GHOST Wood Thirteen // Large Format in the Fog

A new photograph in my Ghost Forest serial, I found this stranded, uprooted tree in a pocket-size bay half dozen months agone, and have been waiting for the perfect conditions to make a photograph of it. Given the shut proximity of the surrounding shore line, it needed to either exist pouring rain, or thick fog (or both). As luck would accept it, I stayed dry, only had to navigate through the densest fog the R/5 [Research Vessel] and I have ever set sail through.

When I arrived to photograph the tree, the tide in the bay was higher than ideal, and was hiding more of the submerged tree than I'd adopt, so I had to expect it out, hoping that the incredible fog didn't burn off. Without it, I'd have to wait for more dense fog, which probably wouldn't occur until next winter (10 months).

From what I tin tell, this particular tree is a young Live Oak that was likely cut loose from its sandy soil during a hurricane, and tumbled to its resting identify in this modest lagoon.

Photographed with a Chamonix 045N-2 photographic camera on Ilford Delta 100 4x5 inch sheet motion-picture show.

GHOST FORESTS

Function of an ongoing series of maritime forests feeling the effects of strong tropical storms, these photographs focus on the stark effects of exposure to chronic storms and an unforgiving body of water. This detail afflicted area is a diminishing forest of longleaf pines in the southern Outer Banks of Northward Carolina.

Saltwater intrusion gradually drowned their root systems, weakening the trees, which eventually snapped off at footing level. Over time, the unstable three anxiety of topsoil has been washed away, revealing the base of each trunk as a ghost-like stump.

RACHEL CARSON REMNANTS

I went poking around in the [R/5] terminal calendar week, in some uncharted waters (for me), and came upon this totally awesome, rusted-out I-beam reaching skyward out of the ocean, a few hundred yards from dry country. This beam appears to exist the terminal remnants of a old range marker, which was used to help ships navigate through the shipping channel to the port of Morehead City. Most importantly, it should be noted that when it was driven into the sand, information technology was on dry country.

Anyhow, on my first voyage out to this spot, the weather was absolutely gorgeous! Sunny and 60's. For me, the weather was a fleck too nice, as I wanted the afar shoreline to be more obscured, and I didn't want to take the tone of the beam compete with the density of the blue heaven. Regardless, I made an exposure, with the intent of returning on the next stormy twenty-four hours.

A few days later, weather condition were looking prime...rain, wind, gloom. Perfect. So, at low tide, we prepare sail again, and patiently waited for the pelting. And...nosotros waited...and waited. Finally, after nigh 2 hours (and correct earlier dark), bands of rain began to pass through, so I made this exposure, packed up, and headed dorsum to shore before the Kraken emerged to feed at night.

Photographed with a Chamonix 45N-2 on Ilford Delta 100 sail film.

Cadre Sound 4

Full manual...Exploring Core Sound, a peaceful sliver of water in N Carolina's remote Southern Outer Banks. I decided to ditch the motorized [R/5] (Research Vessel) to continue things completely analog, and spend a 24-hour interval on the water really taking it all in. And in that location's no improve mode to connect with nature than with a canoe, correct?

After paddling effectually for a few hours, gliding though tidal creeks, over grass beds, and past remote islands, I found this defunct hunting blind, which I couldn't assist merely photo. It was positioned well, taking into account lighting, background, and the graphic elements of the pilings, so I moved the canoe into position, hopped overboard into the waist-deep water (non an like shooting fish in a barrel feat in a canoe), tied a line around my waist so the canoe wouldn't drift off while I was composing nether the nighttime textile, and carefully positioned the tripod into the position which I deemed the "sweet spot". Some careful exposure and development, and voila!

I've photographed a few other abandoned blinds in Core Sound, so I guess you could consider this an ongoing interest; i which will be expanded upon throughout the wintertime. Each rickety structure is completely unique...similar graphical death in the midst of one of the well-nigh serene locations I've ever frequented. Information technology's very paradoxical.

Notwithstanding, locals have been harvesting fish and game from this remote corner of the earth for centuries, so these relics which sparsely dot the horizon seem nigh every bit much of the natural habitat as a tree in the forest.

Photographed with a Chamonix 45Hs-1 on Ilford Delta 100 sheet film.

CYPRESS Written report XVII

A day and a one-half to brand one photo...

Last week, the conditions forecast at one of my favorite spots to chase cypress copse was calling for some serious gloom, which is my absolute favorite to work in. Most photographers love bright, vibrant low-cal. Not this guy.

Anyhow, later on a few 60 minutes drive to my zone, under consummate sun (and lots of air current), I determined that I wasn't going to be able to get done what I wanted to get washed. Female parent Nature had different plans. Then, the [R/V] (Inquiry Vessel) and I did a footling scouting to see what we could find to focus on the following 24-hour interval, when it was still forecasted to pelting. Fingers crossed.

