baby carriage, a bird cage, sewing machines, coats, pants, hats, shoes…
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