Art and Photography Blog

Simply Beautiful Photographs from National Geographic

Here is another in a long series of great photography books from National Geographic, Simply Beautiful Photographs by Annie Griffiths. I was pleased to receive a review copy. Annie picked images from all of the Society's core mission areas: exploration, wildlife, cultures, science, and nature. Each chapter covers a “specific aspect of what creates beauty in a photograph, whether light or color, or motion, and illuminates that quality in a splash of large-format images —most of which readers will be able to purchase as prints. Musings on visual beauty from scholars and poets enhance the experience.”  

This must have been a fun assignment given the rich depth of the National Geographic photo archives. It is certainly fun to look at what she came up with.  The chapters are: light, composition, moment, time. palette, and wonder.  Many of the photos span across two pages of the large format book. Among other things it shows the diversity of beauty with the world and the people who live in it.

I was especially drawn into the Composition chapter as I am always mentally composing pictures as I walk around and this gave we some new ideas to consider. It begins appropriately with a quote from Henri Cartier-Bresson, the master of composition.  I loved the contrast of a single black muddy road through a white field of snow followed by a busy Asian marketplace. An image from Sam Abell follows with an archway of trees over a dirt drive. I have interviewed Sam before about his composition process. Later a large group of white pelicans navigate the curve in a dark river through a grassy march. A curving street in Lisbon provides a stage for a variety of people. The great images go on and on. Annie provides photo she took of a bicycle in front of a fruit stand in the rural UK.

The Moment chapter captures those fleeting instances that photography is unique in its ability to capture. Nuns play volleyball. A whale surfaces and a gorilla considers a leaf. The Time chapter shows image sin motion, often with a blur. The tango dancers surrounded by motion is a great example.

The palette chapter shows images with a strong color sense, often in the same color, sometimes with contrasting colors. A lone red umbrella in a large green Japanese garden is a good example of this interplay. Another red umbrella is seen in a blur of snow in a largely black and white image of Chinese workers.

The wonder chapter is true to its name with images that cause a close look such as a group of seemingly dancing humpback whales. An exploding volcano in Hawaii is followed by the northern lights in Canada.

This is a comprehensive collection of images that will not disappoint. It will draw you in for many viewing. 

 

Steve Winter Thoughts on his Snow Leopard Photography Journey

I had the chance to interview photographer Steve Winter who won the 2008 Wildlife Photographer of the Year Award organized by Natural History of London and BBC Wildlife Magazine. See his amazing "Snowstorm Leopard" shot which appeared in the June 2008 issue of National Geographic. Here is more from National Geographic on snow leopards and here is more on Steve Winter. Here is our conversation.

Bill - What was the most exciting thing that happen to you on the snow leopard trip as an outdoors person and as a photographer?

Steve - I was most excited that I survived! The location was like being on the moon – as a jungle guy it was a real switch to sleep at -40 degrees! Adding to the drama was that Canon could not tell me if the batteries would work in such extreme weather, but thankfully they worked flawlessly, adding to our overall excitement! We also saw two snow leopards in the first 24 hours, and then only one more for the next 7 months! But with remote cameras, I do not care if I see the cat as long as my cameras do.

Bill - What was the biggest surprise that happen to you on the snow leopard trip as an outdoors person and as a photographer?

Steve - The biggest surprise bar none was getting photos on the cameras within the first 3 days. The story was truly blessed (the camp we were at actually had Buddhist prayer flags flying around it!). My local assistants wanted to be sure I knew how lucky we were. Within 12 days we got what turned out to be a double page in National Geographic magazine. After that, I had one camera that got one frame of a snow leopard in 6 months, and another got one frame in 3 months, which turned into another double page. This is further evidence that patience is very important.

Bill - How did you frame or compose your photo traps since you where not there to chose the point of exposure?

I have hated camera traps in the past; the technique makes it very difficult to get an image that has my vision as a photographer in it. But every problem has a solution, and this is no different. The snow leopard marks its territory in the same places repeatedly, so there was an area where the cat “could” actually break the beam in “my composition.” In the end, the snow leopard and I made some great images. Through these photos we can reach folks that may not have known of this cat in the past, help the organizations that are working to save the species and give people a reason to care with images that make them go “WOW!”

Bill - I have read Peter Matthiessen's Snow Leopard. In it he writes, "In one day's walk we are a century away, crossing a landscape suffused with transparent silver light…” and they continued to go back in time. Do these conditions still exist over 30 years later? If you have read the book, how does your experience compare with Peter's?

