Update November 13, 2016: I took down the show. I have updated the tenses in this post to reflect the new reality.
I exhibited some of my photographs at Mt. Tom’s Homemade Ice Cream in Easthampton, Massachusetts, October 8th through November 11th, 2016. There was an opening reception on Saturday, October 8th (as part of Easthampton’s monthly Art Walk). I loved seeing you there!
I like to take photos involving outdoor scenes, trees, water, earth, and sculpted clouds. These days I share a lot of my work online, but it has been a while since I’ve shown the physical artifacts of the process. When my friend and fellow artist Jim Ingram asked me if I’d like to show my work at his ice cream shop, I said yes.
Originally I was going to show paintings. I’ve made a few of those over the past couple of years, but not enough to fill a whole show. Later, I thought that I might show a mix of a few paintings and a few prints. But after reviewing my whole available body of work, I decided to narrow the focus to one medium, and stick to photos. I’m glad I did, because in this case it made for a more cohesive show. The prints for this show were all either 12 by 12-inch squares, or 11 by 14-inch rectangles.
Please enjoy the gallery above, which offers a glimpse of the photos that were in the show. Please get in touch if you’d like to buy one. Soon I will be listing them in my Etsy shop.
Recently we made a quick overnight trip to Providence, Rhode Island, to help Rebecca’s daughter settle into her dorm at college. The view from our hotel (Omni Providence) was pretty nice, so I got to try something I’ve been wanting to do: make a time-lapse movie of day turning into night in an urban environment.
I suppose I could have used my iPhone’s time-lapse mode and called it a day (into night—ha), but the quality of the iPhone’s photos suffers in low-light conditions. So I got my “good camera” ready, and embarked upon a little project.
Check out the short video above to see the result of my experiment.
Some notes on the equipment I used and how I set things up:
Fortunately, the window of our 12th floor room was able to be opened about four inches, so I didn’t have to shoot through dirty windows or contend with room reflections in the glass.
I spent a good 15 minutes obsessing about whether to use a wider-angle lens, to capture a bigger view of the city. We could see Waterplace Park and a portion of the river from our room, and had it been a WaterFire night, that might have influenced my decision toward the “more-is-more” direction. But Rebecca, bless her, helped confirm my hunch that what this particular scene needed was a tighter crop of a specific subject: the domed Rhode Island State House at the other end of the street.
I settled on the 25 mm lens, set the camera on the tripod, aimed it through the open window, and composed the shot through the viewfinder.
I used the brightest f-stop available (f/1.4) and set the camera to aperture priority mode, so that the shutter speed would vary and the “after dark” shots would be adequately exposed.
I manually focused on the State House so that the camera wouldn’t waste any battery energy automatically refocusing for every shot. Also, auto-focus doesn’t always focus on the right thing—especially when the scene is dark—so I figured I’d take control of that aspect.
I set the camera to take medium-resolution shots. Again, I was concerned about battery life, and shooting RAW or high-resolution JPGs would have drained the camera’s battery too quickly.
Sunset was going to be at 7:17 p.m. I figured that if I started around 6:00 and ended around 8:00, I would capture the transition from light to dark nicely.
As far as the frequency of the shots, I started obsessing with the math, calculating how many shots I’d end up with if I set the camera to take a photo every 5, 10, or 15 seconds, and what the frame rate of the final video would need to be, to create smooth animation. I ultimately decided on one shot every 15 seconds, figuring that I could sort out the timing considerations later, in software. The camera has a programmable time-lapse mode, so I set it up, crossed my fingers, and pressed the shutter button.
We left to get some dinner, praying we would not come back to find that a flight of pigeons had taken up residence in our room. (They hadn’t.)
I’m glad I chose the 15-second interval, because as it happened, the battery died and the camera stopped taking pictures before I manually intervened. Fortunately, just enough shots (514) were captured.
Back at home on the computer, I imported the photos and used Apple’s QuickTime Pro 7 software to convert the image sequence into a movie. I tried one at 60 frames per second (FPS), one at 30 FPS, and one at 24 FPS, to see which one worked best. Ultimately I kept the 24 FPS one.
