CONTENTS:
1. Flyover: Counting Down to Lift-Off
2. My Fraser River Photo Workshop: Part II – Find New Perspectives; Make Your Artistic Statement
3. Ski Adventure: Part II. A Photographic Lesson I Learned Long Ago.
4. Photographing Concepts: Why These Images Sell
1. Flyover: Counting Down to Lift-Off
© Chris Harris
Photographer’s notes: One of the first things I do when on assignment, is make several images of the ‘big picture’. For example, to give some context to Jacobsen Lake, this image shows the lake with its source, the Jacobsen Glacier and surrounding glaciated peaks . To accommodate the vibration of a deHavilland Beaver, I chose to shoot at 1000th of a second. Nikon D700, iso 640; f-11; 1/1000 sec; 28-300mm lens. |
Over the next few months I’d like to share a few visual stories from our new book, to be released this October; Flyover: British Columbia’s Cariboo Chilcotin Coast. Along with the photographs, Sage Birchwater has interviewed dozens of bush pilots, young and old, and has researched the entire aviation legacy of the region. The stories are amazing.
One of the flightseeing gems of the region is a flight to Jacobsen Lake in the Coast Mountains of the Chilcotin.
© Chris Harris
Photographer’s notes: Once I have made the overall documentary images, I start to move in, putting the full advantages of a telephoto zoom lens to good use. I was drawn to the reflections of the ice in the lake, which I really enjoy in this image. Nikon D700, iso 640; f-11; 1/1250 sec; 28-300mm lens. |
Compositionally, there are four main shapes to work with here. With only seconds to work, I must decide how I wish to arrange them to convey my message. This image is about a large glacier moving downward toward a relatively small lake where it will calve and melt. So I give the greatest presence to the glacier, and less space to the lake. The 1/3, 2/3rd ratio and placement given to the two masses of rock are to create some tension and solidity to the image.
© Chris Harris
Photographer’s notes: Having now flown over glaciers several times, I have learned a great deal about what to look for. Pattern (as always) is one of those features. I had noticed these ice patterns 60 seconds prior so asked my pilot to fly over them. Nikon D700, iso 640; f-11; 1/1250 sec; 28-300mm lens. |
I composed this image instinctively during the few seconds I had. Now, on the monitor, I see the lines in the ice from which I made my compositional decision. It is the line that forms half an elliptical shape starting and ending on the left side. The composition is primarily based on this shape.
© Chris Harris
Photographer’s notes: Using a very wide angled lens, I give prominence to Sid and the Beaver’s dashboard, but I am also cognoscente of including some landscape to assist in telling the greater story. Canon EOS-1Ds Mark III; iso 400; f-14; 1/200 sec; 15mm fisheye lens. |
Of equal importance to the images in this book are the stories that Sage is writing. With this in mind, I make images like the one above. Sid, who got his pilots license at 16 before he could drive a car, is part of an aviation family who’s story is told in the book.
© Chris Harris
Photographer’s notes: On landing, I saw the magnitude of the glacier from lake level, and asked Sid to maneuver his plane so I could shoot directly into the ice face. Nikon D700, iso 800; f-11; 1/1500 sec; 28-300mm lens. |
A fascinating story, which Sage writes about in the book, is that this
lake was too small to land in prior to 1983, but with global warming and
receding glaciers, has become a destination for flight seers and anyone
wishing to explore a dynamic landscape.
2. My Fraser River Photo Workshop: Part II – Find New Perspectives; Make Your Artistic Statement
© Chris Harris
Photographer’s notes: This is just a hand held record shot, however, I show it here to emphasize a point. Canon EOS-1Ds Mark III; iso 200; f-11; 1/160 sec; 24-105mm lens. |
I remember my first workshop with Canadian master photographer Freeman Patterson back in the 1970’s. When asked to shoot an entire roll of film of a single subject (mine was a fern), I made about 10 exposures before running out of ideas.
At that moment Freeman magically appeared. He looked through my viewfinder and then asked if he could move the camera a little. I said, sure. He moved my tripod, composed another image, and told me to take a look. I did. Wow. That moment changed my life as a photographer. I finished my roll and have photographed confidently ever since.
That lesson was about learning to see, and that is what I hope to share with participants on this Fraser River workshop. In the above image, the Fraser River landscape is vast. It’s easy to make 3 to 5 images, but then what. Where to go from there?