Steve - I have read the book twice. This experience is the same now as then. I walked for a week and went further and further back in time. The people were most amazing. I was in the Zanskar valley checking out the problems with snow leopards predating local livestock. The people were so inviting and have a very unique culture. It was an experience I’ll never forget.

Also read “Stones of Silence” by Dr. George Schaller who Peter Matthieseen was following. Incredible book by the world’s most famous zoologist.

Bill - How has the switch to digital affected your outdoor photography?

Steve - It has changed my life for the better. Yes, I travel with 2 generators, many hard drives, back up Apple computers loaded with Aperture (which has also made my life so much easier). But I COULD NOT have produced snow leopards without digital cameras. I needed to see what we were getting as the images were made. Part of it was psychological – this had never been done before and I needed to know we were being successful and I needed to reframe the cameras after seeing the initial frames. I had 14 remote cameras and placed them in 45 different locations. There is no discussion about digital and film in editorial as far as I am concerned – digital cameras or film are tools to bring our vision to the world.

National Geographic Releases Reza War + Peace: A Photographer’s Journey

National Geographic recently sent me a much appreciated review copy of REZA WAR + PEACE, a large format 30-year retrospective of the work of the award-winning photojournalist and humanitarian Reza. As their release states, he has “devoted his life to bearing witness through his camera to the struggles and hopes of oppressed people around the world…this remarkable photographer chronicles his travels to places of conflict through exquisite images that pair turmoil with hope, joy with despair.” I would have to agree. The book is full of moving images from the Middle East, Africa and other places in conflict. It is certainly a page turner in the best sense of the word, except that you also want to go slowly to absorb each image.

The introduction is written by the novelist, Sebastian Junger who wrote The Perfect Storm. Sebastian writes about the experience he shared with Reza in northern Afghanistan in 2000. They were in the middle of conflict, traveling with Ahmad Massoud, an anti-Taliban leader. He writes about the depth of Reza’s connection to those he photographs and his unwillingness to back these people more abstract as a psychological self-defense. As a result his pictures achieve a greater emotional depth as well as a more profound artistic accomplishment.

The book site writes that “Reza’s journey has taken him from his native Iran, where he was jailed and tortured because of his photography, to dozens of countries gripped by turmoil — from Kurdistan to Egypt, Lebanon to Turkey, China to Israel, Somalia to South Africa. Through his lens, which captures not just conflict, but friendship, loyalty, family life and love, he takes us to such regions as northern Pakistan, where cultural shock and mutual incomprehension are deepening the gap between the American military and people in the tribal zones; Libya, a country making strides in economic and social well-being, but not in basic freedoms; Saudi Arabia, ruled by oil-rich princes whose opulent lives are in stark contrast to those of the “guest workers” who serve them; and Afghanistan, whose land and people have deeply touched Reza, helping him find his way in the labyrinth of his own nomadic life.”

There are portraits of leaders such as Yassar Arafat, Benazir Bhutto and Indira Gandhi. I was especially moved by the images of Benazir Bhutto, given her fate. The vast majority of pictures are of unnamed and unknown people who serve as representatives of their fellow country men and women, boys and girls, and even animals. The latter comes through clearly in a picture of boy and his large white horse in Turkmenistan. Here the horse captures the boys attention while the horse looks into the camera to hold ours. There are pictures of joy like two smiling girls dancing in front of what looks like a distant explosion in Turkmenistan and a boy playing with a balloon in Turkey. There are many pictures of people looking directly and intently into the camera who convey a sense of connection with the photographer that can extend through him to the reader. There are also many pictures of the tragedy that conflict brings. Reza provides the context in narratives on many of the pictures. This is a moving book that I highly recommend.

Four Pioneers in Photography and Travel Journalism from National Geographic

Here is another great photography book from National Geographic, Odysseys and Photographs. I was kindly sent this book for a review. (see my past reviews of Visions of Paradise from National Geographic and The Life of a Photographer – Sam Abell.) In this case the book shows the works of four great National Geographic “field men”: Maynard Owen Williams (1919 – 1953), Luis Marden (1934 – 1976), Volkmar Wentzel (1937 – 1985) and Thomas Abercrombie (1956 – 1994). All four also wrote the stories they photographed. If you are a fan of classic National Geographic photography this is a book for you.

I have saved many of my old National Geographics as a subscriber since the 1970s. I have also picked up some older ones at second hand book stores. This book is like a greatest hits from that collection, which it is in fact. I could not stop looking at the wonderful pictures of exotic locations from the 20th century, especially the first half.

