Another recent entry in my Nightfall series is this image, entitled “Nightfall, The Bubbles”. This image required an exposure of over 12 minutes, which of course resulted in the visible star trails (you can still pick out the Big Dipper and North Star, though). This image also required me to balance precariously – with tripod, obviously – on some small rocks on a very dark Jordan Pond. You can see other night landscapes of mine here. As always, please let me know what you think!
The most recent full moon was the Harvest Moon, which is the full moon closest in time to the autumnal equinox and is also perhaps the most famous of the full moons. Its name comes from the harvest season in the Northern Hemisphere, naturally, and specifically from the fact this full moon allowed farmers to work late collecting the harvest because of its brightness and rise time. Part of the cultural impact of the Harvest Moon also arises from the fact that the difference in moonrise times varies little each night around the time of the Harvest Moon, so the days just before and after the Harvest Moon have similar conditions (i.e., the moon rising pretty close to sunset). So, while every full moon rises close to sunset, the Harvest Moon provides this effect for several days in a row, effectively giving us more full moon conditions.
For this year’s Harvest Moon, I traveled two successive nights up to Acadia National Park. The weather conditions were not particularly cooperative, or so I thought. In the field I was relatively pessimistic about the photographs I captured this full moon, but once I returned home I realized that I actually struck gold.
The first photograph below is from the top of Cadillac Mountain shortly after moonrise. I love the soft sunset light on the clouds above the moon, as well as the configuration of those clouds themselves. That’s Schoodic Head out there in the distance as I’m overlooking Frenchman Bay.
The second night I stationed myself on the Park Loop Road looking again towards Schoodic Head. Because of mist/fog on the water, the moon wasn’t immediately visible after moonrise and I was worried that the evening would be a washout. Instead, the mist created a beautiful soft blue light and the moon did indeed peek through, as did the islands and trees in the bay. The scene was amazing but I feared the resulting print would not convey the magic of that moment, but I was happily wrong. The print of this image has become one of my all-time favorites already. I have learned that initial enthusiasm can fade, but I’m optimistic that this one will remain a personal favorite. Let me know what you think, as always!
I just added to my website four new images from July’s Thunder Full Moon. For this moonrise, I was stationed at Popham Beach State Park ready to catch moonrise over the Atlantic from, well, sea level. Let me know what you think, as always!
I also have finalized a name for the series instead of Full Moon (which is a bit too generic) – Adventures in Celestial Mechanics. More about this soon, but here is the short version. My favorite college textbook was the delightfully-named Adventures in Celestial Mechanics (for my orbital mechanics class). Night photography has become my recent passion in part because it gives me a way of rekindling my love of space. This series of full moon portraits takes advantage of one of my favorite dances of the celestial bodies – the alignment of the Earth, Moon, and Sun that happens at moonrise of the full moon. Once I looked at my shelf and saw this now 20 year old textbook sitting there, I knew that I had found my series title.
I wanted to point out two great collections of night photography. First, this is a really slick video of the winning shots from the BBC’s Astrophotography contest, along with an explanation of each. Highly recommended. (Hat tip to Rob Galbraith for bringing this to my attention).
I’m also excited to point out the new exhibition from The Nocturnes (the hub of night photography on the web) entitled “All Along the Lee Shore…”, featuring eight night photographers, including three images from myself. I’m honored to be included in one of their online exhibitions and definitely recommend that everyone check it out.
A little while back I also mentioned my new Full Moon series (which may yet change names) where I photograph the moonrise of each full moon of the year. Because of variable conditions and the fact that each full moon only comes once a year, this will be a multi-year project. In June, however, I was lucky enough to photograph moonrise from the top of Mt. Battie here in Camden for June’s Rose Moon.
The visible moonrise itself was delayed by cloud cover. You can see the moon starting to peek above the clouds in perhaps my favorite image of this group:
Once the moon was high enough in the sky, the reflected moonlight in Penobscot Bay became quite striking, too.
The reflected moonlight was very dramatic, and I captured that element in my other favorite of these images as the moonlight formed a shadow behind the island.
And, to give you a bigger picture of the moonlight in Penobscot Bay (the mouth of Camden Harbor is just below the bottom, and you can see windmills out on the island, too)…
Hunter’s Moon is a photograph I took last fall from Point Lookout/Ducktrap Mountain – moonrise of the full moon. It has already proven to be a popular image and it has led me to start work on a new series, very tentatively titled “Full Moon”. The series as it stands now is focused on capturing the rising full moon from the Maine Coast. I’ve long been fascinated by the different names for each full moon and each photo will be titled accordingly. I’m trying to photograph each full moon of the year, which means that due to weather & life it will take a me a few years to capture each one – there is only one chance each year for all of them, so planning and a bit of luck are required. I will post soon some from the summer full moons, so keep an eye out in this space.