© Chris Harris
Photographer’s notes: Sure, there is the technical aspect to image making, which we will always discuss, but recognizing the potential for image making, and then creating the most powerful compositions to express your feelings about what you are looking at, is the real challenge. That will be the main focus of this trip workshop. Canon EOS-1D Mark II; iso 100; f-9; 1/50 sec; 70-200mm lens. |
Everyone will have one of my little “Creative Techniques” cards to keep in their pocket. We will refer to it as we do mini-workshop sessions throughout the journey. We will look through each other’s viewfinders, and discuss image ideas and composition. We will learn to look for images from a new perspective.
We will search out the basic elements of composition and then discuss their arrangement within the picture space. In many ways we will critique images much as I do in my Newsletters, but oral critiquing in the field is a much more powerful learning experience.
Be sure to bring a tripod with a quick-release ballhead to take full advantage of this workshop. A good ballhead makes using a tripod and composing imagery much easier.
We will try to break out of our visual ruts, and we will learn the advantages of using different focal length lenses to gain fresh perspectives. We will push ourselves visually and we will have fun doing it.
This workshop is for anyone – beginner to experienced – interested in improving their photography, both technically and visually. I will be ready to try and assist individuals one-on-one at any level. The art of seeing and developing your own personal style will be emphasized.
This trip will also provide subject matter that is diverse, unknown to most British Columbian’s, and spectacular in every way.
If you have any questions about participating on this trip, please give me a call at 250-791-6631.
3. Ski Adventure: Part II. A Photographic Lesson I Learned Long Ago.
Many years ago I attended a presentation by National Geographic photographer Frans Lanting. He told us the story of his very first assignment when he was called into the chief editor’s office. After the meeting when Frans was about to leave the room, the chief editor said, Frans, just remember, “there are no excuses”.
I have never forgotten those words. I hear it in my head all the time when I go out on a shoot. No matter what the conditions of the day are, and how miserable I might feel at the time personally,” there are no excuses”. I know I have to give it my best. I have to get my shot.
© Chris Harris
Photographer’s notes: I remembered this overhanging tree with its photographic potential from the day before when we were skiing in the other direction. So I pushed ahead of the group making sure not to disturb the snow in front of this composition. Quickly I took note of all the compositional factors; the tree branches, the ski trail and the forest on the right. I chose my lens, composed and waited. I made several exposures as the skiers advanced. This was my favourite composition. Canon EOS-1Ds Mark III; iso 320; f-11; 1/500 sec; 24-105mm lens. |
Remembering the Chief Editors words, I knew what I had to do to get this image. The fact that my artificial hip was hurting, and my heart condition determined my speed and activity level, meant little. I knew I had to get well ahead of the group to set this image up. In fact, I couldn’t do it, so I asked them to stop. When I had got set up I yelled down the lake for them to proceed again.
The result was well worth it. I really enjoy this image and it means a lot to me. When the two skiers who lagged behind later apologized for not keeping up to the group and ruining my image, I said, “oh no, you were in the perfect place for my composition. It couldn’t have worked out better!”
4. Photographing Concepts: Why These Images Sell
© Chris Harris
Photographer’s notes: While driving toward the Gang Ranch, I stopped, got out of my truck, grabbed my camera gear, and prepared to shoot a dramatic storm that was approaching. Using a tripod and a large depth of field, I used the road as my lead-in line toward the hills and the storm clouds. Canon EOS-1Ds Mark III; iso 100; f-22; 1/100 sec; 24-105mm lens. |
Because I sell imagery as part of my living, it is important to know what images sell best and why. It’s impossible to know, of course, what advertisers and ad agencies are looking for to put across their message, but by watching print and TV ads, one realizes that images often serve as metaphors.
© Chris Harris
Photographer’s notes: When I took my eyes off the trail ahead of me and looked left, I was immediately captured by three main shapes; the snow covered lake, the darker trees, and the lighter forest in the distance. There was the complete tonal range, pure white to pure black. The coloured trees were a bonus. My biggest challenge was keeping my lens dry (a lens hood would have helped!). It was blowing and the flakes were wet. One large wet snow flake on my lens and the shot would be ruined. I examined the composition, decided to place the tallest tree to the right of centre, raised my camera and quickly snapped this image. Note the size of the 3 shapes. The bottom shape says the least, so receives the least attention and space. Canon EOS-1Ds Mark III; iso 400; f-9; 1/400 sec; 24-105mm lens. |
In my pocket, I carry a list of 30 concepts which I glance at periodically during a photographic shoot. Examples are: diversity, co-operation, spirit, renewal, survival, intimate, universe, time, and elements. Although ‘weather’ is not on my list, it is implied in several of the other concepts like force, power, global warming, and survival.
So that, in part, is why the two images above are important to me and why I make them. Both were chosen by my stock agents.