It was hard to pick a favorite. I started liking Maynard Owen Williams as he represented the oldest grouping of pictures. Seeing exotic places in the 1920s and 30s remains hard to top. I especially liked the pictures he took on the first overland expedition across Asia since Marco Polo’s efforts. He was the lone American in this group sponsored by Andre Citroen, the French automaker. They departed in 1931 and encountered numerous adventures, including a 2,300 mile retreat from a Chinese war lord.

However, as I looked at each one it became impossible to pick a favorite. It is hard to top Thomas Abercrombie’s picture of an elderly shepherdess with her small flock as the spot lighted foreground for a panoramic view of lamasery in the high mountains of northern India.

Sam Abell wrote the epilogue and discussed the inspiration that these four photographers provided to his generation. The book tells their story and provides highlights of their work. It is treasure that calls for frequent visits.

What is Your Vision of Paradise? National Geographic Provides Some and Asks for Yours

Here is a beautiful new book from National Geographic. Visions of Paradise contains 155 images from 82 well known photographers divided into three themes: land, water, and air. The sections are introduced by a writer on the topic. Linda Kulman describes the critical issues facing the land and how we need to change our ways to keep it healthy. Joel Bourne Jr. points out the bleak state of the world's water, but offers some hopeful solutions. Brian Doyle covers the miracles of air in a lyrical manner. The photographers include Sam Abell, who I recent interviewed (see Sam Abell Talks about Photography and Life) after I reviewed his book (The Life of a Photographer – Sam Abell).

The site says, “The photographers at National Geographic—some of the most peripatetic and adventurous people on Earth—reveal wonders of nature so uniquely beautiful that we're filled with hope and inspiration to celebrate and protect the world's environments. Visions of Paradise is the magnificent result of their work. Through breathtaking images from across the globe, and stories as exquisite as the glance of a leopard seal, these men and women share the places they have personally found to be Heaven on Earth.”

I would agree. Sam selected a photo of a school of migrating and a salmon in Australia under a breaking wave. The contrast between the breaking wave an the drama underneath is very striking and the composition follows the rules conveyed in his interview with me. There is a centrality, the fish under the water, with the breaking wave serving as the horizon.

I was struck by the diversity of visions. It made me reflect on what could be considered paradise on earth. There are probably as many visions as there are people. This book provides 155 versions from many different locations and perspectives. I highly recommend it. The book is one that you will savor in small doses.  You can see a video description of the book on YouTube.

National Geographic also has a related Visions of Paradise photo contest. Entries will be accepted from Oct. 21 to December 21 at the Visions of Paradise web page.  Enter your vision of paradise. Each week, the public can vote on their favorite images. Entries will also be judged by an expert panel of photographers and art directors. Three winners will be selected for each of the nine weeks of the competition, with the first week's winners announced on Nov. 3. Winners will receive a customized edition of VISIONS OF PARADISE with their photograph as the cover image. 

 

Sam Abell Explores Photography and Life

Last week I had the great pleasure of speaking with the photographer Sam Abell. A few weeks prior, I did a brief review of Sam Abell’s new book, The Life of a Photographer – Sam Abell, published by National Geographic. Sam has been taking pictures for National Geographic for some time. I was very impressed with his book and pleased to have a review copy. My appreciation for the book and for his work is greatly enhanced by having the opportunity to speak directly with Sam.

I began our discussion by saying that I was struck by the dual nature of many of the photographs I see in National Geographic and especially the photographs in Sam’s book. When you first look at them they appear to be great illustrations of the concept in the article. Then when you look more closely, many are great works of art with close attention to composition. So I asked Sam about his thought process as he created the images in his book.

Sam said he attempts to make pictures that last. Many of the images in his book are from the 60s. 70s, and 80s. To achieve this goal he pays great attention to structure and design more than content. He does not ignore the content but it is not the major focus, unlike most amateur photos. Sam said that when he teaches photography, the first thing he focuses on with his students is the setting. He has them go out and take pictures of settings or backgrounds without a content focus.

Sam said he works from back to front instead of front to back. He goes after the setting first. This is based on his father’s idea to find a composition and then wait for the scene to unfold. Sam said that this philosophy also influences his life. He looks at settings and then he determines how best he can fit in. I mentioned that this was also the approach Henri Cartier-Bresson took with his photography. He looked for a stage and waited for the actors to fill it. Sam said that Cartier-Bresson was a big inspiration to him.