I brought that file into Final Cut Pro X software, cropped the composition to the 16:9 proportion of HD video, and rotated it a half of a degree to correct a slight listing feeling. Also, I shortened the movie somewhat at the beginning, as it felt like it was dwelling too heavily on the “day” side of the transition.
I exported the movie to Vimeo, and embedded it into this page.
The biggest lesson for me was the consideration of battery life. Olympus sells an add-on battery pack for my camera that combines two batteries, but it adds bulk and weight, and part of the reason I chose this camera in the first place was its compact form. If I plan to do longer time-lapse projects in the future, I might consider investing in it. But then again, I might simply switch to a 20- or 30-second interval, and make sure I start with a freshly-charged battery every time.
I love this short film Cranberry Wake by Alex Horner. It is such a perfect marriage of storytelling, history, sport, music, and abstraction, told with an exquisite attention to detail. Every frame of this film is a perfectly-composed painting.
The film starts out seeming to be a mini documentary on how cranberries are grown and harvested. But then the wakeskaters show up, and the film takes on a whole new dimension. “What’s a wakeskater?” you might ask. Watch the film and find out!
I’m particularly moved by how well the music harmonizes with the visuals. Steve Horner’s Light on Blue and Tycho’s Daydream are perfectly ethereal selections that complement the dreamy, slowed-down action shots. I would love to learn how to obtain rights to use another artist’s music in my own short films. Until then, I’ll continue to make my own music for films.
I’ve been enjoying taking photos at night and at the blue hour, using my Olympus camera, a tripod, and a long exposure. The time of day (9:10 p.m.) was the crucial element in this shot, because at this time of year, at my latitude, there’s still enough ambient light to take a four-second exposure that reveals some details in the landscape.
Moreover, with the sun already sunk below the horizon, the sky’s light is predominantly blue in hue, which makes a nice cool counterpoint for the warmer LED light that spills out from my barn through windows and cracks between the boards, illuminating swaths of grass and garden.
This was a fun shot to make. The photo makes it appear as if all of the fireflies are lit at the same time. In actuality, I set up a long, tripod-mounted exposure, and individual fireflies may have been represented multiple times.
In order to illuminate the peach trees and the rhubarb patch in the foreground, I walked around the perimeter of the scene with a flashlight while the camera’s shutter was open, reflecting diffuse light off a lawn chair turned on its side. I had to take a few shots to get the exposure just right. This one took about a minute and a half, as I recall.
I love the unexpected results of this kind of shot—it reminds me to appreciate the photography of yore, when long exposures were necessary under even the brightest conditions, and a degree of uncertainty was the norm.
I’m sure that some of the fireflies appear in the photo not because of their own phosphorescence, but because they are being lit from the side by my flashlight. The glowing effect is magical nonetheless, and hopefully it captures the spirit of an early summer evening.
A great resource for do-it-yourselfers (or those who would like to be)
Have you ever wondered how people made things in the olden days before we had power tools, die casting, injection moulding, 3D printing, sheet metal stamping, or robot welding? Well wonder no more, because Mr. Chickadee will show you.
I’ve fallen in love with—and subscribed to—his YouTube channel, which features episodes on how to make all manner of things from split stones, forged metal strap hinges, door latches, and masonry heaters, to entire systems like a timber frame workshop built entirely by hand. There’s also a blog that features some thoughtful writing and photographs, but there’s something magical and mesmerizing about watching the process unfold before your eyes in the movie format. His carpentry skills are exquisite.
Sometimes content on YouTube can be hit-or-miss, but this channel’s production values really shine, and mirror the fine craftsmanship of the work being documented. The films are beautifully composed and shot, and expertly edited. Presumably this is the work of Mrs. Chickadee, who makes appearances in several of the episodes (when she does, the camera seems to be tripod-mounted, versus hand-held). Playful cameo appearances by their pets add an endearing touch.
One of the most notable features of these movies is the lack of background music or verbal narration. All you get are the stoic sounds of the work being done, set against a meditative backdrop of natural sounds like rain, crickets, birds, etc. At first this can be a little disorienting if you have no idea what is being done and are looking for answers in familiar written or verbal form. But if you are able, be patient, learn to trust your eyes and to absorb the information visually. Mr. Chickadee will not let you down. Onward to self-reliance!