Hunter’s Moon is one that is remarkably hard to print and also hard to convey online. Because most of the image is so dark, modern monitors tend to make it much brighter than the image appears. Similarly, it is one of my most difficult images to print because 98% of it is in the deep shadows. The print shows just a touch of detail on the silhouetted mountains/islands in the foreground. Luckily I find it a very satisfying image that has quickly become one of my favorites.
More soon as the series continues to develop, and let me know what you think!
In our continuing effort to ensure that our daughter realizes the whole world is not quite like our beautiful little corner of Maine, we took a family trip down to NYC at the end of April. This was not a photography trip, mind you, but I did have a chance to do a little photography when I was there. It was a perfect NYC weekend — spring foliage in Central Park, 70 degrees and sunny — and a great trip.
I had two main subjects in my limited time – the trees in Central Park (who could resist?) and some night photography walking around the Upper West Side where we were staying. I’ve included a few of the photos below – for the remainder feel free to check out my new NYC gallery on my website. And, as always, let me know what you think!
I have a whole slew of things to mention this week. First, there is a new show up at the University of Maine Museum of Art up in Bangor that is excellent. The show includes the gorgeous 8×10 contact prints of Ilya Askinazi and the large scale, color digital creations of Todd Watts. I saw this show last week and both bodies of work were impressive in their own right while being completely different from each other. Ilya’s photographs are exquisite, of course, and I was entirely smitten with one of his Israeli landscape images that had boats in the far distance (hard to describe, and unfortunately not online). I was also very impressed with Todd’s photographs – it is far from what I normally enjoy, but amazing in vision and execution. His piece with the birds in winter (again hard to describe) that is at the CMCA show was one of my favorite pieces in there, too. The show ends Dec. 31st and you can find reviews of the show from Heather Frederick and the Bangor Daily News at the links.
On a totally different note, Pentax has just announced that they are bringing their new medium format digital 645D to the US. At $10,000 I wouldn’t say it is affordable, but it is less unaffordable than previous medium format digital and weather-sealed to boot. I’d love to have the next generation, presumably better and cheaper successor to this for landscape photography.
The CMCA has placed online the full catalog for the Ten Years Later show and, well, wow. One giant, free, downloadable PDF with 4 hi-res images from each of the 150 photographers – 600 images in all – what a phenomenal resource. Grab a cup of coffee or two and enjoy some great photography.
And lastly I’d like to show one of my newer images – this time more of an industrial nightscape. Let me know what you think…
I’ve been playing around quite a bit with different strategies for my night photography. One thing I am working on is architecture/buildings at night – perhaps an obvious choice, but there are so many opportunities in this realm, even living here in Maine. One unexpected venue for this sort of work was the Rockland Lobster Festival – I went there at night when it was lit by spotlights (and empty of any other people) and took these shots of the big festival tents. My first thought upon seeing this was that they reminded me of the Rockies and even the Denver airport (which uses a similar tent architecture for some of its terminals). Anyway, let me know which ones you like the best!
This one is obviously much different while being from the same shoot.
I’ve been pretty lax on updating this blog of late – one reason is because I had an excellent workshop with Todd Hido on night photography that was pretty draining. It was my first workshop experience and was definitely worthwhile for me. I’ll be showing some of my work from the workshop over the next few weeks in this space. I’m pretty excited about night photography as I believe it will really open up new avenues for my photography – I tried many types of work during the week-long workshop and I’m not sure which of these types of work I’ll end up pursuing ultimately, but I’m sure night photography will become an essential part of what I photograph.
Here’s one image from my workshop from one of my favorite haunts, Barrett’s Cove, just down the street from my house. This is about a 12 minute exposure – that is where the star trails come from (resulting from the rotation of the earth that is visible because of the longer exposure) for those of you who aren’t familiar with this sort of photography…
The actual experience of taking this photograph is something I’ll always remember – about 1 am, the calls of the loons all around me (and not much else), and the peak of the Perseid meteor shower happening right above me. With a 12 minute exposure, of course, there is lots of time to listen to the loons and watch the meteors. Because of the long exposure, the meteor shower isn’t visible as the meteors moved too quickly to show up on the photograph.
Let me know what you think!