Scene 2: I awoke to rain at about two in the morning. Music to my ears! The only thing that was unsettling was that with that rain, there was a lot of wind, which would crush my dreams of photographing this one particular tree I had scouted. BUT, this absurd wind was out of the north, and my tree was on the north shore, hopefully sheltered from the wind.

After the morning routine (java), rain showers were passing through, simply weren't heavy enough to obscure the shore line on the opposite side of the lake in the background of my tree, and so the waiting game began. It may sound ridiculous, only fifty-fifty if there were a faint strip of land in the backdrop of this photograph, the resulting image would have an entirely dissimilar feeling. Details, details…

Somewhen, heavier rain started to fall, and and then began my rain dance (where I'thousand rapidly setting the exposure, loading the film, continually metering the scene, and doing my best to keep the lens dry). Aaaaaaand click…that'southward it. A day and a half. One photograph.

RELATIVITY: VIDEO REVIEW

[Press Release]

RELATIVITY: The dependence of various physical phenomena on relative motion of the observer and the observed objects, especially regarding the nature and behavior of light, infinite, time and gravity…

Ella Walton Richardson Fine Art is pleased to announceRelativity, a new solo exhibition of large format silver gelatin photographs by creative person Mike Basher. The creative person reflects upon his profound regard for our environment. Engaging in form and emotion, this collection of photographs displays a definite subject area in an obscure place, which speak straight to a broad audition. Merging photography and design, Basher carefully crafts these idea provoking vignettes on large sheets of black and white motion picture, which deliver a richness and clarity to his works.

For the past xvi years, Mike Basher has traveled the globe photographing campaigns for big corporations such every bit Under Armour, Reebok and The Due north Face, working with celebrities and athletes like Michael Phelps, Lindsey Vonn, and Andy Murray. This selection of his photography is the antithesis.

His inspiration for his work comes from the solitude of the outdoors. Mike'southward sublime, minimalistic photographs accept a look at scenes oft visited by others, yet his approach in isolating subjects leaves the viewer to often question, and even disregard its whereabouts.

Working exclusively with large format black and white picture, each image is carefully crafted-seen through the process of making a precise exposure, mitt developing the negative, concluding printing and brandish. This involved, hands-on craft brings him close to his work. What the viewer sees is essentially an extension of his persona. Quiet and precise, yet bold.

The artist will be at the gallery located at 58 Broad Street for his exhibition opening. Friday, September 13th from 5:00 until viii:00 pm the reception will coincide with the Charleston Art Gallery Association Art Walk in downtown Charleston, Due south Carolina. The exhibit will exist on view through September 30th, 2019.

MARION MOONRISE

I spent ii days around Lake Marion, S Carolina, hunting more cypress trees, and found these conjoined twins, who deserved some attention. It just so happens that the evening I spent with them coincided with a full moon ascension, which merely so happened to line up with the well-nigh pleasing angle (and background) of these trees, and I but so happened to be completely willing to wade in the dusky alligator and snake-filled waters every bit it all unfolded...

Exploring Rachel Carson Reserve

It'south getting to be R/5 [Research Vessel] time over again!

A few weeks agone, we had a perfect 24-hour interval to get out on the water, and accident the grit off of the gunkhole and camera, to go ready for some upcoming projects, so I decided to put together a brusque backside the scenes video for anyone who wants to tag along on my adventures.

This particular exposed sand bar is part of the Rachel Carson Reserve, which is a preserved marine environment of about ii,300 acres, and is home to wild horses, migrating birds, all sorts of marine critters, and equally you lot'll see in this video; lots of absurd sand confined, some of which are simply exposed at depression tide.

I was drawn to making this particular photograph by the spectacular thunder clouds in the distance reflecting off the surface of the water in each tide pool. Information technology brought a contrast to the scene that would've otherwise been very flat and ho-hum (like the pool closest to the photographic camera in the terminal photograph, which leads y'all through the composition). The mottled highlights in the pools across the scene were only so unique and fleeting, and say so much about this fragile, merely dramatic tidal environment.

Enjoy!

FOLLY Embankment Series

Part of an ongoing series about some beach somewhere; Folly Embankment, South Carolina is a tourist haven. Vacation rentals line both sides of the road that runs from end to finish of the six mile long bulwark island, which is a twenty-infinitesimal bulldoze from Charleston. It is riddled with restaurants, gift shops, kayak rentals, and everything nether the sun…that…you can do under the sun. Almost every foursquare inch of this island'due south dry state has been developed.

It feels similar chaos every time I'thou there.

But, there's a cute calmness among all of the bustle and pastel-colored stilt homes, where the tide visits twice a day. The ocean'south currents at Folly Beach shape sand bars and bare tidal pools, as the island constantly changes shape.

These photographs were made under harsh summer sun, where I used the sun's specular highlights shimmering on the water's surface to expand the contrast within what would commonly exist a adequately depression contrast scene. Past doing this, I was able to assign the sand a much darker tone, which gives the resulting photographs a dramatic mood.

These delicate exposures took careful positioning of the photographic camera, working with the irresolute tide and dominicus's location throughout the day.

Savour!