Sam went on to expand on this theme. He said that each photographer’s stage is different. Cartier-Bresson’s stage is complex and European. I think it is also often circular. Sam said he looks for a flat stage and strong horizon lines. This is influenced by his childhood in Northwest Ohio, one of the flatest places in this country. Many of his pictures are both strongly centered and contain a distant horizon. I was looking at his two views of a movie theater in Jordan Montana as we spoke. The design elements he mentioned were strong. The theater is center and flatness is evident. Even in the close up of the movie poster on the wall there is a strong horizontal line where the wood separates that bisects the close up and this line lies behind the poster. This horizonal sense can also be created in an interior shot such as the Plaza Boot store in Las Vegas, New Mexico. Here the horizontal shelf serves as the grounding point.

Sam took me to one of his favorite shots to further illustrate the points about composition. In the book he often contrasts two pictures of the same scene, like the movie theater in Jordan Montana I mentioned earlier. In this case, it is calf branding on Montana. On one side he shows a view of the complete scene. Sam said that he usually takes an overview of a scene as he approaches it. Then he decides on the focus. In this case it was both the horizon and a particular cowboy. The detail shot makes this cowboy the central figure but keeps the horizon in view. Both the top and bottom of the picture make for interesting compositions in their own right and the same holds for the left and right side of the photo. There are multiple layers and focal points but they do not fight with each other. The primary figure leads, then the other figures and interest points act as the supporting cast. This provides an increased sense of depth.

Sam said that as a kid his family had one of those stereo picture viewers and over 500 sets of photos for the viewer. He was inspired by this to create a sense of depth in his photos. We went into more detail about his experiences with his father and how they influenced him. When Sam was very young, his father took the family on many trips. He would always bring the camera and record the events in a non-intrusive manner. Sam always associated the camera with pleasant experiences. They went to the circus, watched trains and went to boxing matches. His father was a high school geography teacher who promoted a curiousity about the world. He felt that a large part of education was getting out and experiencing the world. When Sam was 12, his father started a camera club at the high school and Sam helped him in the dark room.

Sam said they subscribed to Photography Magazine, Life Magazine, and he also wore out the Family of Man photo book that I remember well. At age 15 he entered a national photo context and got honorable mention. Sam was the editor of his high school yearbook and took many of the pictures. This inspired him to want to get into publishing, as well as photography. He said that as a photographer you do not get paid a lot but you get your work out for others to see. Sam has also been able to explore the world through his photo work.

Sam sees photography as a way to be in life and better experience it. You can be better tuned to the flow of life and see the light, the atmosphere, and the cultural movement. You can be richly there and appreciate it. Sam wrote and produced this book to share his experience and to provide a teaching platform.

We spoke briefly about the power of blogs and other social media. Sam mentioned a YouTube video covering an interview he did, Photographer Sam Abell talks about Richard Prince that over 4,000 people have seen. It will be the topic of another post. I was really moved by my conversation with Sam and highly recommend the book. It is not only a beautiful work of art, but also a great education for any photographer. I already know it will change the way I take pictures.

Sam Abell's The Life of a Photographer from National Geographic

I was honored when National Geographic asked me to review The Life of a Photographer – Sam Abell on my Art and Photography blog. I have been a long time subscriber to National Geographic and always enjoyed their photography. It sometimes seems simple and then as you look closer you can see the wonderful compositions that take most pictures beyond mere illustrations.

I was even more pleased when I got their package and opened the book. In this book, Sam Abell shares some of his best images and asks the question, “what gives life to a photograph?’ This I something that I always struggle with so I explored the book carefully. The pictures include works on assignment to National Geographic and some form his personal collection, appearing for the first time. There are many examples of two views of the same subject.

There are also series. I especially liked, The Approach and Departure of Gerald Mack, Little Belt Mountains, Montana. Here you see a rider and his dog appear on a snowy white out field. They come close enough to get a good view of all three and then ride off into the white out. I have been In similar conditions in Wyoming and it really evoked the feeling of isolation that these conditions can create, and yet you get a very personal look at the participants on this stage. .

When you see two or more images you can see how small differences effect the same view. There is a lot of commentary. Sam writes, “I was taught to see settings by my father on our photographic outings together. He was an amateur so under no pressure to produce. I never saw him force a photograph. Instead, I’d watch him size up situations, then wait.”

His pictures show this patience. It is an approach that I strive to take when I have time but too often I am rushed. Henri Cartier-Bresson talks about finding stage and then waiting for the scene to unfold. Sam takes us to stages all around the world. I especially liked his images of rural America.

But then Breakfast at Musgrave Station in Queensland Australia is a marvelous still life of beans and bread on a light blue formica counter. The bend of colors makes me want to paint it as I have been working through similar themes. Sam achieves a great blend of color, texture, and shading that gets stronger the more you look at it. I highly recommend this book for both its pictures and its text. You will go back to it often whether you are a photographer or someone simply who lies to both at pictures.