Over the twenty-eight years that I’ve been a naturalized New Englander, I’ve developed a personal tradition: every year, I must artisanally hand-shovel the first snowfall. In fact, I try to avoid using a gasoline-powered snowblower for as long as I can into the season. This ceases to be practical after the second or third foot of snow has fallen in as many weeks, which eventually does happen.
This year the first real snowfall came pretty late—December 28th. (I’m not counting the flurries that flew early in October.) We didn’t get a deep accumulation—it was only three or four inches. But what little fell was wet, heavy as bricks, and covered with a brittle crust of ice, leading me to question the wisdom of shoveling the whole driveway by hand (and by back). But I forged ahead and did my work, and in the process reminded myself of why I had concocted my silly tradition in the first place.
It had something to do with being rugged and stoic in the face of daunting odds and conditions, which I’ve romanticized as a New England trait. It also puts me in touch with an earlier, more thoughtful, less mechanized way of doing things. We live in such a privileged, materialistic society that makes it so easy to step on a pedal and end up miles from where we were half an hour ago. In this light, I think it is so important to maintain a perspective that honors the laws of physics and the idea that what goes up must come down. Whatever seems easy (like pushing a button and starting an orange robot that makes easy work of snow removal) must be paid for somewhere else in the universe, probably by some innocent butterfly whose only crime was flapping its wings.
So I return to my shoveling, thinking these deep thoughts, fancying myself some kind of modern-day Thoreau, “wishing to speak a word for Nature.” But I burst my own bubble when I catch myself grumbling about how hard it is to live in a place that experiences extreme winters. (I’m sure that my friends in Wisconsin, Minnesota, and Manitoba will chuckle at this characterization of Massachusetts.) There’s always a five-to-ten-foot strip where the driveway meets the road, where big plow trucks throw salty slush, adding the snow from the road to the snow already on your driveway, gluing everything together into a giant block of concrete, and turning your evening into a major excavation project.
But the complaining reflex doesn’t last for long, as I snap back to the perspective of how fortunate and grateful I am. After so many years of struggling and wanting, I finally have a driveway TO shovel. And I think about people in Missouri and Louisiana whose homes are being flooded, and worry about them. I think about people who are being held captive, even if it’s a prison of their own making—a mental scaffolding of religious fanaticism, political fervor, or lust for attention. And my heart goes out to them, and hopes that one day they will find peace within themselves. I think a lot about people who face health challenges, and all the associated pain. My heart goes out to everyone in the world who is suffering, and it makes my little mountain of ice seem so inconsequential.
There was a tree in my yard that was leaning about 20 degrees off its vertical axis. Years ago—maybe decades—someone who lived here before me had apparently used this poor tree as a fencepost. There was a three-inch wide ring carved out of the bark a couple of feet above the ground, extending around the girth of the tree. I feared that someday a combination of heavy snow and strong wind would bring the tree crashing down, crushing one or more of my peach trees, and possibly taking out a corner of my barn. I knew I needed to fell the tree, before it fell on its own terms. Because of its height, I knew I needed to take the tree down in sections.
I thought about calling a professional tree service, but in the spirit of Matthew B. Crawford’s excellent book Shop Class as Soulcraft—wanting to be “a master of my own stuff”—I set about to do the job on my own. I already had the necessary tools on hand, and I didn’t want to spend money on something I thought I could reasonably do on my own. (Don’t worry, when I need a new roof I will call a pro.) I won’t lie—there were moments when I questioned the wisdom of doing this job myself. But now it is done, and I am pleased with how it turned out. I filmed the process and edited it down to a bite-sized nugget of a film, which I hope you enjoy.
Now, if you’ll excuse me, I need to go:
Take a shower
Sharpen my chainsaw blade (there’s a rotary tool bit for that)
Make dozens of wood-burned log slice trivets as gifts for my friends and family (and for my Etsy shop)
Homemade almond milk is delicious and nutritious. It doesn’t contain all the unnatural chemicals and preservatives that commercial boxed almond milk does. It’s easy to make, so I thought I would make a little movie to document the process. You soak a cup of raw almonds in water overnight, rinse them, then purée them in a blender for a few minutes with a pinch of sea salt and a dash of vanilla. Then you strain the mixture through a nut milk bag into a container. Store it in the refrigerator and use it as you would milk. That’s really all there is to it.
It is my sense that live organic almonds obtained from a reputable source (a small grower that takes care in its farming practices… or a TREE) are a safe bet. I haven’t had any problems with them so far. If you are in doubt, consult your doctor, or simply use pasteurized raw almonds.
Almond skins contain an enzyme-inhibiting substance that keep the almond from prematurely sprouting. This same substance makes it hard for some people to digest almonds. Fortunately, you can soak the almonds overnight and rinse them to neutralize and remove that substance.
All of this time zone switching is upsetting our circadian rhythms. Let’s pick one time zone and stick with it.
A traffic sign outside of the local fire station flashes a reminder: “Change your clocks, change your smoke detector batteries.” It’s a clever association, but I would argue that only one of these periodic tasks is necessary. Smoke detectors save lives. I’m happy to spend an hour per year installing fresh batteries so that I won’t be awoken at 3:00 in the morning by a periodic chirp from who knows where in the house. But “springing forward” and “falling backward” jars our circadian rhythms. Why do we continue to do this to ourselves?
There are several urban myths purporting to explain why we change our clocks. One has it that shifting clocks forward gives farmers more daylight to work their fields in the summer. Another theory has it that changing clocks back in the fall makes it lighter—and therefore safer—for school children to board buses and walk to school early in the morning. Flashlights, anyone? Yet another story has it that we save energy in the summer by leaving our lights off until later in the evening. This seems to be loosely related to the legend that Benjamin Franklin advocated for people to arise earlier, so that they would make better use of morning light, and consequently burn fewer candles. But I have yet to see any compelling evidence that changing our clocks helps us. A growing body of evidence suggests that it does not.
How many clocks do you change twice per year? I change seven (not including my iPhone and my computer, which are smart enough to change themselves). I’ve got a watch. An old digital clock radio. The clock in my camera. My microwave oven. My regular oven. A manual wall clock in the kitchen. The clock in my car. Don’t get me wrong—I’m deeply grateful for each of these luxuries. But each of them has its own peculiar way of setting the time, and some of them are less intuitive than others (I’m looking at you, Hyundai).
As silly and monotonous as this chore seems, I’m not opposed to doing the work. I like to tinker with things, so I find messing around with clocks to be enjoyable on a certain level. But I am loath to endure what amounts to bureaucratically imposed jet lag twice per year. We humans are sensitive creatures. Furthermore, we are not the only things that are impacted by this biannual ritual–consider all the time-dependent software that stands to go awry. A few years ago my iPhone’s calendar events got mixed up for days after a time change.
I agree with Tom Emswiler, who argues that we in Massachusetts should defect from our time zone, and join the Atlantic Standard Time Zone (one hour ahead of Eastern Time) year-round. It makes sense—New England is farther east than many other states on the Eastern Seaboard. Among other sound arguments, Emswiler cites a study published in the New England Journal of Medicine which found that heart attacks increased for three days in the spring following the start of daylight saving time. That “lost hour” may be fraught with deeper repercussions than the modern productivity-oriented mindset understands or wants to admit.
I realize that time is an abstract, and that nothing is really changing but our “framing” of it. Clouds, trees, fish, and birds (apart from the cuckoo) don’t pay attention to what clocks say. But when society decides that a store opens at 9, employers say that work starts at 8, and a friend wants to meet for lunch at noon, we have little choice but to adopt the new frame when it changes.
But what if we didn’t? What if we stopped trying to change time? We would do well to heed the words of Ralph Waldo Emerson who said, “Adopt the pace of nature: her secret is patience.” In the context of timekeeping, we could be more patient with the short days of winter and the long days of summer, accept the strengths and limitations of each part of the cycle in the particular place where we live, and embrace the ebb and flow of light through the seasons without jolting our biological rhythms in the process.